#views of the comics and engagement | Explore Tumblr Posts and Blogs

skzdarlings · 16 days

Text

the rescue ; skz; aotm!hyunjin x reader

original ask: requested by @tattywood: ❛ i'm simply enjoying the view. it's not every day i get to fuck someone so pretty. ❜ would 100000% fit Hyunjin 🩶 + requested by anonymous: ❛ you're mine, and i take care of what belongs to me. ❜ with hyunjin? thank you

pairing: hwang hyunjin/reader content info: artist of the month!hyunjin was inspo here. gangster stuff, reader has been kidnapped and is in a see through nightdress, most violence off page though, bad guy hyunjin who is actually a good guy, arranged marriage, multiple smut scenes, not great communication but gets better lol. smut includes fingering, blow jobs, pussy eating, piv, spanking, light choking, husband/wife kink. word count: 6300 words.

masterlist. part of the valentine’s day stories series. credit to prompts. requests are closed.

enjoy! <3

“I’ve already explained,” you say, equal parts frustrated and exhausted. “My husband isn’t coming for me.”

The gangster cronies still don’t seem to understand. You are tied to a chair in their basement (because they are preposterously corny goons, tying you up like a comically silly damsel in a ridiculous film) while they berate you for your husband’s tardiness.

You have tried explaining, over and over, that Hyunjin is not coming, but they won’t accept that answer. The fools try in vain to reach him again, but his line leads straight to a dial tone.

He went radio silent after the initial video contact, when your captors demanded a price for your healthy return.

Hyunjin was quiet on the call. Your husband is a quiet man in general, though he knows how to use his charms and work a room, and he has certainly perfected the art of severe intimidation. When your marriage was arranged, one mob family to the other, you mistakenly assumed you were marrying a monster.

Hyunjin is very reserved when not conducting business. He doesn’t engage in any of the more debauched sides of the business, unlike the men in your family. Evenings at home are silent and still, the penthouse view of the glittering cityscape the only real bustle.

Maybe that shouldn’t have surprised you. When he took over his family’s business, Hyunjin altered a lot of their practices, cutting the crueler sectors, opting for illicit crimes of more practical varieties.

The country is in a political chokehold, government affairs conducted none too differently from the criminal underworld. The cops are all dirty, the politicians corrupt, the wealthy depraved. Hyunjin has taken it upon himself to alleviate the pressure suffered by the regular people, the civilians who truly pay the price of a broken system.

In a world with no good guys, sometimes only villains can be heroes.

You think of his face now, how he certainly looked the part of a villain on the video call. Hyunjin has a very austere demeanour, exacerbated by his severe appearance: sharp marble features and dark, vicious eyes often further darkened with heavy lining, sleek black hair, scattered scars and tattoos, and the sort of regard that judges at a glance. He is young, but he has the air of a man who has already traversed the universe and found it wanting.

You think of his face now, the silent perusal he gave your bound body on that video call. You are dressed in your favourite nightgown, your underthings partially visible through the light material, but it was not willingly donned. At the time of your kidnapping, you were attired appropriately for the wealthy wife of a famous gangster. You were returning from a family visit when your captors intercepted you in transit from the airport.

Either to intimidate or threaten or just because they could, they made you remove all your jewelry and fine clothes. They rifled through your luggage and demanded you change into the nightgown.

Hyunjin recognized the nightdress, realized you must have been stripped, and likely inferred the very worst.

“Address,” was the only word Hyunjin said. He ended the call seconds later.

“Oh, he’ll come,” your captor says. He points at you with a hand that feels more threatening than a knife. It makes your terrified heart leap into your throat. “Or else.”

“He won’t, though!” you exclaim. “You’re wasting your time!”

They are not listening. They leave the basement, slamming the door behind them.

You huff and settle back in your bonds.

It is only a matter of time before they realize you are telling the truth. Hyunjin will not waste the money or resources to rescue you. He has always been respectful of the marriage arrangement, but your husband is not sentimental. There is a professional distance between you. His decision will be based in the logic of all his strategies: nothing personal, just a matter of business.

You sometimes see a different side of him, something buried under that quiet intensity. He collects fine art and spends hours poring over his favourite pieces, listening to music, losing himself to artistic fantasies. He always comes back, but you know there are other worlds in his mind.

Every attempt to bridge the gap has been gently rebuffed, but there have been moments when your husband seems curious about you. You often catch him staring. He gets a wistful look that softens his face, even with that shield of make-up. His eyes are gentle when you talk about your passions. You never let his quietude deter your friendly penchant for chatter. He seems more than content to listen. He remembers everything too.

You know he finds you attractive, if nothing else. He has caved on that front several times over, though not right away. He didn’t touch you on the wedding night, nor the honeymoon. He left your beach holiday early to return to business, leaving you in a villa with security and his credit card. It was the first time you realized the material world was no replacement for true companionship. You missed his dark eyes.

Your family also had expectations. There would be consequences if the marriage fell through. You would be blamed, not him. Worried he would renege on the nuptials, you did everything to try and seduce him.

He politely rejected you at every turn.

Just when you were resigned, he arrived home after a job. It was almost three in the morning when he entered the penthouse. You have separate bedrooms but they share a connecting bathroom. You could hear him cursing above the running water.

You only meant to peek. The sliding door on your side was partially ajar so you tip-toed over.

Hyunjin was standing in front of the mirror, shirtless, pressing a rag to his wounded shoulder. There was a mess of blood streaked down his back, making you gasp at the terrible mosaic of pain, his body littered with violent scars.

That gasp contained multitudes, for the horror, for his beauty. His dark eyes were as severely lined as ever, expression intense as he breathed hard through the pain. Smooth black hair fell across his face when he tipped his head.

He froze at the sound of your gasp. His turn was very slow, eyes peeking through the curtain of his short hair. They captured yours.

You held your breath.

Eventually, he straightened, flicking his hair out of his face. He looked in the mirror and sighed.

“You can come in,” he said. “This is your home too.”

You slid the door open, just enough to squeeze through. Your attention was utterly transfixed on his bleeding shoulder. You could see the wound was a thin stripe. It was not deep so stitches were not necessary, but it was slightly out of his reach as it sloped towards his back.

“Oh, Hyunjin,” you said, thoughtlessly taking the rag right out of his hands.

In spite of the violence that raised you, or maybe because of it, you can’t stand to see suffering. You and Hyunjin have had that in common from the start. You were quick to help him clean the wound, wordlessly wiping all the blood then applying cream across the clotted cut.

He flinched when the stinging cream made contact. You went to apologize but your words evaporated when your eyes met through the mirror. You were surprised to find him already looking at you, that expressive gaze as thoughtful as ever.

“How did this happen?” you couldn’t help but ask, eyes rivetted to his reflection. “You – you have people to protect you.” You managed to rip your gaze away, looking at your task, feeling hot in the face.

“I do,” he said. “But I’d never ask someone to do something I’m not willing to do myself.”

This did not surprise you to hear. It is obvious that Hyunjin cares very deeply about the wellbeing of other people. It is a fact known to few. It aggravates you at times, but his reputation does not seem to bother him. He would rather people think him a monster while he secretly does good rather than be praised in public while cruel in private.

You have never known another man like him. Looking at that scar that night, the realization truly struck you.

Your fingers began to tremble where they brushed his bare skin, your eyes widening as you looked at the scar and many others. If something happened to him, what would become of you? Certainly, as his widow, you would be financially sound, but what did that matter? This world would lose something irreplaceable if it lost Hwang Hyunjin. This penthouse could be brimming with silver and gold and it would be empty, worthless.

Tears in your eyes, you succumbed to desire, kissing him very gently on his hurt shoulder.

“Hyunjin,” you said, your eyes closed, lips grazing his skin as you spoke. “Please make sure you always come home, okay?”

He did not answer at first. When you lifted your eyes and looked in the mirror, those dark eyes were so enflamed that you were surprised nothing caught fire.

“Hyunjin?” you said softly.

“You mean that,” he said, not quite a question, more like a realization.

“Of course,” you replied. You looked at his scarred back again, let your fingertips brush down the length of his spine. It made him stand a little straighter. “Have you ever known me to lie?” you asked.

He finally turned around, looking at you with an long-engrained wariness, but also a hunger. He was a starving man presented with a banquet, but one who did not easily trust when sitting at someone else’s table.

“You’re a smart woman,” he said. “I know that. And I know that you’re – good.”

Good was an exhale, like the word was too heavy for his tongue. You realized that his wariness was less suspicion for you than hesitation regarding himself. He was only starving because he though himself undeserving of the meal he wanted.

“You’ve seen – and done – many bad things tonight, haven’t you?” you asked.

Having the full force of his gaze was overwhelmingly heady. You remember how it made your heart race like you were being chased, your breath catching over and over until you were almost panting.

Arousal struck quickly, a sensation like you never experienced before. You thought you understood attraction, but not until that moment when he released a breath, so close to your face, and you became truly aware of his proximity. Of him, of all that he was, all that he did. His character, his hidden depths.

Your husband.

It made your racing heart thunder something fierce, your blood pumping hotly, throbbing places you did not know were so sensitive.

You desperately wondered what was on his mind. The gears in his head were spinning and whirring, delaying his response. Was he feeling the same tension? Were his thoughts the same realization?

My wife.

“Yes,” he finally said.

“Is there something I can do to help?” you asked.

His tattooed hand cupped your head, tilting it just so. It made your lips part with a gasp, eyelids heavy with anticipation for a kiss.

He took his time looking at you, like he was scrubbing all those bad memories away, replacing them with the flustered look on his aroused wife’s face.

“Yes,” he said again, and kissed you for the first time.

You were so glad he rebuffed your previous half-hearted advances, clumsy seductions made out of obligation rather than desire. It was so different to that kiss. You would not have known how to even ask for a kiss like that. You never knew what you were missing.

Your quiet husband and his multitudes. All that simmering intensity, hot just below the surface of his icy demeanour, burned right through his skin. His kiss was ravishing, entirely possessive, like he wished to take your whole essence into him and hold it forever.

He walked you backwards. With a snap of his wrist, he slid the door open the rest of the way, so sharp that it tried to bounce back. He continued onward, kissing you until you were dizzy with it.

He picked you up just to put you on the bed himself. Your kiss separated only then as you landed with a bounce and a breath.

He loomed over the edge of the bed, this man who was both stranger and husband, hero and villain. He looked at you like he already loved you. He looked at you and saw the reciprocation. You had fallen for him without realizing you had ever even stumbled.

He ran his hands through his hair, the sleek black locks fluttering back into place. His eyes were still rivetted to your face, to your body. You were wearing the nightdress you are wearing now. It is why it became your favourite.

He looked down at you, the material translucent enough to see the details of your body. It broke through that last layer of ice. He surrendered with a choked breath.

He unclasped a holster on his thigh, dropped a knife that was hidden in a pocket. Once unarmed, his hands went to his belt. You watched those nimble, efficient fingers, swallowing hard. You were aching to an embarrassing degree, undoubtedly obvious in your desires. No one ever warned you it would feel like this, just being looked at, never mind touched.

Then his belt was on the floor and he touchedyou for real. His calloused hands moved up your thighs, pushing the nightdress up and out of his way. He climbed on top of you, swift as a feline, mouth descending onto yours with that same desperate hunger as before.

Recollection makes you crave another kiss. You think you will always be starving for more.

“Hyunjin,” you whispered, hands on his face, his shoulders, down to his chest.

He took your hands and laced your fingers with his, pinning those hands to the bed. He kissed you again, long and slow. It was all more sensual than desperate.

His voice, however, was desperate when he begged, “Let me make you feel good, please.” He kissed down your face, your jaw, your throat. “Please, my wife.” He kissed further down still, through your nightdress, tracing the curve of your breast with his tongue, wetting the material and awakening every nerve beneath it. “My wife,” he repeated.

“My husband.” The words left your lips in a dizzy, delirious whisper.

It was all the confirmation he needed. Those deft and skilled hands, so quick to assemble weapons and pull triggers, applied themselves with a startling gentleness. He took you apart and put you together with the same efficient ease.

He hooked his fingers in the only material between him and his desire, tugged it out of his way. His fingers went to you, slipping through all that wetness. Those intense eyes rolled back even though it was just his fingers inside you, then he closed his eyes like it was too much, and it seemed he had to temper himself, murmuring nonsense as he let his fingers sink into you.

He kissed you again, drinking down every sigh and gasp and moan while he fucked you with his long fingers. It was like he could taste your pleasure, like he was trying to get drunk on it, every noise you made filling his mouth. He gave them back and brought you over a peak, first with his hands, then with his mouth. He laid between your legs and put your thighs around his head, losing himself entirely in you.

He did not remove a single article of your clothing nor his pants, not that first time. He simply held the material to the side as he unzipped and finally got inside you. It made your whole body keen, coming to life like it never had before. You forgot all your sensibilities and let every wanton sound and action loose.

He responded in kind. His kiss tasted like your pleasure, his heart pounding as fast as yours where your chests pressed together. You were careful near his injured shoulder, fingertips dodging scars. Your soft touch made him whimper, this powerful man entirely undone by a few caresses.

His skin was hot and he worked up a sweat, but his stamina seemed endless. He always wanted more.

You fell asleep tucked in his arms, content to believe the walls had crumbled. However, they revealed themselves in the morning light, as concrete as ever. He slipped away and left a note to excuse his absence as he was called away to business. You thought about phoning or messaging him, but those lines were not always secure, not for such intimate conversations.

When he returned a few days later, he hid behind those concrete walls, but too much had changed. There was now an awareness of your proximity and your distance. The lack of intimacy was not called into question before, the absence of something being a nothing. But now that nothing was something, or had been something for a moment, and it made you both very aware of how it was now missing – and anticipating always when it might again appear.

He tried very hard to keep away, to stay cordial at best, his habitual quietude even heavier than before. But while his silence was significant, so was his glance. Every time you turned around, he was already looking at you, a longing in his eyes and a thought on his lips that he never dared to speak aloud.

You granted him some distance for a time. When it became abundantly obvious he was holding himself in check, you realized that your own vulnerability was required to bridge the gap.

One night you crossed through the bathroom, slid open the door on his side. You found him at his desk, dressed down in a white dress shirt and pants. His blazer was discarded on the floor, his face still made up.

He stood quickly when you entered, though he didn’t say anything.

It was strange to imagine this man would need any reassurance, but you felt that was the case. His fingers fidgeted at his sides, his roving eyes studious.

You said nothing. You approached him, laid your hands on his chest, and gently guided him back into his chair. He sat slowly, his eyes on your face the entire time, even when he had to tip his head back to peer up at you.

You ran your fingers through his hair. When you entered the room, his face was tightly screwed in an expression of aggravation, but all those harsh lines softened as you traced a thumb down the sharp slope of his cheek.

There were some wipes on his desk. You took one and began to carefully remove that shield of dark make-up. His hand lifted but not to stop you, simply to rest his palm on your waist. He began to really touch you, feeling the shape of your body through your robe as you helped him come back to himself.

“Hello,” you finally said, looking at his bare face. Still impossibly beautiful.

“Hello,” he replied.

His fingertips dipped towards the hem of the robe. Before he could distract you with your own pleasure, you sunk to your knees in front of him. This startled him, his hand frozen in the air as you fit yourself between his open knees.

He caught your hand, his reflexes fast, before it could reach his fly. You could see he was already affected, a heavy bulge in the black material making your mouth water and core tighten.

He squeezed your hand and you looked up at his face. He tipped his head, blinked rapidly, an expression of mild confusion.

You took your hand back and unknotted your robe. The silk fell from your shoulders and down, sliding like water right off your body. You were completedly naked underneath.

It clarified everything, his confusion gone, replaced with surprise.

“You—” he began. It was interrupted when you put your head in his lap, resting on his thigh. You led his hand to the back of your neck and kissed him through his pants. It made his fingers clasp tighter around you.

“Please,” you said.

He would never deny you anything. Not the smallest gift nor grandest gesture. When you started a new charity to further your combined philanthropic efforts, he spared no expense in aiding the endeavour. You shared passions, and now you shared this.

He was stiff at the start, but gradually let himself go lax in his seat. His hand kept a steady grip on the back of your neck, not guiding but holding, like he thought you might disappear otherwise. He murmured your name, letting his head fall back as you worked him in your mouth.

You intended to make him finish like that, seeking nothing for yourself at that precise moment. He had other ideas, needing more of your shared pleasure to take him over that brink.

He lifted your face, adjusted his pants, and was on his feet in a matter of seconds. That hand on your neck dragged you up, up, up until your naked body was pressed against his clothed one. He clung to you needily, claiming your mouth in a wanting kiss.

His hands moved over you, every new inch of skin making him moan as he walked you towards the bed. The kiss only broke when you both sat down, his lips against yours as he breathed, almost smiling, “My pretty wife.”

“Hyunjin,” you said, shaking your head, feeling suddenly shy just because of a simple compliment.

He did not allow you to curl into yourself with any shame. When you tried, he seized you, pulling you onto his lap so you straddled it. His eyes moved up and down your body, hands following, from your thighs to hips to waist and up.

“What are you doing?” you said, laughing helplessly when he kissed somewhere ticklish on your throat. The sound made him smile, even softer than before, though it turned a little wicked as his mouth went lower.

“I’m simply enjoying the view,” he said, then wrapped his lips around the stiff peak of your breast, ran his tongue up and over. He licked and kissed back up to your mouth. “It’s not everyday I get to fuck someone so pretty.”

As he said this, he opened his pants again, eyes on yours as he grabbed your thighs and moved you so he could thrust up into you. His hips moved with a slow roll, letting you adjust to him. It had been a little while, and this angle was different.

And Hyunjin is not small. Your husband is built in perfect proportion, his body a long, hard, slender build – everything inside you at that moment was no exception. This angle made you whimper, clinging to him like he was a life preserver in a storm. The roll of his hips kept coming like waves and you were sure you would drown otherwise.

Your arms were around his neck, his graceful but strong hands digging into the meat of your thighs as he fucked you. He felt impossibly deep, every upward stroke feeling like it was bursting past something, pushing everything inside your body up to your throat.

You swallowed again and again, the taste of him still on your lips, the feel of him inside every inch of you. You clenched and tightened involuntarily, just pure animal reaction, and it made him moan and find all those sweet spots to make it happen again.

“Help,” was your somewhat nonsensical request, blurted in the midst of some moaning babbling.

Fortunately, he was and is a smart man. He understood. He clasped you tight to his body and fell back on the bed, thrusting up into you with sharper, more focussed determination, faster until you were weeping on his chest, delirious with pleasure. His shirt was unbuttoned and you accidentally ripped a few buttons right off, trying to press your face to bare skin.

“Yes, yes, yes,” you said as you tumbled over a height you never reached before. You never knew you could come just from that, stimulated somewhere so deep inside you, but it made you come undone in his arms.

He watched you unravel and it made him follow, clinging to you as he just barely pulled out before coming between your dripping thighs. It was all so messy and wet, your legs trembling, but it felt so good that it hardly mattered.

He caught his breath, then looked at your face just lose that breath again. He moaned and dragged you in for another kiss.

Then you were on your back, the night far from over.

That second night is the one that truly opened the door to more. Though your husband can be reticent in other regards, he is not quiet when he is inside you. You have come together again and again, a conversation with your bodies as you look for pleasure in a dangerous world. You always find it, tucked in the protective circle of his arms, wrapped around every inch of him.

You have been out of his arms for too long. Your visit to your family grew tedious before long. Your home is with Hyunjin now and you were eager to return.

Now it seems you may never see it again. You may never see him again.

No.

Just like the night when you took control for yourself, you must take control now. You realize if anything is to happen, then you must take the reins of your own rescue. You would not want Hyunjin to compromise himself or his important business. You know if something bad happened to you, it would weigh on his conscious, even if it was the better business decision. You must eliminate the need for choice.

It turns out, comical rope bindings are truly best suited for silly movies. When the men come to check on you again, you have slipped free of your bindings. There was an array of weapons in the room, so carelessly disposed because the assailants never assumed you would get free – or, if you did get free, that you would not know how to use them.

It is true, you do not like violence.

That does not mean you do not understand it.

You leave the two men unconscious in their basement. Unfortunately, you cannot find your suitcase and you do not want to hang around, so you venture outside in your nightgown. You are debating your next move when a car pulls into the driveway.

You back away quickly, raising the gun you stole as more men get out of the vehicle. You only stay your hand because you recognize one of them, though it takes a second to place him as one of Hyunjin’s lieutenants.

Then Hyunjin emerges. You have seen your husband before and after a confrontation, but never during it. If you thought he was an intimidating figure in the aftermath, he is all danger and darkness as he storms up the driveway now. There is such an energy radiating from him, it makes you stumble and forget yourself entirely.

Then he stumbles, recognizing you. You are both startled, staring at each other with the gun raised between you.

He looks nowhere but your eyes.

“Hyunjin?” you finally say.

“I—” He looks at you, the gun, the nightdress. He shakes his head. Some of that bravado returns when he says, “I’m here to save you.”

“Ah,” you say. You slowly lower the gun, at a loss how to reply. You were so resigned to the idea this was all still business. The reality of your husband risking himself to rescue you from unknown hostiles is making your heart pound.

In the end, all you can think to say is, “Sorry. You’re late.”

That wicked smile crosses his face, his tongue pushing at the corner of his mouth. He is suddenly nothing but amused, looking at you, then at the house.

“I can see that,” he says.

He whistles sharply and gestures to the house with a gloved hand. His lieutenants run past you and charge the door, no doubt heading inside to finish the job you started.

You turn to watch them go. In your distraction, Hyunjin grabs your arm. He is fast, effectively disarming you. He catches the gun with a twirl before tossing it aside.

It is not the gun he wants; it’s you.

Still holding your wrist, he tugs you into him. You throw your arms around him. The hug is surprisingly chaste, his face in your neck as he squeezes you like it is the only thing keeping him alive and standing.

“Are you hurt?” he asks.

When in his arms, it seems impossible to consider you could ever feel any pain.

You shake your head, daring to kiss his cheek. He turns his face to yours, your lips close enough to brush in a swipe.

“I’m all right now,” you say. “Sorry I beat you to the punch. I – I wasn’t sure if—”

His brow crinkles. That gloved hand goes from your wrist to your chin, seizing it between thumb and forefinger. He tips your head so he can look at your face. He always regards you like he does one of his masterpieces, like he can never get his fill, like there is always something new to find. He is enchanted every time.

“You’re mine,” he says. “And I take care of what belongs to me.”

You gasp when those fingers go from your chin to your throat, just enough to pull you in that last breath of a space. He kisses you there in the sunlight, utterly shameless.

“Do not ever doubt that,” he says. His eyes are soft with his affection, but his voice is hard, skirting the edge of a threat he would issue an adversary. It makes you tingle from head to toe. “Do I need to remind you?”

You never actually answer. You are not sure if your answer would have made a difference, as Hyunjin is determined to show you the very second you are home.

You reach the penthouse. There is no time to shower or decompress once you cross the threshhold. He sweeps you off your feet, your arms around his shoulders and your legs around his waist. You are wearing his blazer over your nightdress to preserve your modesty – not that it will last long.

He carries you to the bedroom where so many slow and subtle exchanges took place. Now, he is not slow or subtle. He is a force of nature. He tells you that he held no greater fear than losing you and he tried to keep his distance, but he regretted it the moment he saw you on that video call.

“You’re my wife,” he says, peeling his blazer off your body. “I’m your husband. There is nothing I should be holding back.”

“Yes,” you say, running your fingers through that smooth black hair. You shiver as he bunches the fabric of your nightdress, the material spilling over his fingers. “Don’t hold back,” you say, mouth open against his, stealing his every breath. “Do whatever you want.”

He tells you exactly what he wants, using his words for a change, finally letting those walls come down. He whispers every filthy thought into your ear, between kisses, between bites. You shiver at every suggestion.

And so, moments later, he is sitting on your bed. He arranges you to lay across his lap, facedown in the pillows while he runs his hands down your spine and over the curve of your ass.

“You’re my wife,” he says. The first tap of his open palm is through the thin material of your nightdress. It is truly just a warning tap, just enough to make you bounce. “Don’t ever doubt me again,” he says, swinging that strong hand a little harder.

This time a yelp escapes your lips. You wriggle until he pins you down, a hand on the back of your neck and the other lifting your dress. He already stripped your underthings, his open palm smoothing down all that bare skin.

You tingle with anticipation, braced yet still unprepared for the sharp smack he next delivers. You feel it tingle all the way up to your head, as well as the next one, and the next. You squirm under his firm grip, groaning his name as your thighs get tense and press together.

“Don’t say my name,” he says, and smacks you again. “Who am I?”

“M-my husband,” you say, practically mewling like a kitten when he next brings his hand down. “My husband,” you say again.

“And you are—”

“Your wife,” you say, though it comes out almost like a sob, a desperate gasp as he slips his fingers between your thighs and finds a new way to torture you. With your backside hot and stinging, the pleasure of his hand in that sensitive place feels amplified by a tenfold.

“Husband,” you say, hips bucking. His free hand goes from the back of your neck to your lower spine, holding you in his lap as he slowly finger-fucks you.

“Yes?” he says.

You do not even remember what you were going to say, or beg, or plead. You are overcome with sensation, tingling all over, intensifying the press of his fingers as he curls his fingers into that soft, soft place. Then you are really squirming, helplessly, instinctively, whining into the pillows.

“I make you feel good,” he says. “I take care of you. You, who are so good, and so smart, but so—”

You cry out when he angles his hand just a little differently. Your vision swims with stars as he speeds up.

“So soft,” he says, his own voice going soft, just a whisper as he makes you come all over his hand in a throbbing, aching, desperate wet mess. “Just for me,” he says in that whisper. “Just for your husband.”

“Mmmf,” is all the response you have left in you.

Your thighs are trembling and your pussy throbbing with aftershocks when he picks you up. He stands and turns, laying you on your side in the bed. You are grateful, as your backside still stings, though you suspect he is not done yet.

He strips out of his clothes, tearing through his shirt, leaving the pants in a heap. He forgets to remove his necklace. All that silver is cold against your hot skin as he lays down behind you. You do not have time to linger on it, as he gathers up the hem of your dress and adjusts himself behind you.

He has taken you many times, in many ways, many positions. When you are on your hands and knees, he is overtaken by a primal urge, your hips as leverage in his hands as he pounds into you like it is a chase. When you are on your back, he sinks into you slowly and deeply, rocking his hips into yours like he intends to fuck you forever. When you are in his lap, he rolls his hips in steady, needy waves, captivated by the sight of you in his arms.

He lays behind you now and wraps his arms around you, coaxes your thighs apart. Your nightdress is bunched every which way, leaving nothing to the imagination, and you feel especially exposed and vulnerable in this position somehow. Perhaps it is the fact he is the one holding you open, keeping you in position so he can take you.

You let yourself fall into it, fall into him. You let him tell you, with words and actions, exactly how he feels.

Before it ends, you change position. He lays back and you straddle his hips while stripping off your dress entirely. He keeps rolling up into you, only stopping when you plant your hands on his chest to slow him down. Then he practically sinks in the mattress, murmuring your name. His make-up is smudged, his calloused hands rough on your body. Whatever pains you experienced have been overtaken by his hands, by the smarting on your backside, still tender as you bring your body down onto his again and again. He has completely claimed you for himself and you take the same in turn.

“Hyunjin,” you say. “My husband, oh—”

He kisses your hand, long and hard, like he needs his mouth on some part of you desperately. Your fingers are curled into his pretty mouth when he comes, his hands on your hips and his cock buried inside you.

“Oh,” is your final sound before you slump on top of him, skin to skin.

He rolls you onto your side, though he keeps you wrapped around him, his arms around you in turn. His hair is already a sweaty mess and you rub your thumb through some of his shadowy make-up, but those familiar dark eyes are gazing at you with so much warmth. There is no more ice, no more cold concrete.

“I should let you rescue me more often,” you say with a laugh.

He doesn’t laugh back, but he does smile softly. It should be incongruous with his severe appearance, but it somehow comes together, layers of him exposed all at once as he strokes your cheek.

He looks at you like his favourite work of art.

“You were the one who rescued you,” he says. “Just like you rescued me.”

You cannot find the words to reply, so you kiss him. It speaks volumes, and he replies, kissing back.

You lose yourself to the sweetness, to the heat, to the passion, to all those things more, knowing there are many more to come with this man as your husband.

#hwang hyunjin x reader #hyunjin x reader #hwang hyunjin smut #hyunjin smut #stray kids x reader #stray kids smut #skz x reader #skz smut #stray kids x you #hyunjin x you #skz x you #valentinesdaystories

1K notes · View notes

krysmcscience · 3 months

Text

It’s finally done, guys – five whole pages of Narilamb AU comic AND MORE be upon you! (If you have trouble reading any of the text, view the full-size! These pages are huge!)

Yeesh, this took forever. <:)

There’s probably a ton of inconsistencies and anatomy/perspective wonkeries, but this was mostly just comic practice, so Oh Hekkin Well, Lol <:D

(Yes, I am aware the Gateway’s door isn’t present in the Afterlife, and the actual way in is just a pentagram portal. Yes, I put the door in there anyway because Artistic License, i.e. it felt more impactful for there to be a prison door of sorts to walk through to freedom, rather than just a bland boring portal on the ground. 😠)

anyway, i hate backgrounds so much lmao

Alternate ending and a buttload of bonus art under the cut, followed by goofy AU rambles and headcanon stuff:

I’m calling it the Revival AU. It’s not all that creative a title, and someone else has probably used it already, but I am too lazy to really care, LOL

Alternate ending page, which you will Definitely need to view the full-size for, Whoopsie Daisy:

The alternate ending was actually the first ending I finished things off with, because I had a brief badbrain moment where I forgot the emotional beat I initially wanted the comic to end on, and I tend to write comedy, anyway. I later remembered and drew out the proper ending, but I preserved and finished this one, too, because it still makes me giggle.

They had to go back for the followers off-screen in the AU’s real ending. And by ‘they’ I mean just the Lamb, because they weren’t about to ask three newly freed cats to go back into what used to be their prison. The Lamb DID spend some time watching Narinder and the bois enjoying the outdoors first, though:

In other news, here’s the Lamb and me making fun of my anatomy-drawing ‘skills’:

Meanwhile, if you’re wondering why the Lamb is just a-okay with how things went down vis a vis Their Murder, this bonus comic should answer at least some of your questions:

Ah, yes, also this is how they get engaged outside of the alternate ending. Forgot to mention that bit. XD (I already refuse to believe that Narinder is capable of flirting normally, so why would his initial marriage proposal be any better???)

Oh, and before any of them get a chance to actually head back to the cult grounds, there is one potential problem:

And by ‘problem’ I mean something Narinder intends to ignore for At Minimum a thousand years. Cuz he’s a petty bitch like that. :D

what do you mean i drew the lamb too tall compared to the background? clearly they’re standing on top of baal and aym lmao, why else would you think those two aren’t in this one??? (aym and baal got way too excited about finally being outside, you see, and their silly modes are nothing to sneeze at)

And, speaking of heading back to the cult grounds, I’m sure y’all would love to know how the Lamb’s followers felt about the brand new change in management:

It all went better than expected. <:D Tiny ramble now, feel free to skip down to the next comic.

Before you ask, no, the Lamb does not have any actual powers anymore, other than the immortality Narinder definitely grants them. The Red Crown just thinks it’s funny to suggest otherwise, and Narinder does nothing to discourage this. Also, the Lamb and Narinder aren’t actually married here yet, but, uh. Pretty safe to say that particular ritual directly follows the events of this comic. XD

Given how quickly he mellows out in canon, Narinder probably chills out a lot in this AU once he’s in charge of the cult, too, if only because 1.) He’s finally free, and 2.) He’s equally smitten with and distracted by the Lamb. He’s definitely in charge at least 95% of the time, though, because the Lamb never actually wanted to be a cult leader and, now that their time as a vessel is done, they just want to be a normal(ish) sheep who’s wholly devoted to their hot new divine husband.

Some followers do still have some valid concerns about these two being together, though, which I’m sure at least a few of you might share…

Unfortunately for any such concerns, the Lamb is a bonafide masochist in this AU. :D

They’re also 100% a sub, obviously

Anyone at all: Your relationship is problematic and potentially toxic

The Lamb: fuck yeah it is, it’s so hot~ OuO

Here’s just the last panel, made transparent for whatever nefarious purposes y’all might have for it:

Additional exchange Narinder and the Lamb have at some point, probably after the Lamb does a fatal whoopsie while out on a mission trip or in response to things getting a little too sadistic in the bedroom, ahaha:

Look, there is a very important distinction between life and death, and if you don’t understand that, then you’re probably not worthy of being the God of Death, anyway. (At least, according to Narinder, and ONLY Narinder.)

Last but not least, have these shittens:

~Such creative naming conventions I have utilized, lololol~ :D Anyway, there's a few deets on them in the rambles down below.

The rest is all ramble, so before I get to that, I’ll just say – likes and especially reblogs are very much appreciated!!! :D If you happen to really really REALLY like my stuff, meanwhile, I do have a link in my bio to my ko-fi page, where I’m accepting commissions and donations if you’re especially generous… ÓuÒ

Now, BE FREE IF YOU AIN’T DOWN FOR READING MY GOOFY RAMBLES

First ramble is re: Baal’s question of ‘Did it really work?’, since I didn’t feel like expanding on it in the comic proper, and it’s arguably pretty vague? He doesn’t ask because he doubts Narinder or his capabilities, exactly, but because neither Baal nor Aym have ever actually seen their god at full power before (he’s still technically not at full power here, either). It’s not expressly stated how soon the brothers were brought to Narinder after his imprisonment, but whether it was early on or after a length of time for Shamura to (somewhat) recover from his attack, he must have already been weakened, since I have no doubts that there was a huge battle that accompanied the Bishops working together to trap him. So, between that fight with all four of his siblings, sharing his power with a variety of vessels over time, and being chained immobile for a thousand years, he must have been severely weakened by the time he lent the Red Crown out to the Lamb, which would have only weakened him further.

I like to think this is how the Lamb is able to defeat him if they refuse to be sacrificed, despite how it took all four Bishops working together to subdue and chain Narinder in the first place.

All that aside, the three cats have been trapped in the Afterlife for so long that Baal also wanted verbal reassurance that they are all, indeed, actually able to leave it now – something that I headcanon isn’t possible without a significant amount of power (i.e. the Red Crown’s cooperation with its bearer/vessel).

(On a semi-related note, I don’t headcanon Aym and Baal as twins. I like sweetheart big bro Baal and snarky little goth bro Aym too much to have them be that close in age.)

Ah, teeny thing: If you noticed I switched up the art style for Narinder on the second page, that was intentional. It's sort of a visual indicator that there has been a Big Change for him - that being, how much power he has after sacrificing the Lamb. As for why I changed up his arms in the grass rollin' pic, I don't really subscribe to the notion that his arms are spooky bones because they're horrifically injured (beyond chain-chafing scars, that is), but rather just because he's the Bishop of Death, so he can change how normal-to-spooky they look at will. At some point I might doodle out how I imagine his appearance to range between least to most eldritch... 🤔

Next ramble, regarding Narinder’s feelings towards the Lamb...he was initially too focused on being freed from his imprisonment to form any real attachment to them. They were a tool for his use, first and foremost, but he did notice their intense devotion towards him. It was impossible not to notice, because the Lamb was always very happy to see him, even if it was because they died during a crusade (yet again). He wasn’t originally planning to revive them once he was freed, either, because he saw no real point to it – after all, they were already dead when they first met him, just as any other mortal would be when meeting him in the Afterlife, so death has very little real consequence in his eyes. But, once the chains were off, and it really sank in that he stood to lose the most devoted follower he’s ever had, he decided…why put their soul to rest for good or leave them stuck in the Afterlife when he could just as easily revive them again? And why not reward them for their hard work, anyway? Not only would it cost him nothing by comparison, but the future devotion that could come of it would surely make up for his (bare minimum) effort in reviving them.

He wasn’t expecting to get a full dose of that devotion and a smiling face so soon after killing them, though~ :3c (because the Lamb is a bonafide freak, and not-so-secretly into the fucked up power dynamics going on here, lol)

I should mention here that I am firmly of the belief that any non-god/vessel who crosses through the Gateway and into the Afterlife just straight up dies. So, Aym and Baal? Also straight up dead, from the second Shamura brought them through. Their souls were just never put to rest so that Narinder could have some company – if only according to Shamura. Narinder kept the two around mostly out of bewilderment, because honestly, who are these kittens, and what is Shamura’s game here, anyway??? They never even explained anything, they just tossed these kittens into the Afterlife and LEFT!!! At any rate, Aym and Baal being dead is how I explain why their souls apparently become lost in the void if they’re killed, along with the added complications required to revive the two because of it.

So, with those deets in mind, and given a bit of time, if Narinder hadn’t chosen to revive the Lamb, and also hadn’t chosen to put their soul to rest, they still would have woken up at some point, despite being as straight up dead as Aym and Baal. Who, don’t worry, were also properly revived while Narinder was waiting for the Lamb to wake up. Because I am also firmly of the belief that, first, the dead cannot leave the Afterlife without the use of a ritual/relic (and can't stay in the living world for long regardless), and second, dead followers’ devotion isn’t anywhere near as potent as that of the living, given how much more the living stand to lose.

Final ramble, regarding the Lamb’s feelings towards Narinder, and why they’re so devoted to him…

Well, you don’t spend most of your life on the run with your steadily-dwindling herd, trying to evade the ongoing genocide of your species, without becoming a little fucked up in the head. Maybe a lot fucked up in the head. Life is suffering, so might as well have fun with it, right? Maybe start finding death and pain to be kind of hilarious, even a little bit hot, once everyone you know and love is dead and gone, leaving you all alone? And maybe after that, there’s something comforting in how, despite the cold, cruel uncertainties of life, at least you can always count on the inevitability of death, patiently waiting for you until your very last breath? Who knows. Either way, as soon as the Lamb was killed, and they learned that the literal God of Death was offering them a second chance at life and vengeance via effective immortality, they were 100% ride-or-die-devoted all at once. Turns out death is kinder than life – go figure. (Of course, it helps that Narinder is 100% their type.)

They weren’t put off by Narinder’s thinly-veiled sadism or manipulations, either – they’re not too different in those regards, albeit opting for vastly different methods. It’s a very ‘two sides of the same coin’ sort of deal. In order to stay alive once they were made the last of their kind, the Lamb had no qualms with using others to their advantage, and that did not change once they were revived and expected to run a cult. They didn’t care for the position of authority, though – being a sheep and all, they’re much more of a follower than a leader, and thus greatly appreciated Narinder’s need for control. With how they had to keep on their toes for so long, the Lamb was also pretty good at reading people by the time they died, so they could recognize that a lot of Narinder’s posturing was just that – posturing. Dude’s 95% bluster and only 5% bite. He could obviously be vicious when he wanted or needed to (the Bishops' injuries were clear proof of that), but underneath his outer layer of cruelty was a generous layer of tsundere, and underneath all THAT was a soft squishy middle sibling velcro cat in desperate need of attention and affection.

(Which, for the record, he Did Not feel comfortable getting from Aym and Baal – Narinder still has no idea why the fuck Shamura sent them to him, beyond acting as keepers at best or trying to sabotage his attempts to escape at worst. Which, he thought HE sabotaged in turn, by guiding the kittens into being his devoted disciples instead. He thought he was very clever for it. ‘I outsmarted Shamura!’ he thought, despite that there was never anything there to outsmart. ‘What do you mean, Shamura sent your kittens to me for company?’ he demands of Forneus later. It may or may not lead him to pull Shamura out of Purgatory just so he can shake them and scream about how they should have Fucking Explained that!!!)

But, getting back on track as to why the Lamb was so willing to be sacrificed, I cannot stress this enough – if you pay even a minimal amount of attention to what he’s saying, Narinder is REALLY NOT SUBTLE about his intentions. ‘Death is of little consequence.’ ‘Followers are for you to use to your advantage.’ ‘Sacrifice a follower to absorb more power.’ So, yeah, the Lamb knew exactly what would be expected of them once the other Bishops were dead. They knew Narinder would expect them to die for him one last time. But, after all, death is of little consequence (not to mention hot), so when the time came, they wanted to see him freed, even if it meant oblivion for them in the end.

He’d given them a second life, and the ability to avenge their kin, and they felt indebted to him for that – so, while they were still pretty glum about the possibility that they might not get to see him free of his chains, nothing beyond their devotion and debt to him mattered. They never wanted all the drama and expectations that came with the Red Crown’s power, anyway, so, better for Narinder to have it back so that he could deal with it. What he did with the Lamb afterward would be up to him, and seeing as he was their god, they’d accept his decision gladly.

Were they in love with him by that point? Oh, obsessively so, but only in the devotional sense – romance was nowhere on their mind nor radar. That is, until he unexpectedly revived them again, told them he still needed them, and then offered down his hand to help them up.

The Lamb fell HARD for him in that moment. :3c

And now, a tiny shitten ramble. Lu and Li are twins, because sheep tend to have those a lot, and are conceived not long after the Lamb and Narinder’s marriage ceremony. Lu is the minutes older one, but Li is much more mature. I have put no further thought into these two, other than that they are utter menaces, birthed by the Lamb, cling hard to both their parents but especially Narinder (who spoils them rotten), and they are both genderfluid, using whichever pronouns/names they feel like at any given time. They are also both intersex, same as the Lamb, who was initially infertile up until Something Something Vague Magic, which I have also put no further thought into ¯\_(シ)_/¯

oh, and before anyone tries to suggest i headcanon this AU’s lamb as trending more female due to them giving birth or whatever, no, no, a thousand times no, they might have a vag, but they've also got a dick, and even if it's not as big as they'd like, they still know how to use it

Finally, the very tentative name for the Lamb in this AU is Yazdi, which is really just another name for the Baluchi breed of sheep XD (Not that the Lamb is this specific breed, I just didn’t like any of the other sheep-related names I found, ahaha...)

THAT’S ALL FOR NOW (collapses into an exhausted pile of goopy limbs)

#fanart #comics #cult of the lamb #cotl #narilamb #cotl lamb #cotl narinder #cotl shitten #cotl mystic seller #cotl aym #cotl baal #aym and baal #this is why i have been especially quiet lately XD #even just the bonus stuff took several days to finish because i don't know the meaning of DOODLE anymore apparently #everything must be fully inked and colored with backgrounds I Fukken Guess #at least using medibang's sumi brush keeps me from focusing on making my lines perfect :\#and yeah i copy-pasta'd a lot of my own backgrounds don't at me bro #if you're on desktop and want to full view but don't know how: right click the image - open in new tab - zoom in as needed :)#feel free to ask questions about the AU if you want - but uh - this is basically the extent to which i've thought it through LOL #edit: oh right - aym and baal really out there assuming narinder already put the lamb's soul to rest so the body's just fodder now lmao #last edit i hope: fixed the transparent cult certified freak image 8|#nope - one more edit: there is one (1) loophole for how living mortals can be in the afterlife without dying #that loophole is currently narinder XD #'sorry universe but the god of death says i can be in here so back off with your rules and regulations'

2K notes · View notes

teamatsumu · 10 months

Text

you are part of me. (gojo satoru x reader)

summary: when gojo satoru loves, he is loud about it. and he doesn’t care if you don’t love him back.

word count: 3604

warnings: fem!reader, friends to lovers, very mild angst, swearing, gojo being gojo, canon compliant storyline

Gojo Satoru enters your life at 16 years old.

His presence suffocates the room, his cursed energy is something not best ignored. Quiet, yet noticeable. Like something that’s bubbling just under the surface. It’s almost as if a very dangerous animal has been reigned in, held back on a leash. That’s how his cursed energy feels to you. You, who is a mere novice. New to the world of curses and sorcery, landing in Jujutsu Tech after everything near and dear to you was ripped from you by this world.

He intimidates you.

He is loud, lean, but very tall. He demands attention when he walks into a room. He is jovial, a little aloof (you're not sure if it’s on purpose), big goofy grin and round, almost comical sunglasses. His hair is so bright, and his eyes are so blue, it’s almost blinding to look at him.

He is everything that you are not.

He is a year older, and your classmate Haibara can never stop talking about him and Geto. Nanami does not enjoy being around them, but he holds them in regard because they are his seniors. Shoko might be the only one he truly respects, and that almost makes you fear her. You make up your mind to try and stay as invisible as possible around them. You do not enjoy the spotlight.

Unfortunately, Gojo thrives in the spotlight, and he has a knack for pulling other people into it with him.

“Oh hello. Fresh meat?” He is grinning down at you, eyes barely visible behind the dark, circular lenses. “And aren’t you cute. You better toughen up sweetcheeks, or the big bad curses are gonna eat you up.”

You don’t know what exactly he means. You’re too caught up in the fact that he called you cute. It makes you heat up under the collar of your brand new jujutsu uniform. And his intense stare makes you fidget.

You do not like it.

You just frown at him and turn away, taking advantage of the fact that Nanami was leaving the room and going along with him. You don’t notice how he stares at the back of your head as you leave, but Geto sure does. The raven haired boy lets out a pained sigh before leaning back on the creaky classroom chair.

“Here we go.”

Gojo hums questioningly, glancing at his best friend once you have left the room.

“You’re going to fixate on her now. And you’re going to be an insufferable prick about it.”

Gojo doesn’t deny it. He merely settles into a chair of his own, feeling the corners of his lips twitch.

……………….

Life at Jujutsu Tech isn’t as bad as you expected.

Your room is spacious enough to hold all your belongings. It has a nice view of the gardens, and is warm enough that you sleep comfortably through the nights. Your classmates are easy to get along with. Haibara loves carrying the conversation, and while Nanami isn’t as energetic, he shares a lot of your interests so you love talking to him.

The deep, sorrowful ache in your chest is slowly subsiding. Very slowly. Oftentimes, you remember your old life. You remember the smiles on your parents’ faces, and you shed tears in the late hours of the night. But they are gone. And you are here. You can’t do anything about it.

And then there’s Gojo Satoru.

For someone who is apparently the ‘strongest’, part of a major jujutsu clan and heir to the infamous Six Eyes, you would think he would be a busy person. But somehow, he finds a way to always be lazing around the campus, and unfortunately, he loves engaging you in conversation.

“Fresh meat!” He hasn’t stopped calling you that. He hasn’t even learned your name. Or introduced himself. Of course, you already know who he is. But it would be the polite thing to do, wouldn’t it?

You would soon learn that Gojo Satoru has no manners, and no amount of scolding could teach him any.

“Heard you took down a fourth grade all by yourself. Congratulations!”

You eye him with a scowl, while all he does is grin back at you.

“You’re mocking me, senpai.”

Gojo places a hand on his chest, gasping so loud it was comical, acting shocked at your accusation.

“I would never!”

You sigh deeply, a regular habit you have developed since the boy had decided to shadow you, continuing to make your way back to your room as he trails behind you. While a fourth grade may not be a big deal to someone like Gojo, it is to you, who has never interacted with, let alone fought a curse.

You open your room door, stepping in and looking back to stare at your senior as he smiles down at you. You wait for him to say something cheeky like he usually does, about how you should invite him in so you can hang out, or his usual ‘let me take you out to dinner’, which he loves tossing around whenever he sees an opening.

“I’m real proud of ya, sweetcheeks.” He says instead, and his voice is softer, having lost the sharp edge that it usually carries.

There it is again, the heat under your collar. The little knot in your throat.

You close your room door in his face.

………………

“He likes you.”

“He doesn’t. He just likes to annoy me.”

“That’s his way of spending time with you.”

“I’d rather he leave me alone, then.”

“That’s an impossible ask.”

The chocolate icing on your brownie melts in your mouth as you chew on it, giving a disdainful look to Utahime who is apparently hell bent on proving this nonexistent crush Gojo seems to have on you. You don’t believe her. Mostly because you don’t think Gojo is capable of liking you, of all people. You also doubt his ability to genuinely give a shit about anyone that isn’t his closest friends. You’re just some underclassman that he thinks is fun to pester every now and then.

(‘Every now and then’ in this context means ‘every possible second of every day’.)

Utahime takes a big gulp on her coffee, and you have to wonder why the hot liquid doesn’t burn her throat as it goes down. Your phone pings again, for the seventh time in the last half hour, and Utahime stares pointedly at the unsaved number on your screen. You swipe the phone off the table quickly and flip the switch to ‘silent mode’.

“You haven’t saved his number? Ouch. He’s not gonna like that.”

You roll your eyes and glare at the screen of your phone. How long has he been texting you with random crap?

“I don’t give a shit what he likes.”

“You will. When he whines about it and never lets it go for the rest of your life.”

You sigh defeatedly and give your friend pleading eyes. “Can we please talk about something else? I see and hear Gojo enough during the day. I don’t need to talk about him with you too.”

When your friend agrees, you are blessed with a wonderful, Gojo-free afternoon of chatting, shopping and excessive eating. You’re still buzzing as you climb up the steps to Jujutsu Tech at sundown, rummaging through the tote bag where you had dropped all your little purchases. Just small knick knacks that made you happy to look at.

“Did ya get me anything?”

You yelp and jump, nearly falling off the step behind you but catching yourself before you can faceplant on the concrete. Gojo lets out an annoying cackle at your reaction, making you glare up at him.

“What is wrong with you?! I could’ve gotten seriously injured!”

He scoffs, walking the few steps between you two, hands buried in his pants pockets. “Like I would let that happen. You gotta trust me more, sweetcheeks.”

You ignore the now familiar way your ears and neck heat up, choosing to walk past him and continue your way up the steps.

“So? Got me anything?”

You groan internally, knowing he wouldn’t leave this alone. If you say no, he will complain about how he isn’t important enough in your life to warrant a little gift. If you then say he isn’t, that will result in even worse (and louder) whining, and you don’t have the energy to deal with that right now. You scramble through the bag slung over your shoulder, pulling out a cute carrot shaped pen with a smiley face on it. You had gotten two pens, one carrot shaped and one that looked like corn. You just thought they were insanely cute. It’s okay. You can afford to lose one.

Gojo eyes the pen when you hand it to him. “Why did ya get me this?”

He clearly knows you just pulled a random object out. He just wants to see what you will say.

“It’s…. tall and thin. You’re tall and thin.” You deadpan.

Gojo snorts, seeing through your very obvious lie. “You love me so much, don’t you?”

You stop in your tracks, watching Gojo’s back as he keeps walking, unaffected by your shocked gaze.

“Senpai-”

“See ya tomorrow!” He calls, twiddling the pen around his fingers as he disappears near the landing of the stairs.

Your heart races at his words. You feel angry and frustrated. But you’re not sure at whom.

………………….

When it’s Shoko’s birthday, you are forced to be around Gojo all day.

It’s a harrowing experience, one that can only be withstood by god’s toughest soldier, and god thinks that is you, apparently, because as per his usual habits, Gojo doesn’t leave you alone.

“Oh, this is nothing.” Geto comments, sipping on some fruity punch that you are almost sure contains alcohol. Both of you watch as Gojo tries to tie a conical party hat on Nanami’s head, while the boy in question puts up a valiant fight to try and keep his upperclassman at bay.

“He once had a crush on the daughter of some prominent gang leader in Tokyo. Almost landed himself in jail with the kind of stunts he pulled.”

You blink at him, watching as he brushes some strands of black hair off his face. “Seriously?”

He nods, smirking at your shocked silence, watching the gears in your head turn. “Don’t worry, he won’t do that to you.”

You worry your bottom lip between your teeth. “What makes you sure of that?”

Geto shrugs, watching the way Gojo’s eyes flit to you every now and then. You fail to notice it, too caught up in making up scenarios in your head where Gojo does something potentially illegal and lands both of you in serious trouble.

“You’re different.” Is his simple reply. It does nothing but confuse you more.

Later in the night, Shoko forces you to down an alcoholic drink. You sputter on the horrific taste of it, trying to get out from under her hold as she laughs at your reaction. Haibara enjoys your misery just as much, while Nanami’s face is blank. You are sure he is trying to erase tonight from his memory entirely.

The night is cold, but your hands are warm and your head is buzzing with happiness. Your cheeks hurt from the constant smiling and laughing. Every now and then, your eyes would meet brilliant blue ones. You are so cheerful that you even giggle when Gojo makes some lame pun at Geto’s expense. So cheerful, in fact, that you don’t protest when he decides he wants to walk you to your room.

You hum the song you had sung karaoke to, walking without so much as a thought in your head. Gojo is munching on a mini chocolate bar, one hand in his pocket. For once, he is silent.

When you stop at your door, you turn to look at him, trying to search his eyes. You find nothing, and you feel the sudden urge to know more about him. Geto’s words roam through your head.

“Senpai,” You whisper. “Why am I different?”

He smiles then, not his usual toothy grin, but softer, kinder. It makes him look even younger than he is. Somehow, it seems he knows exactly what you mean.

“Because I’m in love with ya, sweetcheeks.”

He leaves it at that. And you don’t ask any follow up questions.

……………………..

Gojo’s love is loud.

He never says the word after that one night. But he never exactly negates his declaration. He continues to be around you as much as possible. He loves pinching at your cheeks until they sting, loves draping an arm over your shoulder and laying a sloppy kiss on it when he can get away with it. He is much taller and stronger than you, so pushing him away does nothing except spur him on even more. You realize that he is naturally a very touchy-feely person, so you dismiss his affection as just him being annoying as hell. Both of you settle into a strange dynamic, one where he teases you endlessly and you try not to appear affected by it.

It’s unconventional but it works. You will even go as far as saying that he is your friend.

When you refer to him as such, he stares at you mouth agape, before letting out a big whoop and crushing you into a hug. You protest his grip and try to free yourself, failing as usual. Deep in your chest, your heart stutters at his proximity.

Gojo Satoru doesn’t have a single subtle bone in his body.

He introduces you as his girlfriend to curses, claiming it doesn’t matter because they are all stupid and can’t understand him anyway, so he can say what he wants. Besides, he’s gonna kill them mere minutes later. You don’t even know where to begin to fight his logic on that, so you just facepalm and let him do it, provided he doesn’t say it in front of actual people.

“You say it like being my girlfriend would be so bad.”

“It would be the worst thing known to mankind. I would kill myself actually.”

That earns you a very strong pinch on the cheek, one that has you yelping and pushing him away. It leaves behind a red mark that makes you hold back a smile every time you see it in the mirror.

Sometimes you wonder how easy it is for him to talk to you like this. He seems to not have an ounce of fear of rejection, no matter how many times you have told him that you aren’t interested. Like he is confident that it simply isn’t true. He makes it seem effortless, to attach himself to you and declare that you’re his ‘favorite’ person and one day he would be your favorite person too.

You try to ignore how accurate you think that is. And how close he is to actually becoming your favorite person. You can’t possibly let him find that out. He would become even more unbearably smug than he already is.

And so you continue to bask in this…. strange limbo. You warm yourself in the glaringly bright light of Gojo Satoru. And you secretly pray that it never goes away.

When Geto defects, you almost lose him.

You find him on the steps of Jujutsu High, staring out at god knows what, completely silent. In your years of knowing him, you had never seen him sit in one place for so long. He doesn’t even budge when you sit next to him. You don’t say a word. And neither does he.

The wind moves gently through his silver locks. The blue in his eyes has dulled and darkened. You sit on those steps for hours.

Something changes between you two after that evening. Somehow, Gojo is more…. human to you now. You see him struggle to come to terms with what has happened, to truly realise the unfair responsibility that he bears on his shoulders as the strongest sorcerer in the Jujutsu world. You sees how that changes him, how it dims him, and how he matures in that time.

Yet Gojo is still Gojo. Even years later, he continues to love you loudly and proudly. He is still constantly attached at the hip to you, even more so in your adult years now that you live off campus. He is somehow always at your place, even after you take away his emergency key because he never uses it for emergencies. There is a ‘Gojo drawer’ in your storage closet, huge bathroom slippers and an extra toothbrush. His preferred brand of shampoo and conditioner are housing in your cabinet, spares that he keeps for when he crashes in your guest bedroom.

(Let’s be honest. It’s less of a guest bedroom and more so Gojo’s room at this point).

You commute to work together in the mornings, which you think is funny since Gojo can just teleport wherever he wants. He says it’s because he wants to spend more time with you.

Oh yeah, he still constantly says he is in love with you.

Years and years after his first declaration, Gojo has still not budged. At this point you are so used to it that it doesn’t bother you anymore. Like it’s second nature. Like Gojo is meant to love you. Like there was never any doubt about it. Your mutual friends have accepted it too by now. No one bats an eye when Gojo whines about missing you. Or when he waltzes into your on-campus office claiming “two hours is enough time for us to be apart”.

You don’t know when exactly it settles over you. How important Gojo is to you. How you can’t go a day without him. How you get pissy and irritable when he goes on missions overseas that take weeks at a time. The transition is so smooth that sometimes you think you were always meant to love Gojo, just like he was always meant to love you.

‘Senpai’ becomes ‘Gojo-san’. Which becomes Satoru’.

It never occurred to you that Gojo was still, technically, a friend. You were with him so often, bickering and snickering, cuddling and lounging around. He was a part of you, like you were a part of him.

Then you hear words that shock you to your very core.

“In my eyes, you two are already married.”

Never in a million years would you have expected Ijichi to say those words. Everyone else is one thing. But fucking Ijichi?

You stare at the back of his head when he says them, the silence in the car deafening. You know Ijichi well enough to be certain he isn’t saying these words falsely, even if he means them lightheartedly. If this is what Ijichi truly thinks, then….. Is it what things are actually like?

It takes only a few minutes of reflection for you to realise that he isn’t far off. Gojo is so deeply ingrained in every nook and cranny of your life that it is beyond irreversible now. There is no way to untangle your lives. He is part of you, just as you are part of him.

It’s almost as if the universe is nodding in confirmation when you open the door to your apartment and find Gojo sprawled on the couch, flipping through TV channels. He is wearing sweatpants and a black T-shirt that looks unfairly good on him, especially since he clearly isn’t trying at all.

He stands up and you notice on the coffee table before him that he has laid out a myriad of snacks, both savory and sweet to cater for your varying taste buds. You spot at least three of your preferred treats in them. Your heart beat slows down, settles. Like you are at peace again. You feel a warmth under your collar. One that you haven’t felt since you were a wee teenager just stepping onto the Jujutsu High campus. You eye the back of Gojo’s head.

“Hey.” He calls, barely glancing back at you, eyeing his treasured snack collection as if contemplating which one he should start with. “Some shitty American reality show is on. You wanna make fun of ‘em together?”

He turns to look at you when you don’t respond, raising an eyebrow. Brilliant blue eyes bore into you.

“You okay?”

You walk closer to him, still silent, until he is mere inches from you, craning your head up to look at him. The background noise from the TV gets tuned out.

“What would you do if I kissed you right now?”

Gojo blinks. “I’d kiss you back.”

Your breath hitches. The knot in your throat tightens. No hesitation. No shock. Not so much as a stir. It’s like you’re asking him what to make for dinner.

“Okay.” You whisper. And then you’re leaning up, pressing your lips to his.

His hand reaches up to cup the back of your neck. The other stabilizes you at the waist. His lips are soft and smooth, almost dainty, slowly picking up intensity as he presses closer to you. Your heart is racing a mile a minute, and as you press closer to him, you feel that his is just the same, the only indication that he is affected by you just as you are by him.

When your lips part, you don’t open your eyes. Your foreheads touch and you let yourself feel, truly feel, the effects of his touch on you.

“I love you.”

Gojo’s smile is soft. His touch is tender. Comforting. Familiar. “I know.”

#gojo satoru #gojo satoru x reader #gojo x reader #gojo satoru fluff #gojo fluff #jjk x reader #jujutsu kaisen x reader #jjk fluff #jujutsu kaisen fluff #gojo x you #gojo x y/n #gojo fanfiction #gojo imagine #friends to lovers #gojo satoru fanfic #gojo satoru imagine #gojo satoru x you

2K notes · View notes

thebettybook · 11 months

Text

The hunter who reached for the star

🏴‍☠️————————-💚-————————🏴‍☠️

Characters: OPLA (One Piece Live Action) Roronoa Zoro x Straw-Hat-Crew-Member!gn!reader. This fic is written in Zoro’s point of view

Summary: Reader gets an idea to draw portraits of the Straw Hat crew. While the other crew members make the portrait sessions fun and chaotic, Zoro takes it as a chance to spend more time with Reader

Warnings: Mild cursing from Zoro. Sanji cheekily references the “draw me like one of your French girls” line from Titanic for laughs. Other than that, all fluff

Strawbetty’s notes: Y’all were so sweet with my OPLA Zoro crush headcanons post so here’s a oneshot as my thanks :)🫶

🏴‍☠️————————-💚-————————🏴‍☠️

Zoro sat at the far right end of the tiny dining table in the Going Merry’s kitchen. Despite being surrounded by his fellow Straw Hats, Zoro had his eyes closed and his arms loosely crossed in front of his torso.

Like at most mealtimes, the other crew members were far too engaged in their lively chatter and harmless bickering to notice that Zoro was trying to sleep.

Instead of dozing off, Zoro could only think about the conversation he had with you last night—how the two of you, both unable to fall asleep, gazed up at the stars.

Every word, every sensation, replayed in his mind—from the midnight waves that lulled the ship to the way his name softly rolled off your tongue like a siren’s song—

“Zoro.”

He heard you call his name at the table, pulling him from his recollections. His thin, dark eyelashes fluttered, but he didn’t crack his eyes open. He was too tired to do so.

“Zoroooo!” Luffy stretched his neck from his seat at the head of the table to the end of the table where Zoro sat. The captain didn't hesitate to place his mouth right next to Zoro's left ear. “WAKE UP!”

Zoro’s eyebrows furrowed just a bit as Luffy’s voice pierced his ears. The stoic swordsman opened his eyes, his brown orbs glittering with annoyance. “I’m awake.”

Luffy cackled before snapping his head back in place and turning his attention back to his breakfast of potato bacon soup with a loaf of bread.

“Good morning, Zoro,” your smile, albeit sheepish, eased Zoro’s fatigue a bit. “We were talking about how it would be nice to have official portraits of ourselves, so I offered to draw everyone’s portraits after we all finish eating.”

“I’ll practice my poses!” Usopp chimed in, comically pursing his lips and sucking in his cheekbones to appear like a model. “You know what I always say, if I didn’t join this crew, I would’ve been a model by now.”

“Sure you would’ve,” Zoro couldn’t help but respond with his usual sarcasm, earning him an offended look amped up for dramatics from Usopp.

“Would you like to have your portrait drawn, too, Zoro?” You leaned forward with your elbows resting on the table, giving him a hopeful smile.

Even though Zoro didn’t really care for having his portrait done, and even though he would usually say “no” at any given chance to anyone concerning anything, there was no way Zoro could say “no” to you.

Plus, you drawing his portrait would mean the two of you would get to spend more quality time together. No way would Zoro pass up that chance.

“Mm,” Zoro answered, his voice rumbling an octave lower due to his drowsiness. “I’ll go last.”

Despite Zoro’s nonchalant attitude, his heartbeat quickened when he saw your smile widen.

— — — — —

The setting you chose was a blue-and-white-striped seating area between two rectangular ivory windows in the main room that provided the area with ample lighting from the sun outside.

Zoro watched you pull up a chair a few feet away in front of the seating area for you to sit on while you would draw your portraits. As you placed your drawing papers and pencils on the pool table next to you, Zoro made his way to the far corner of the room to rest on a cushioned bench underneath a circular window.

With one leg propped up, Zoro shifted to get comfortable on the bench and rested his left arm across his torso.

Finally. Zoro shut his eyes, but his ears couldn't shut out the voices of everyone around him.

The first person you drew was Luffy, who would ask you a fleet of questions like “What do you think we’re gonna see at the next island?” or “Wanna know about the craziest dream I had last night?”.

As much as Zoro was (endearingly) used to Luffy’s enthusiasm by now, Zoro contemplated leaving to get some peace and quiet in his own room. He was about to open his eyes and do so before he heard your laugh.

“Luffy! Stop changing your face!” You giggled at how Luffy stretched his mouth out a mile wide.

“What? I’m trying to give you the biggest smile I can!” Luffy’s words jumbled together with his mouth still wide open, only making you laugh more.

That melodic laugh of yours was one Zoro could listen to all day and night no matter how tired he was. He continued to sit on the bench, but his eyes were now open and fixed on you and the rest of the crew around you.

The next person you drew was Usopp, who kept twisting and turning his face and body in hopes of looking like a supermodel.

“Just relax, Usopp,” you chuckled, putting your pencil down.

“I can’t relax,” Usopp threw his head back dramatically. “I’m Usopp, Supermodel of the Seven Seas. Make sure to get both of my good sides.”

Pfft. Zoro let out an amused huff under his breath at the same time you rolled your eyes at Usopp, who simply shot you a cheesy grin.

After Usopp was Sanji, who took off his pink chef’s apron from making brunch to don his usual black suit blazer over a striped blue dress shirt and black pants.

The first thing Sanji did was lay sideways on the couch with his body facing towards you. He propped an elbow up and rested the side of his head on his palm.

“Draw me like one of your French girls,” the cheeky chef winked at you, snickering at his own playfulness that betrayed his flirty facade.

“If you say that again, I’m throwing you overboard with nothing to save you but a door to float on,” you threatened, but you couldn’t help but cackle.

Your portrait session with Sanji couldn’t end soon enough. Zoro felt his usual mild annoyance towards the cook grow as he watched you and Sanji exchange popular references like they were your and Sanji’s inside jokes.

Luckily for Zoro, in a matter of minutes, you finished Sanji’s portrait and began drawing Nami. The Straw Hat’s navigator sat straight with perfect posture, and donned a sincere smile that softened her usual serious expression.

While Luffy, Usopp, and Sanji already had their portraits done, they stayed to hang out. The three of them pulled up chairs to the pool table, each taking one of your extra drawing papers and pencils to draw something of their own.

Luffy and Usopp’s eyes were fixed on their papers. Zoro guessed with a small smile that Luffy was probably drawing something food-related while Usopp was probably drawing himself.

Sanji, on the other hand, had his gaze fixed on Nami. Sanji was skilled and swift with his pencil strokes as he was with a chef’s knife, and anyone who looked at him at that moment would see a smile of genuine admiration on his face as he studied Nami.

Zoro turned his attention from the others back to you. He noted the way your gaze would shift between your paper and Nami as you sketched her.

He also noticed the slight pout your lips formed when you were completely in your element, focused on capturing the subject onto your paper.

The six of you fell into comfortable silence, and Zoro chose not to make any large movements as he basked in the warmth of the afternoon sun that glimmered into the room through the windows.

It was a rare moment like this where the entire crew was together in one room, not laughing or bickering or talking, but simply enjoying each other’s presence.

— — — — —

Zoro didn’t hesitate to get off the bench and make his way over to you once you handed Nami her portrait. He rotated one of his arms, trying to get out any kinks from his shoulder blades.

Unfortunately for Zoro, Sanji was the first to notice him.

“Looks like someone didn’t get enough beauty sleep in time for his portrait,” Sanji teased, earning a mild glare from Zoro.

The rest of the crew chortled in good nature, and before Zoro could respond with a biting comeback, you blurted out, “Zoro always looks good, though.”

Zoro barely had time to register what you just said, even when you covered your mouth with your hand in embarrassment.

Sanji, Usopp, and Nami quickly displayed all-knowing smirks on their faces, while Luffy piped up, “Sanji, I’m hungry and I wanna eat a snack.”

Zoro subtly sucked in the inside of his right cheek to stop himself from smiling at your statement right then and there. If he smiled, he’d never hear the end of it from the others.

“Ok, everyone who’s had their portraits done, out,” you turned your back to the crew, fumbling with your pencils and papers on the pool table. “And yes, go eat snacks or something.”

“Ok!” Nami, Usopp, Sanji, and Luffy all saluted you at the same time. The first three shared a mischievous look before all four of them skedaddled out of the room.

Once they all left, Zoro’s lips eased into the smallest of soft smiles as he made his way to stand next to you.

Zoro couldn’t decide between saying “Hey” or “What’s up?” to sound cool now that the two of you were alone, so he bent down slightly, peering at the portraits you drew of Luffy, Usopp, and Sanji that they had forgotten to take with them.

Zoro didn’t know much about art, nor did he have much of an eye for it, but even he could tell you were good at it. His eyes followed the charcoal lines of the three crew members’ features—Luffy’s scar, Usopp’s dimples, and Sanji’s stubble—and how perfectly you captured them on paper.

“Nice,” Zoro murmured. His eyes moved up from the portraits to you, only to find your eyes already on him.

“Thanks,” you gave him a grateful smile, fiddling with the pencil between your fingers.

“Where do you want me to be?” Zoro straightened up, but his eyes never left yours.

“You can sit right there between the windows,” you broke his gaze and pointed to the spot.

Zoro nodded, going over to the seating area between the two windows. He removed his three swords from the leather strap at his hips to sit down.

Instead of placing his swords to the side or on the floor, Zoro wrapped his right arm around his swords, his bicep flexing as he did so.

In his natural sitting position, Zoro sat up straight, his posture perfect from years of training as a swordsman. However, he wanted to appear casual, so he rested his left leg over his right and put his left hand in his pant pocket.

“Can you draw my swords, too?” Zoro’s eyes flicked back to yours.

“Yeah, of course,” you smiled, plopping down onto your chair with a blank piece of paper and your pencil ready.

Zoro then noticed the charcoal pencil smudges that caked your fingertips. He realized that throughout all the portrait sessions, you never once took a break.

He cleared his throat. “You should take a break.”

“What for?” Your eyebrows lifted in confusion.

“Just noticed you haven’t taken a break since you began drawing us,” Zoro stated. His tone came out flat but the way his eyes softened at you conveyed his care. “Go drink some water, or wash your hands, or something.”

Zoro didn’t realize that he probably sounded more blunt than he meant to, but your eyes only flew down to your hands.

“I’m good, but thank you for thinking of me,” you cracked a huge smile. “Actually, wanna hear a fun fact about me?”

Zoro nodded. He found himself curious that you didn’t wipe away or wash off the pencil smudges on your hands yet.

“I like keeping pencil smudges on my fingers until I’m done with a drawing or an art project,” you gently rubbed one of your fingertips, but the charcoal smudges remained. “It’s like marks that show I put my best effort into what I drew.”

“I get it,” Zoro glanced down at his left palm, which had hardened over the years from calluses he gained from swordsman training. “That’s how I feel about my calluses.”

He couldn’t contain a chuckle when you leaned forward in your seat, your eyes widening with intrigue as he held out his left palm to you.

The skin of his palm was rough, battered with Zoro’s badges of honor that were his calluses. He never really looked at his calluses much, but the way you marveled at them like the stars you marveled at last night made Zoro’s chest puff up a bit with pride.

“Very cool,” you grinned, leaning back in your seat. “Are you ready to get your portrait drawn, Roronoa Zoro with the cool hand calluses?”

An easy laugh escaped Zoro’s lips as he sat up a bit and repositioned his hands to his former pose. “Yep.”

You turned your focus to your paper and pencil, and your head tilted downwards a bit as you brought your pencil down to the paper.

Before you could begin your sketching, Zoro racked his brain for anything witty or funny to say, not wanting to waste the opportunity of having this alone time with you.

“Don’t get my bad side,” Zoro joked, but his words accidentally came out as serious with the stoic expression he kept for his portrait pose.

“You don’t even have a bad side,” you murmured without hesitation, your eyes still fixed on the paper as you began drawing him.

Zoro’s lips broke into the widest grin he had on all day. He turned his head to the right in an effort to hide his flustered expression, but he couldn’t stop his eyes from turning upwards and his eyebrows from lifting.

“Shit,” Zoro mumbled as low as he could, but his growing smile and movements utterly betrayed him.

“Ack, Zoro! Don’t move!” You grumbled at him.

Zoro hid his face in his right shoulder. Both of his shoulders shook as he let out a hearty laugh.

“I’ll never get your portrait done at this rate,” you huffed.

“Good,” Zoro replied with nonchalant defiance. He turned his face back towards you, peeking at you from underneath his eyelashes as you turned your gaze back to your paper.

Zoro’s eyes first saw how the sunlight hit your face, how the gold flecks of light saturated your irises and illuminated every imperfection on your face he thought was perfect.

If Zoro could draw half as well as you could, he wouldn’t hesitate to draw you right then and there.

He wasn’t the artist, but here he was, studying you—taking in every upward quirk of your lips, every back-and-forth of your gaze from your paper to him, every movement you made—and trying his best to capture them all with the sharp pencil that was his memory.

It was only the two of you in the room, and you were only a few feet away in front of him, but Zoro couldn’t help but feel that you were so far away from him.

With the comfortable silence between you two, Zoro’s mind filled with the conversation he had with you last night.

— — — — —

“That’s Orion’s Belt,” you had pointed up to a constellation made of three stars last night. “Those three bright stars.”

Zoro turned his eyes up to follow your finger. “Who’s Orion?”

“Supposedly a demigod huntsman who passed and was placed up in the stars,” you hummed. “Wait, you’re kinda like Orion! With being a former pirate HUNTER and having THREE swords.”

Zoro brought his gaze back down from the stars to you.

“That’s a reach,” he scoffed. Zoro took a leisurely step back, the wooden floorboard of the Going Merry creaking a bit under the weight of his boots.

A crooked smirk glimmered on his face as he reached his hand up to the direction of Orion to humor you. “Literally.”

You chuckled, playfully nudging his shoulder. “Really? I thought there wasn’t anything Roronoa Zoro couldn’t do. Even reach for the stars.”

He wasn’t one to care for fluffy words or compliments, but your comment—and the way you spoke with such faith and confidence in him—sparked meteor showers in Zoro’s heart.

Zoro tried to avoid touching the back of his ears, which grew as hot as the stars. He shifted his body to rest his palms against the polished wooden railing of the Going Merry.

“Why do people like looking at things that are far away?” His eyebrows furrowed up at the stars in an attempt to change the subject.

“I think it’s because since the stars are so far away, all anyone can do is look at them and try to draw them,” you gazed up at the sky. “To capture that moment of seeing something that feels so far away from you but is so beautiful that you can’t help but want it near you.”

— — — — —

Zoro remembered not really understanding your words last night about people’s fascination with stars.

He didn’t get why people would yearn for something they couldn’t have.

Now, watching you as you drew him in daylight, Zoro understood what you meant.

You were physically near him a lot, bright and warm like a star he found himself wanting to get closer to, only to be reminded of the possibility that seemed as wide as a light-year that you might not feel the same.

He was lucky and he wasn’t. He could admire you up close but he had to keep his romantic feelings for you at bay.

Wait, scratch that.

Zoro was never one to believe in luck.

At his core, he was one to never back down from a challenge—to fight for what he wanted.

He didn’t know how you felt about him other than you regarded him as a close friend like he did with you, so there was a possibility he could get rejected.

Thus, Zoro’s pride from not wanting to get hurt prevented him from outright asking you right then and there if you liked him, too.

For now, Zoro would fight his pride with every chance he could get to spend more time with you—to build up his courage to confess his feelings to you someday.

To reach for the star.

And if that meant moving and messing up during this portrait session to lengthen his time with you, he’d do it again and again.

Zoro bided his time before he decided to part his lips.

“Beautiful,” he mumbled.

“What is?” You inquired, not stopping your hand with the pencil.

“A star,” Zoro didn’t hesitate to answer, knowing his reply was so bizarre it would get your attention.

And it did, as your eyebrows scrunched together and your head flew to the sides to look for a star outside the windows or one that miraculously appeared near you and Zoro somehow.

“Which one? And where?”

A genuine chuckle escaped from his lips, turning your eyes back to his. He hoped his next words would anchor your attention on him.

“The one right in front of me.”

🏴‍☠️————————-💚-————————🏴‍☠️

Important

🍓 I don’t own any of the characters I mention or write about; they belong to their original and respective creators.

🍓 All content on this blog is created by me, @thebettybook (excluding posts I reblog that aren’t my own posts and unless I state otherwise). Do not modify, claim, repost, or translate my work onto this platform and any other platform.

🍓 Reblogs are appreciated :). Like my work? Support me on Ko-fi :D

🏴‍☠️————————-💚-————————🏴‍☠️

#roronoa zoro #zoro #zoro roronoa #zoro x reader #zoro roronoa x reader #zoro roronoa x you #roronoa zoro x reader #one piece #one piece x reader #one piece zoro #one piece live action #one piece live action x reader #opla #opla roronoa zoro #opla zoro #opla zoro x reader #zoro live action #zoro live action x reader

1K notes · View notes

linkspooky · 4 months

Text

DOOMED SIBLINGS: THE TODOROKIS VS. THE FIRE NATION ROYAL FAMILY

I received an ask in my inbox about how Zuko doesn't owe Azula any forgiveness. Truthfully I wasn't even going to respond because this isn't an avatar blog, but then I watched this video.

Not only do I disagree with the basically everything in this video, but I am going to make the argument that both Zuko' and Azula's arcs are both incomplete with the way the show left the two of them in the final showdown.

In order to make my argument I'm going to compare Azula and Zuko's relationship in avatar to Shoto and Toya's relationship in My Hero Academia and use the latter as a more positive example.

Unnecessary Redemption Arcs

The common fandom opinion I want to argue against is this idea that Azula's ending is a perfect tragedy, and therefore doesn't need to be expanded upon. There's also a sentiment that redeeming Azula would somehow ruin the impact of this perfect tragedy.

I'm about to argue against both of these points.

Azula's arc doesn't work as a tragedy.

Because of this her arc is unsatisfying and unfinished.

I'm going to address the first bullet point but before that let me add another disclaimer. The reason why I think Azula's arc isn't an effectively written tragedy isn't because I like Azula.

Before we even get into the My Hero Academia comparison let me bring up something completely different. I do like Azula, but I like Terra Markov from Teen Titans a lot more and I would not change a thing about her tragic end.

AZULA'S ARC IS NOT A WELL-WRITTEN TRAGEDY

Terra in the comics is what a lot of people accuse Azula of being. She is stated in the text and by her creators to be an unfeeling sociopath. She was also never intended by her creators to be redeemed.

[About Terra] The very first time we see her, she’s trying to blow up the Statue of Liberty. It’s just that all the fans assumed because we went out of our way to make her cute — but not too cute, with the buck teeth and everything — everyone would assume that she was gonna become good by the end and that was never the case. First thing, we made a promise that day that we would never renege on our view that she’d never become good. It’s sometimes hard to do that with characters you like. You want them to become good or something like that. But we never liked the character enough—because we knew what we were doing with her—we never allowed ourselves to fall for the character. Because that’s bad. That’s bad storytelling. You’re doing what you want as a fan at that particular point, not as the creators. T

Now let me clarify, both creators of New Teen Titans say some nasty things about Terra and don't recognize her sexual abuse, but here's the thing. You don't have to read a story 100% the way the author intended, sometimes the story says one thing and the text says something different.

I am going to use Judas Contract as an example of a story where the character from the start was never intended to be redeemed and why that's a positive in this case.

Terra is a teenage girl, the bastard daughter of the king of Markovia and a random American woman who presumably has had no stable home her entire life because she's working as a mercenary at fifteen. She teams up with a man that is in his mid fifties and even starts a sexual relationship with him (this is statutory rape she cannot consent) and Deathstroke uses her to infiltrate the Teen Titans and learn as much as possible.

Terra is sent to live with the team and spy on them for several months. The whole time she only ever engages with them in a fake spunky persona, and never shows her real cutthroat self. She leads Beast Boy on in a fake romance to make him trust her and secure her place on the team. The way you'd usually expect this arc to go is that Terra would grow fond of the team and be torn in her loyalties.

Yeah, that never happens.

Terra loathes the Titans. In fact she's developed a superiority complex about her meta human abilities and she doesn't understand why anyone would use their powers to help others. She despises the concept of superheroes in general, and because of that never bonds with any of the Titans. Her feelings never change from start to finish, because her creators intentionally wrote her as a character that can't be redeemed.

Terra is written to be a psychopath, but even with that intention in mind there are scene that shows a greater range of emotions. She has what could amount to a trauma flashback when Beast Boy too aggressively flirts with her and tries to kiss her and she reacts violently, trying to bury him under the earth.

Let's go ahead and interpret Terra as what is used as the fictional definition of a "sociopath" that is someone who feels no bonds with other people, someone with shallow emotions and someone devoid of guilt. Even if we interpret her that way, her story is still meant to be read as a tragedy.

Terra succeeds in her mission of infiltrating the Titans. Slade captures most of them, and the only remaining member Dick Grayson goes missing. Dick Grayson then unites with Slade's son Jericho, and the two of them team up in order to rescue the rest of their friends.

Even after all she's done the Titans try to make pleas to Terra during the final battle, which she not only rejects but responds to with violence. Which only confirms what I said above, Terra never grew to love them, she never regretted her actions, she only ever engaged with them with lies.

(Terra always lies, Terra always lies, Terra always lies).

Terra is declared by Raven to be devoid of emotions: "Her thinking is unlike ours. She feels no true love or hate. Her soul is corrupt. What she does is done without remorse."

Even after Raven declares this, however she still pleads with Terra to stop because she's going to hurt herself. Terra feels Slade betrayed her because he favored his son Jericho over her, so she decides to take both Slade and the Titans down. As the Titans fight her she begins to mentally fall apart ignoring their appeals to her and lashing out at everything around her. Eventually she makes one last attempt to everything around her, but the Titans escape and she only manages to bury herself.

At no point in the fight do the Titans give up on trying to reach her even as she's loudly screaming how much she hates them. Even after she's buried and it looks like she's dead, Gar and Donna both try desperately to dig her up on the slim hope she's still alive. When they find the body they even give her a funeral afterwards, even though they all think that Terra was beyond redemption.

Even the prose narration that accompanies her death is incredibly melancholy and bemoans her fate, at the same time as it calls her a outright sociopath.

There's no reasoning with her now. However slim, whatever sanity Tara Markov possessed is gone. Now there is only primal hatred! Hatred born, nurtured, and fanned. Hatred that festers and grows without care, without feeling, without plan. her pursed lips part and the sounds which echoes force are garbled and inhuman. Hot, boiling blood gushes wildly from the earth's open wounds, its skin fractures and cracks, and if a world could cry, it surely would. Her name is Tara Markov and she is little more than sxiteen years old, and due to the fault of no one but herself she is insane. No one taught her to hate, yet she hates without cause, without reason. No one taught her to destroy, yet she destroys with glee, with relish. Don't look for reasons which do not exist, plainly Tara Markov is what she is, and she has taken a great power and made it as corrupt as she. Hers was the power over the earth itself she could have brought life to deserts, hat to the frozen tundra, food to sraving millions. She could have damned raging rivers, and tunneled water to packed lands dry and dead. her powers were limited only by the mind which controlled them. A mind which sought not hope, not love, not life, but death.

If you go with the text that she is just a sociopath beyond redemption who hates and hates and hates for no reason, the narrative still mourns her because a sixteen year old with her whole life ahead of being consumed by hatred and then dying because of it is in fact sad.

If you read into the subtext then you can argue that the events of the story, contradicts what the narration is telling us. Terra is being sexually groomed and groomed as a child soldier by a man who is much older than her, even if she thinks he's a partner he clearly has all power in the relationship.

If you think about it that way then Terra is the ultimate bad victim. She doesn't cry and call for help as a victim of sexual abuse, instead she tries to claim power for herself, she manipulates, and she destroys any chance she had for a genuine relationship because she only sees all relationships as transactions she can gain or lose from.

Even if you only go with the first interpretation, the narrative still remains tragic because the Titans themselves did not want to give up on her, they did not want to watch this sixteen-year-old girl destroy herself. They never stop reaching out for her and it doesn't work, because there was no way out for Terra but death.

Here's the thing I don't think Terra's status as a sexual victim automatically means an ending where she dies is offensive. It reflects a reality that victims like Terra often go unseen because they don't present their victimhood in palatable ways, and by the time anyone notices it's far too late. Sometimes tragedies are meant to reflect a reality where many people do not get saved.

There's two reasons that Judas Contract works as a tragic story. Number one the creators planned Terra's ending right from the beginning. Which meant they never gave her any moment where she shows that she's redeemable. There's no genuine bond between her and the titans, no wrestling with the guilt of her actions, nothing.

Number two, Judas Contract is Terra's story from beginning to end. It begins with her betrayal of the Titans, and ends with her death. The death is also brought upon herself by her fatal flaw her hatred, which is what makes her the protagonist of a tragedy. Tragedies are stories where heroes are undone by their flaws. Terra also goes out on her own terms. She buries herself underneath her own rocks. Her death is a direct consequence of her inability to let go of her hatred. Terra's not fridged for anybody else's arc, she retains her agency until the exact moment of her death.

To simplify into bullet points, Judas Contract works because:

The creators thought out what they wanted to do with Terra.

Judas contract is Terra's story.

Now, getting to the part where we actually talk about Avatar, and I start complaining about that awful, awful video.

AZULA'S ARC IS NOT WELL THOUGHT OUT

I just went on a long tangent on how Terra, a character written to have no redeemable qualities can still be tragic. How the creators marked her as clearly doomed from the start, and how she brought about her end on herself, how there no redemption for Terra. How this girl had no real chance, and how regardless of the fact Terra is a lil baby sociopath her fall is still tragic because of how well structured the tragedy is surrounding her.

It's awful to kill off a sixteen year old victim of sexual abuse, but the ending just fits because Terra represents a certain type of bad, unsympathetic victim who doesn't get saved.

Azula's arc isn't as well structured. The ending does not fit. I'm going to start by refuting some points in the awful, awful video I did not like.

"Maybe it's okay if Azula's story ends where it does in the series we would separate how we would treat a real 14-year-old girl from a villain in a series, ad that's why any redemption arc isn't need i a story after all. A character needs of deserves a redemption arc when it becomes the most meaningful way to explore their character and place in the story, but a character deserving redemption usually comes before the story really needing it, and I don't think Azula's done anything to deserve it yet. They've got to exhibit some willingness and action to change..."

So the main reason I'm using Terra as my first example is because Terra is the kind of character that Hello Future Me is describing. Terra was written with the specific intention she'd never experience a change of heart, all of the friendships she makes with the Titans are fake, she very loudly experiences no remorse, or even self-reflection over what she is. Terra's pretty proudly a monster and she never experiences any kind of self-doubt or regret over what she's become.

I can disprove right away Hello Future Me's blanket statement (with no actual cited examples, just trust him guys) that Azula never did anything to hint she may deserve redemption. That suggests Azula is an entirely selfish character who uses, manipulates and thinks she's right and worst of all is comfortable being the way she is, and therefore incapable of doing the self-reflection necessary for change.

Azula does show the capacity to do selfless actions several times in the narrative, and even consider the feelings of others. There's the apology scene with Ty Lee and the way she interacts with her friends in general with the Beach where when she's not fighting in a war or trying to complete a mission for her father Azula 1) interacts with her friends in a normal way and 2) seems to express a desire to experience normal relationships not the hierarchical ones she's experienced all of her life.

However, that's not the example I'm going to use as her save the cat moment. I generally intend to interpret that as a sign that even though she treats Mai and Ty Lee as subordinates and that power she holds over them eventually leads to them leaving her, their friendship isn't just Azula abusing them and lording her authority over their heads 24/7.

No, Azula's save the cat moments all revolve around Zuko. Which is funny, because the entire fandom seems to regard Azula as Zuko's evil little sister who exists to do nothing but torment her.

The first and biggest is Azula deciding to bring Zuko home in Ba Sing Se, and telling a lie to her father that he was the one to slay the avatar.

Ozai: I am proud of you, Prince Zuko. I am proud because you and your sister conquered Ba Sing Se. I am proud because when your loyalty was tested by your treacherous uncle, you did the right thing and captured the traitor. And I am proudest of all of your most legendary accomplishment: you slayed the Avatar.

Zuko: [Shocked.] What did you hear? Ozai: Azula told me everything. She said she was amazed and impressed at your power and ferocity at the moment of truth. [Inspired partly by this post]

Now the show seems to regard this action as Azula being an evil temptress who is there to tempt Zuko back to her side with everything he thinks he ever wanted.

That's only if you regard it from Zuko's perspective.

Think for a moment from Azula's perspective. Number one, Azula is someone thoroughly indoctrinated into Fire Nation propaganda who measures her self-worth based on 1) military achievement and 2) her father's approval and assessment of her talents. In Azula's own logic (wrongheaded as it is) she's helping Zuko. She's bringing him back home with his place in the line of succession restored and his father's approval.

Azula doesn't benefit from this gesture at all, in fact if her father discovers the lie she has as much to lose as Zuko does.

Now Zuko insinuates that Azula only brought Zuko along and told her father that he was the one who killed the avatar so she could let him take the fall if the avatar turned out to be alive.

However, if you look at the actual order of events that doesn't make sense. Azula saw the avatar die, she didn't know about the spirit water, and therefore had no way of knowing Aang could come back. In fact, it's Zuko who 1) knew about the spirit water and 2) decides to keep the spirit water and the fact the avatar might have survived a secret that is throwing Azula under the bus. After all she has as much to lose as he did and instead of sharing that information with her he decides to keep it all to himself.

Now Azula does imply that if the avatar were to turn out to be alive all of Zuko's glory would dry up, but this is only after Zuko 1) throws accusations at her and 2) makes it's pretty clear he's lying to her putting her on the defensive.

This is also a scenario where Azula doesn't have much to gain by bringing Zuko back, if you look at it from her perspective. If Azula just lets Zuko rot in a ba sing se prison, then her claim to the throne is secure. With Zuko back he's restored in the line of succession. She also, when making the decision to invite Zuko to her side probably didn't need him for her plan to succeed.

There is a dramatic moment of Zuko choosing to side with Azula over Katara which turns the tide in Azula's favor, but Azula can't see into the future and therefore wouldn't be able to predict that happening. If you look at it from Azula's perspective she 1) successfully infiltrated the city, 2) already had the Dai Lee in her pocket. She likely already thought she had the city secure at this point so her decision to extend a hand out to Zuko is therefore likely motivated by selflessness instead of self-interest.

That's important because usually when Azula usually only gives her help to others if it also benefits her in some way. Azula might genuinely see her recruiting Mai and Ty Lee to her side as a member of the royal family extending her favor and giving them status and security in their positions but it has the underlying motivation of 1) she keeps them in a position to beneath her and therefore in her complete control.

Azula will interact with Mai and Ty Lee like friends on the surface, as long she maintains control over them, but if they do anything to something that displeases her she'll do anything to regain her control.

Mai: I thought you ran off and joined the circus. You said it was your calling. Ty Lee: Well, Azula called harder.

This is set up in Azula's very first interaction with Ty Lee. Azula greets her like an old friends, Ty Lee even seems happy to see her, but the second Ty Lee tries to say no to her Azula goes to extreme lengths to "persuade her". Azula's friendship with Mai and Ty Lee is an abusive friendship because there is a power differential and even if Azula feels genuine affection for them both it's clear they're not allowed to say no. Mai and Ty Lee are put into positions where it's in their best interest to please her, and live in fear of the consequences if they don't do just that.

Here's the thing, I'm not arguing that Azula didn't deserve any consequences for her actions. I'm arguing that the setup doesn't match her eventual ending. Azula is set up to have Mai and Ty Lee leave her from the very first scene that Azula interacts with Ty Lee. It's satisfying because the set up matches the pay off.

It's also tragic because it's Azula continuing the chain of abuse. The video isn't entirely wrong (which is why they came to the wrong conclusion frustrating).

Azula's fall is about how differenting parenting styles can a child. Ozai's affection is exchanged for being useful. Something Azula would go on to repeat with her friends, whereas Iroh's affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

It's like... there it is it's so close. Here's the thing, Azula is set up for a tragic falling out with Mai and Ty Lee (and one she deserves) but the set up is different with Zuko. Azula's save the cat moment revolves around Zuko, and her genuine attempt to bring her brother home.

Yes, the first time Azula interacts with Zuko in season 2, she tries to take him home by force. However, by the ending of the season Azula's perspective on the matter has obviously changed because she begins by trying to bring him back as a prisoner, and by the end of the season invites him back as an equal.

There's no moment in Season 3 where Azula treats Zuko the way she does Mai and Ty Lee (unless Zuko provokes it first and puts her on the defensive) in fact most of her interactions are either them interacting normally (such as when Azula goes to find Zuko at their old beach house because she knows he'll be there and advises he leave instead of dwelling on their depressing memories) or Azula deliberately trying to look out for Zuko such as when she advises him not to go visiting with Uncle because it'll make others suspicious.

On the other hand, Zuko never at any point looks out for his sister the way Azula is demonstrated looking out for him. He doesn't say, try to tell her where he's going on the Day of Black Sun, or try to convince her the fire nation is wrong. There's a scene in the later part of Season 3 where Zuko is watching Azula fall to her death while sitting on a flying bison and not only sits there and does nothing about it, but sounds disappointed when she doesn't hit the ground and become an Azula Pancake.

That's pretty much the opposite of a save the cat moment. It's a "let the cat fall to their death" kind of moment.

Yes they were enemies at that point, but Zuko's the one who's supposed to learn that affection is something freely given with patience for imperfections and failures, something Zuko goes then on to repeat.

How exactly is he doing that in this scene?

The thing is... this setup doesn't have to be bad. Of course Zuko has trouble has trouble empathizing with Azula, he doesn't even think about sending a letter to Mai, Zuko's shown at this point to be like a healing abuse victim who's understandably focused on himself.

This in fact could be excellent set up with step 1) learning what genuine love and forgiveness is and 2) demonstrating those two things by applying it to others.

However, that's not where we got. We got Zuko watching his sister have a complete emotional breakdown, crying and screaming while chained to a grate and looking somewhat sad.

And once again to bring Terra into this, Terra is what Stay at Home and parts of fandom argue that Azula is. Terra screams at the top of her lungs how much she hates the Titans, how much she was always lying to them, and the Titans STILL try to reach Terra with words, try to de-escalate the conflict, when she's about to bring the rocks falling down on herself warn her she's going to hurt herself, and then when she's buried under rubble try to dig her out begging for her too still be alive.

Terra who's intentionally created by her writers to be as hatable as possible, is shown more compassion by the heroes in her ending than Zuko ever does to Azula. They also give Terra multiple opportunities to change until literally the very last minute, which Zuko doesn't do either.

What's set up is Azula has this save the cat moment with her brother, that Zuko is pretty much the only person she doesn't treat like a subordinate in the story (because she just like Zuko has a craving for familial love she tries to earn from her father). However, her ending with Zuko just taking her down doesn't fit that setup.

Azula's ending only fits if you consider her arc entirely from Zuko's perspective, which is the underlying issue. Azula's not the protagonist of her own tragedy, she's a plot object that's used to benefit Zuko's arc.

Azula's is written to have a downfall, the same way that Zuko loses everything at the ending of season 1 b/c of his inability to give up on the obsessive search for the avatar (and his father's love with it). Azula is written to be left by Mai and Ty Lee (this is the strongest point of writing when it comes to her since it comes from the beginning).

However, she's not written to be left completely alone and insane with the only empathy being shown is that her brother looks kinda sorta sad. That's only good if you view her as an object to further Zuko's arc, because isn't the ultimate culmination of Zuko beating his sister who has always been ahead of him at life? Azula needs to torn down completely without even some small glimpse of a hope of recovery so Zuko can be built up even moreor at least the writers of avatar seem to think so.

However, even Azula just existing for Zuko's growth and character development doesn't have to necessarily be a bad thing. This is where we get to MHA, which does the tragic siblings and the final Ag Ni Kai about 1000 times better with Shoto and Dabi.

THE GOOD

The comparisons between Shoto and Dabi to Zuko and Azula are made pretty often by the fandom. Shoto has a scar, Dabi has blue flames. Shoto has an arc about healing and learning what it means to be a hero, Dabi's arc is about self-destruction.

Dabi's not the center of his own story, he exists to foil Shoto and help Shoto reach the endpoint of his character development however that's not necessarily a bad thing. These are both two pairs of tragic siblings, the main difference is that MHA doesn't feel the need to tear down one sibling in order to build up the other. In fact, the final step to Shoto's arc is HELPING Dabi, not PUTTING HIM DOWN.

Not only that but the decision to help Dabi is a decision that Shoto makes on his own, and him going against the tide of a society that has already given up on Dabi and would much rather have Shoto shoot Dabi like a mad dog. Which makes the decision to do so even more powerful and emblematic of Shoto's growth.

Now you could say that Shoto and Zuko are too different to compare their arcs, Zuko has a redemption arc, and Shoto has what most people would probably term a healing arc. Shoto starts out the series as a hero.

However, this is what annoys me about the redemption arc debate. A redemption arc is really just a normal character arc. However, calling it redemption drags things like morality and forgiveness into the debate. if you take remove the discussion about moral philosophy both Zuko and Shoto have character arcs where they start the story defined entirely by their home situations and their father's abuse (hence why they have big obvious scars on their face), recover from their trauma, and go on to find an identity outside of their father and form healthy non-abusive connections with others.

In fact I'd see the theme of both arcs are the same, to literally find balance within themselves. Shoto is divided quite literally into right and left sides, fire and ice, and even seems to view himself as half of his father and half of his mother. Zuko is someone who's permanently marked and dishonored by the burn scar on his face. He suffers from an internal imbalance as well. Iroh says that Zuko is the descendant of both Roku and Sozin and therefore both pathways are open to him (but wouldn't that apply to Azula too). Zuko says to his father that the fire nation has destroyed the balance to the world and he's going to leave to assist the avatar in order to fix it.

Shoto's balance isn't just about fixing his internal trauma though, it's also about finding a balance between his family which has defined his entire life up until this point, and his desire to become his own hero not the hero his father groomed him into.

It's why the culmination of his arc is Shoto reaching out to save his family member Toya, because it's the ultimate balance in wanting to heal his family, and also the kind of hero he wants to be, someone who saves and brings peace to others instead of just violently putting down villains. He can bring peace to his family and become his own hero in one action.

However, let's go back to the beginning of Shoto's arc, because saving Toya as an endpoint to his arc is set up pretty early on.

Shoto's arc begins with Deku, a stranger breaking down Shoto's walls as an outsider in order to allow him to look past his own trauma and recall for the first time what he wanted outside of his resentment towards his father. This sets up the idea early on for Shoto that sometimes you need outside interference, help you didn't ask for, especially when you can't see outside of your own problems.

What Deku brings about ultimately is a change of perspective, Shoto's so hurt by the memory of his mother throwing boiling water in his face and everything that came after that he can't recall the memory of her telling him he could be who he wanted to be.

But, you want to be a hero right?

Shoto takes away two things from this arc, sometimes you need help even when you're not asking for it, and sometimes a change in respective is required in order to take the first step forward.

He goes to demonstrate these things multiple times, but here's two exaamples. The first Shoto demonstrates immediately after the tournament arc. When Iida is about to go down a dark path and commit a revenge killing on Stain. When, as a result of that IIDA is paralyzed and about to die in an alleyway, it's Shoto who both notices Midoriya and Iida are missing and shows up in the clutch. He's practicing the same thing that Deku taught him in the last arc: Giving help that's not asked for is what makes a true hero.

He even mentions the second idea, that a small change in perspective can be all it takes to save someone, and he wants to do for Iida hat Deku did for him. His words are the one who convinces Iida to stand back up again when he's paralyzed.

If you wanna stop this, then stand up. Because I've got one thing to say to you. Never forget who you want to become!

However Shoto's arc doesn't end here, because one of the major conflicts in MHA is that heroes don't pick and choose who to save and a true hero will give help even to those people who don't ask for it.

This is a point which further develops when Shoto's abusive father starts to show a change of heart at the end of the Pro Hero Arc. Shoto still holds his father accountable for what he did in the past, but he also acknowledges that if he had the capacity to change then so does Enji. This isn't about whether or not Enji is forgivable, this is an extension of what Shoto learned. Shoto originally believed he was controlled by the circumstances of his birth, that his fate was set in stone, but a change in perspective allows him to realize he can determine who he wants to be. So, Shoto is just applying what he's learned, Enji has the capacity to grow.

There's one final piece of setup that I want to cover before showing how these separate dies all culminate in saving Dabi. Shoto's not only someone who has to find balance between his family and his desire to be a hero.

The theme of balance is written into the quirk itself. Enji basically practiced eugenics to create Shoto as his masterpiece. He noticed a flaw in his own quirk where he could only make his flames so hot without overheating. So he arranged a quirk marriage with Rei who possessed an ice quirk to create a hybrid ice and fire quirk that he could use to cool himself off to prevent him from overheating.

Enji only ever cared about the fire half of Shoto's quirk. His ice quirk only exists for his flames to grow stronger. This is shown when Enji is trying to force Shoto to learn all of his signature moves, because he only cares about Shoto's flame quirk. Shoto was created to carry on his father's legacy, and surpass him with an even more powerful flame quirk. Part of his character development is him learning how to use his quirk in his own way.

This is a theme that continues in the class training arc where Enji is still repeating the behavior of trying to force Shoto to learn his signature moves instead of considering what he wants at all, because still Shoto only exists in Enji's mind to carry on his legacy.

This all culminates in Toya's decision to save his brother. The first is his action in choosing to identify with his brother. If Shoto believes in his own capacity to change, and even his father's, then why would he deny Toya that same chance to change?

The foiling between Shoto and Toya isn't supposed to reduce the two of them to "Shoto is the good one, and he's the bad one", but instead Shoto and Toya were both in a point where they were consumed by hatred and couldn't see any other path in life. Therefore if Shoto was able to change because someone gave him help when he didn't ask for it, then Toya not only has the capacity to change - but in order for Shoto to stick to his stated beliefs that the smallest of things can bring about a change in people he has to be the one to give his brother that chance to change.

It's not about whether Dabi is worthy or not, it's about the themes in Shoto's arc finally being paid off.

Shoto's identifying with Toya, and even parts where he tells Bakugo he'll make Toya sit down and make Toya tell him his favorite food indicate that from the beginning Shoto's intention was to find a way to stop Toya without killing him (which is what several of the adult heroes were encouraging him to do).

@stillness-in-green does a more succinct summary of this plan.

Just me?

Because, like, Shouto had a plan. He spent the time between the two war arcs specifically developing a brand-new combat technique that he planned to use to shut down Dabi's combat advantage without killing him. He convinced his dad not to change the plan like Endeavor was hesitantly sounding him out about[1]; he went out and talked and asked questions, and even if they weren't the right words every single time, he did his best and he did it with intention. If Dabi proves to be dead, it won't be because of anything Shouto did to him; it'll be because Dabi himself chose to stand back up, take a warp gate across the country, pick a fight with the guy who doesn't have the power set to shut him down without unduly hurting him, and trying to replicate an Ultimate Move specifically tailored for someone with a balanced power set Dabi doesn't have. And if Dabi lives, it's still going to be because Shouto booked it across the country and used that same technique to stop him again.

Shoto's decision to save Shoto is also a continuation of his decision to help save Iida from Stain. It's not enough for Shoto to experience a change of heart about his own life, he's got to take what he learned about people's capacity to change, and the importance of connections and then put that into practice and help others the way he was helped.

However, it also further develops the theme of giving help that's not ask for from Iida because Shoto's not saving a mostly heroic kid, he's saving Toya to help break a familial cycle of abuse (because murdering the abuse victim isn't how you end the cycle of abuse... actually).

Shoto's last lines to Dabi are also a refutation of this idea of destiny that he once thought he was ruled by. It's once again, Shoto teaching someone else the lesson he learned. Toya says a warped rail can never mingle with a straight and narrow one! In other words Shoto can never understand or get along with Dabi, because Dabi will forever be defined as the failure because of the circumstances of his brith, whereas Shoto will always be the success.

His final action is a decision to break the cycle they were born into: no, we're gonna mingle whether you like it or not.

Shoto's ultimate move Phosphor is not only a move he designed far in advance to take down Dabi non-lethally, it also is a rejection of his father's teaching method. Toya says he only ever taught me how to turn up the heat. Enji only valued both Shoto and Toya for their flame quirks. Developing his own quirk and breaking away from what his father wanted, specifically in order to save his brother. It's Shoto rejecting what his father created both of them for (a successor to his quirk) and finding his own path. By using that move to take down Dabi he's not only teaching Dabi their flame exists for more than just destruction, he's also by letting Dabi live giving Dabi a chance.

From a conversation with @class1akids

Dabi was the last push to unlock Shoto’s full power. Until then he was on the track of mastering flashfire like Endeavor planned for him (except for his own reasons) but realising the fighting Dabi with fire was gonna kill them both and also he’s simply no match fire only helped Shoto to fully take control of what his quirk is Like his quirk development goes parallel with how he faces each member of his family and finally meeting Toya is like the last piece of his puzzle to find his own full power and identity.

It's not just Shoto decides to save his brother because he's just that nice, his arc is literally incomplete without it. The act of creating phosphor a move specifically to save Dabi is both him unlocking the full power of his quirk (by balancing the fire and ice sides of his quirk) but also achieving balance between trying not to leave his family behind while at the same time becoming his own person and hero outside of his family circumstances.

Citing my conversation with class1akids again:

Toya is endangering everyone at Gunga. Endeavor has no means to stop him and when he tries to murder suicide Rei interrupts and his “hero way out” is taken. All he can do is watch helplessly as his family is about to burn to death with a bunch of strangers he tried to protect. But it would do Shoto dirty to use his heart technique to kill his family and the strangers so he comes in a clutch and I see that confrontation as the power trauma vs the power of healing in the family. With Shoto who is a true hero, they can put the fire out and save the family and strangertoo. Shoto become a balanced hero and bring relief and reassurance, Endeavor was completely helpless, and Toyas inner child got the attention he wanted, plus depending on how you read it, he may have become less suicidal.

Shoto also, and I want to point this out desires to stop his brother not to take him down but because he doesn't want him to hurt any more people. He's again finding a balance between two ideas 1) Shoto needs to stop his brother in order to stop him from creating more victims and 2) Shoto needs to find a way to stop him that's not just putting him down because Toya himself is a victim.

Shoto also, and I must point this out for the comparison between Zuko and Azula goes out of his way to engage Dabi in conversation, ask him why he didn't come home and what happened to him in the years after he died. This is especially poignant because unlike Zuko and Azula who grew up together, Shoto basically had no relationship with his brother (and the rest of his siblings really) before Toya died because Enji purposefully kept Shoto separate from all the "failures."

So yes, the act of saving Toya is more for the completion of Shoto's arc than any redemption arc for Toya but Toya's not just a plot object to move around for Shoto's arc, Toya has his own agency all throughout. In fact it's the fact that Toya resists being saved every step of the way that provides the challenge that Shoto needs to grow in order to be able to save him.

Toya's not just after revenge against his father that's the surface reason, Toya is also just blatantly suicidal. Toya's birth is marked as a failure, his death wasn't even acknowledged by his family and everything stayed the same in his absence, so he created Dabi while praying at his own shrine in order to mourn Toya. Dabi can't find any meaning in his life where he was born as a failure, so he'll use his death taking revenge against Endeavor for having been born in order to give his life meaning.

What makes Avatar look especially bad in its treatment of Azula in comparison to how MHA treats Dabi, is that Dabi is way, way less redeemable than Azula. For one Azula has clearly proven affection both her friends and her brother (and I don't think she even deserves Mai and Ty Lee's forgiveness they had every right to walk out on her and want nothing to do with her again.)

Dabi is probably the ugliest victim of the League of Villains. The rest of the league have far more moments in their bonds with each other. Toya is the outsider to the league even if there are some subtle hints to his affection (he tries to show up to save Twice, and also burns down Toga's family house to comfort her). The villains are mostly shown to be redeemable by their positive friendship with each other, and Dabi at several points denies the league's bond (he pulls a Terra and yells out loud at the top of his lungs none of the league matter to him). Unlike with Terra you can argue this is most likely Dabi trying to cover up his real feelings. However, the fact that he feels the need to hide his affection from the league shows he's purposefully distancing himself from any bonds whatsoever.

Unlike Azula who has gone out of her way to help her brother in one major way, and also shows hints in early season 3 of having that sibling bond with him Dabi just straight up wants to murk Toya. Azula also tries to murk Zuko, but that's only when Zuko leaves on the day of Black Sun (one without telling her, and two something that probably left her alone to deal with the consequences of lying to her father for his sake). Either way, Azula's behavior in early season 3 is setup for the fact that their sibling bond can be salvaged.

Dabi is way worse to Shoto in comparison. Dabi in the first part never saw Shoto as his own person, just a puppet of his father (puppets have no autonomy or personhood). His feelings towards Shoto only went so far as Shoto was someone who could kill in order to upset Enji. Dabi also doesn't particularly care for the rest of his family as well (only calling out Natsu's name when his brain is literally melting), they're either ways to hurt endeavor, or he wants to drag them in hell with him. Heck his last words after being saved is telling everyone to die and go to hell.

Dabi doesn't bother to make bonds with the league or have any lingering affection for his family because Dabi's determined to seslf destruct. He's given up on life the moment he saw that he died and nothing changed in that household, now all that's left is for him to create a meaningful death by dragging his family to hell with him.

Dabi is also even as a child made out to be an unpleasant victim. He attacks baby Shoto with his flames early on out of jealousy (even though he later admits that he was being unfair to Shoto). He makes the situation in the house worse by loudly screaming and demanding his father's attention. He screams at his mother and throws her complicity in Enji's abuse in her face.

This is in comparison to Shoto who in childhood flashbacks we are only ever seen either 1) crying, and 2) trying to comfort and protect his mother. Toya's even made out to be difficult to empathize with as a child - which like flew over half of the fandom's heads because he got accusations of somehow abusing his father and the rest of his family in that chapter at 10 years old. However, that in a way illustrates my point.

The fact that Dabi is so disliked by a certain portion of the fandom is because Horikoshi paints such an ugly portrait of Toya in the way he expresses his victimhood. It's done deliberately too, because number one Toya by resisting Shoto's attempts to save him and trying to self destruct instead retains agency as a character. He makes decisions even though they're bad self destructive ones, he's not just a prop. Number two, the fact that Toya is intentionally portrayed as such an ugly victim makes Shoto's decision to break the cycle of familial abuse by saving Toya and not leaving a single family member all the more poignant.

Toya is an uglier victim than Azula, actively trying to kill himself in a way that Azula isn't, and treats Shoto way worse than Azula ever treated Zuko and yet Azula isn't shown the sympathy or given the salvation that Toya is.

Because once again, the writers didn't think about the ending of Azula's arc or of Azula as her own character. Shoto defeating Toya is the culmination of his desire to break the cycle of abuse in his family. Zuko putting Azula down is just to make Zuko look better. It's in service of Zuko's character instead of both of their characters.

THE BAD

Avatar isn't setting up some gritty ending where the bad guys can't be stopped, they can only be killed. In fact it's pretty close in tone to MHA.

Season 3 especially is the season that really begins to hammer in on the themes that even the people on the enemy side are still human after all. The headband shows that Fire Nation children are indoctrinated into the war, but they are in the end still children. There's the story between Avatar Roku and Sozin, and once again Iroh saying that Zuko has both options becoming like Roku or becoming like Sozin available to him (but not Azula I guess). There's Zuko joining Team Avatar, even after he betrayed Katara in Ba Sing Se and should have burnt that bridge then and there. There's Zuko working to earn their trust again when no one on the team really owe it to him.

The main character of the show is a pacifist, who deliberately learns a way to stop Ozai without killing him before the final battle because he doesn't want to break the values taught to him by his culture.

If the entire theme of season 3 is redemption, healing and that the fire nation are not inherently evil then why does Zuko's sister and character foil end the last shot of the series screaming and crying with no one comforting or even attempting to sympathize with her. Why is this one character marked for tragedy in a show that is about redemption and healing and showing compassion to your enemies and very specifically not a tragedy.

Toya literally burns all of the flesh off of his body, and somehow he has a gentler ending than Azula, because at least Toya's arc ends with all the members of his family showing up to try to cool down his flames, and when he's on the ground burnt to a crisp his father finally apologizes to him. Toya is a skinless burnt chicken wing, my boy has no skin, and somehow he's better off than Azula.

I don't think the writers gave Azula such a cruel ending because they don't like her, but rather because they just didn't think about her ending outside of what it meant for Zuko. Which is why you get moments like Aang who is apparently a pacifist who doesn't want to kill the Firelord, watching his daughter fall to her death while sitting on a flying bison and doing absolutely nothing to save her. ALL LIFE IS PRECIOUS (except for Azula I guess).

It's not bad because a victim doesn't get saved, it's bad because it doesn't fit in with the rest of the story.

Not only is Zuko saving Azula a very natural conclusion to his arc, but there's far more setup for Zuko reaching out to his sister and saving her than there ever was for Toya and Shoto. Both Toya and Terra are screaming at the top of their lungs "I HATE EVERYONE, YOU SHOULD ALL JUST GO TO HELL." They're both making decisions and committing to their self destruction while Azula is a 14 year old girl having a mental breakdown.

Anyway, time to quote the bad bad video again.

"When does a villain deserve a redemption arc? When do we deserve a redemption arc? I know this is gonna hurt, but characters are not people. They are tools. They are represetations of people. They can be used to say other things. They can be symbolic representation of other ideas. Azula's story is not just about a fourteen year old defeated by her brother for the throne, Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

I specifically chose to cite MHA, because of how differently it decided to use Shoto and Toya's character foiling. Shoto recognizes himself in Toya, and how different their paths were in life. This is explicitly motivates him to save Toya. It's also the culmination of everything that Shoto has learned because Shoto is a hero who believes that actions speak louder than words. It's not enough for Shoto to resolve his own inner struggle, he also has to help Dabi with his because that's showing Shoto has grown rather than telling us.

I think that is where the major difference lies between Shoto and Zuko, we're told that Zuko has chosen the path of empathy and healing, that he's learned to give people love and patience like Iroh has but instead of showing that the culmination of his arc is having a fist fight with his sister in a denny's parkinglot.

Azula is Zuko's character foil, where she is ruthless and practical, Zuko is empathetic and emotional. Where Azula's a prodigy, Zuko has to work hard to earn eve a fraction of her power.

If Zuko is empathic and emotional and that is why he's gained friends while Azula is now alone after having lost her friends due to the way she treated them, then like... what a great opportunity for Zuko to SHOW that quality of empathy.

However, Zuko doesn't do anything that Shoto does in the final fight. He's not even here for Azula, Azula's just an obstacle for taking back the crown. He doesn't talk to Azula, engage her in any way, try to de-escalate and avoid the fight.

If you want to make the tragedy that Azula and Zuko have taken such different paths in life that that Zuko fighting with his sister is unavoidable you could um... at least show Zuko being sad over the prospect of fighting his sister or being reluctant in any way.

(Before you come in here with "Zuko doesn't owe Azula anything take" this isn't about whether or not Azula is a terrible sister to Zuko, this is about the story that avatar is attempting to tell. Shoto and Dabi's fight is tragic because Shoto doesn't want to fight Dabi, he wants Dabi to come home and for their family to be complete. Zuko never expresses anything like that so where does the tragedy come from?)

If it were 100% committed to a tragedy like Terra's death then I wouldn't mind. if it were 100% committed to a story of redemption like Shoto reaching out to Toya then I wouldn't mind. My issue arises from the fact they want to have their cake and eat it too.

They want to give this tragic end to Azula, and use it to illustrate how Zuko has grown as a character. However, you can't have both.

If Zuko's growth is about learning that his father's love based on achievement and 2) learning he needed to get lost in life in order to find himself then why doesn't any of Zuko's actions demonstrate this lesson Zuko has learned about love, and about how you can be your own person outside what your father expects from you.

If Zuko has grown as a character he should be able to show those actions. He does show his new understanding of love and friendship to Team Avatar, but as I said that's easy mode. That's Shoto's attempts to save Iida, it's a step in the right direction. It's also not really Zuko demonstrating a selfless love, because he's also at the same time trying to earn their trust and earn his way into the group.

It's also not Zuko breaking the cycle of abuse in their family in any way. Shoto is trying to break free from his role of his father's masterpiece, and at the same time helping Dabi break free from his view that he's the failure.

It's also such a natural ending for Zuko's arc, to take the lessons he learned from Iroh and give them to his sister who needs them so they can both break away from their father's parenting. As I said Zuko does solve the internal conflict within himself, but he doesn't really demonstrate that by helping someone else find their balance.

If you wanted the tragic end, then it would have to be about Zuko's failure to reach out to his sister, because he hasn't learned how to reach out to her. Or because he tries and is unable to. The writers don't seem to understand that though, they think the tragedy is about Azula bringing it all on herself, and not the inherent tragedy of a fourteen year old girl being unable to be saved.

The set up is right there too, because number one avatar is about balance. So, wouldn't the true ending be finding balance between the siblings, not having Zuko rise and Azula fall. Number two, Azula being alone and friendless because of her own actions is again a parallel to where Zuko was in early season 2 at his lowest point. Except Zuko can be the better person in this situation by reaching out to her.

Zuko doesn't break the golden child / scapegoat dynamic, he just flips it so now he's the success and Azula is the failure.

While Azula's fall comes from cruelty and rejection from friends and allies it is Zuko's humility and kindness and friendship that ultimately wins the day. Him sacrifcing herself for Katara and her bringing Azula down and then her healing him. Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone. "

As I've stated above, I'm not saying Azula didn't deserve to take a fall. Her fall is actually set up from the first moment she met Ty lee. However, there's no set up for her fall being permanent.

Azula's given way more humanizing moments than characters like Terra or even Dabi. Which is why Azula being in an insane asylum for the rest of her life doesn't fit as an ending at all.

Azula is one link in the chain of abuse. Her father only gives out affection in regards to her usefulness. No matter what Azula is an asset first and a daughter second. Azula then repeats the cycle and treats her friends the same way. She has been shown through an improper model of parenting of using fear to dominate others with power and control and she replicates that in her other relationships.

Therefore, Ty lee and Mai leaving her is not only deserved, it's the perfect opportunity to pull the rug underneath Azula and to show her that her understanding of how relationships work is completely wrong.

This also mirrors Zuko's arc, because part of Zuko's arc is realizing just how wrong Ozai is for making both children earn his love, and that he doesn't need to measure his self-worth based upon his father's approval. He also learns about healthy expressions of trust and friendship from the gang.

Azula loses in part due to her own inability to form healthy relationships is losing people rapid fire, her brother leaves and joins the enemy side, Mai and Ty Lee betray her in favor of her brother, then her father in one action of leaving Azula behind and throws the title of Firelord to her after it's become completely meaningless reminds her of her place. Azula learns in about five episodes what Zuko had in 3.5 seasons to process that her father's love was always conditional and no matter what she did she would never truly "earn it."

People leaving Azula isn't exactly the problem, the problem is that Azula ends up alone permanently without being given the same chance that Zuko is. Terra, and Toya both get opportunities to turn back. They both refuse the hand that's reaching out to him. Mai and Ty Lee leaving is caused by Azula's own choices, but her ultimate end isn't. She's not even given the chance to turn away being saved like Terra and Toya do because Zuko doesn't even bother to try saving her. Her ending is not entirely brought about by her own choices, because the writers need her to take a fall to uplift Zuko.

Azula ending up imprisoned isn't something happening to a real person, it's a deliberative narrative choice by the author to say something about how people like this isolate themselves and end up alone.

I think once again it comes from the author's misunderstanding things because they don't want to look at the story from Azula's perspective, only Zuko's.

Stay at Home almost had it when he said the tragedy of Zuko and Azula was there to show how two different parenting styles affected these children.

The tragedy is that Zuko and Azula started in the same place, but Zuko had persistent guidance and someone who modeled for him a healthy kind of love. The difference is that Azula has never experienced any kind of healthy love or support on the level Zuko has, so she models all her relationships on the way her father treats her. It's not that Azula is offered some chance for change and rejects it, it's that Azula isn't even aware of the fact that there's another way because no one is there to show it to her.

Which is why I said once again, Zuko being the first one to show Azula the lessons he himself was shown by Iroh is such a natural place for his character to end.

Azula also even while completely alone and with no idea what healthy love is, knows that there is something wrong with her and is troubled by that fact in a way Dabi and Terra aren't.

Azula: I can sit here and complain about how our mom liked Zuko more than me. But I don't really care. My own mother... thoguht I was a monster... She was right of course, but it still hurt.

Then there's the famous mirror scene:

Ursa: I didn't want to miss my own daughter's coronation. Azula:Don't pretend to act proud. I know what you really think of me. You think I'm a monster. Ursa: think you're confused. All your life you used fear to control people, like your friends Mai and Ty Lee. Azula: Well what choice do I have?! Trust is for fools. Fear is the only reliable way. Even you fear me. Ursa: No. I love you, Azula. I do.

Both of these scenes indicate that Azula thinks of herself as a monster and is deeply uncomfortable with the idea. Considering Ursa is a voice in Azula's head and not a ghost, it also shows on some level Azula knew what she did to Mai and Ty Lee was wrong and feels conflicted over it.

Once again she's much more in conflict with herself than Toya and Terror ever are, and who's someone who's constantly warring with himself? Who's someone who could help resolve her inner conflict... Zuko (too bad the way the show's written he never does).

Azula doesn't choose to self-destruct the way that Terra and Toya did. Azula's ending isn't brought about by her choice not to change, because she's never given the chance to change in the first place. Her tragic ending would make sense if it was entirely of her own choices, but Azula doesn't retain her agency in the end it's literally taken away from her. She loses control of her mind, and her ending is being chained to a grate screaming and then thrown into an asylum.

I'm not arguing against Azula's ending because she's my favorite character and I don't want bad things to happen to her. It's because her tragedy isn't about her it's about Zuko, and her ending actively takes agency away from her where at least Toya and Terra both retain their agency up until the end. It's not good writing because the tragedy doesn't fit in with the rest of the story which is about balance and healing - and it's also ableist as hell.

THE UGLY

Azula's ending is unfitting to the tone of the story she's in, makes her and Zuko's arcs feel incomplete, and also is ableist as hell.

Here's yet more evidence that Azula's tragic ending is poorly thought out. Azula's mental breakdown doesn't exist in service of her character, but Zuko's.

Azula's issues pop up out of nowhere after episode 15, and take place over the last 6 episode of the series. The idea of Azula having a mental breakdown isn't necessarily a bad concept, but it's executed poorly.

The first way it's executed poorly is just how rushed it is. There's basically no hints of any mental instability beforehand. Of course people can have mental breakdowns spontaenously like that in real life, but this is a story and stories require foreshadowing. Azula spontaneously developing mental issues doesn't feel like it's planned as a part of an arc. First off, because the writers don't seem too sure about what Azula's symptoms even are. Hallucination, paranoia, manic laughter, but apparently she's still able to bend lightning just fine. Secondly, the writer's intentions for giving Azula a mental breakdown are pretty transparent.

The writer's room needed to come up with a believable reason why Zuko would suddenly be able to fight on equal terms with Azula, so boom sudden mental illness. The intent was not to create a sympathetic portrayal of a young girl struggling with both paranoia and delusions. The intent was to nerf Azula because they couldn't think of any other way this plot could end, other than Zuko and Azula fighting in a denny's parkinglot.

As I said they use mental illness as a plot device to take Azula's agency and choices away from her. It's not done with the intention of humanizing her, and in fact except for one small scene with her talking to her mother in the mirror it's a pretty negative and unsympathetic portrayal of mental illness. Not because the writers hate mentally ill people, but because they needed Azula to have a mental breakdown in order for a plot point to happen. Which is why they didn't think of the potential implciations of such a writing choice at all.

Now, people are going to argue about me so I'll use one final example. Azula's ending may be controversial but it's universally agreed upon that the Game of Thrones Ending was bad, right?

Game of Thrones uses mental illness as the exact same plot device, to explain why Daenerys Targaryen turns from a hero to villain in the last few episodes with absolutely no foreshadowing. In fact, the all of the show director's interviews about that choice are just blatantly ableist.

Rant from @hamliet

This quote is (likely unintentionally) gaslighting, ableist, terrible logically, and downright offensive.

First, ableism: why, why, why are we conflating madness with evil? She was driven to madness so she killed a bunch of people and had to be put down? And you think this is a great message in the year of our Lord 2019? [...] Additionally, while good writing is to an extent subjective, there are general consensuses on what make good writing--and Game of Thrones hit all the general consensuses for bad writing, from bad pacing to confusing character assassination. Critics are like, pretty united on this front. No one thought Dany’s turn made sense, even the ones who expect Mad Queen in the books. Maybe if people love a character who is meant to be evil you're not writing them correctly... or maybe they aren't meant to be evil.

Daenerys and Azula are incredibly similiar characters. They're both dragon themed, alligned with the element of fire, they're both colonizers they both represent the warrior princess archetype.

I'd say Daenerys is more of a tragic heroine though, because while Danerys is essentially doing the same thing as Azula, waging war in a foreign land and a culture that's not hers, for the purpose of then bringing back soldiers to her home continent so she can wage war again - while she is definitely a war mongerer she has good intentions. Daenerys for all of her faults, genuinely wants to break the chains and help out people.

I think Azula definitely sees herself as the hero for winning the war for the fire nation's sake, but she's completely uncritical of her own culture and she doesn't really have the good intentions that Dany has. She does it more out of a sense of duty, and her belief of divine right, not because she wants to break people free.

Daenerys's problem is that she doesn't understand the culture she's invading and the complicated world she lives in and despite all good intentions, is as I described above, invading a foreign power so she can go back and wage a war to reclaim the throne. Even if Daenerys would then proceed to go on to be the bestest queen ever that wouldn't change the fact her methods to get to the throne were incredibly violent, and she's sort of failing to break free from the cycle that led the Targeryen rule to fail in the first place.

Azula's problem is she sees herself as the hero and is therefore uncritical of fire nation values. She doesn't have any nobler intentions either other than service to her country, she just like Zuko is just trying to fulfill her duties as daughter and believe her birthright puts her above others. (I mean Dany does too but digressing).

Azula's more of a tragic villain who plays the antagonist role in the story, Danerys is one of the three heroes. However, she's more of a tragic villain in the sense that she's first season zuko pre character development just way more competent.

However, while Daenerys is a much more heroic character than Azula, here's the thing. I still think she's going to die. She is foreshadowed pretty heavily to die, and fail for her quest for the throne, because her entire story is a deconstruction of the warrior princess and the liberator archetype.

However, the story that GRRM is building throughout his books with Dany as an incredibly flawed heroine is different from what we got in the show, which was Daenerys going crazy and starting to murder people. That's because Daenerys turn to darkness wasn't about her character at all, it was just making her into a plot device to move their bad idea for a plot forward. That's why the turn is so unnatural and makes little sense with her character, that's why it's so rushed.

That's also why it's ableist, because it's using mental illness as a plot device to make a character unsympathetic and monstrous and give the other characters a reason to put them down.

The same for Azula, outside of one scene where he's talking to her mother, Azula's mental illness manifests in her screaming, maniacally laughing, looking like the joker did her makeup, and her instability also makes her violent and dangerous to be around. (Ignoring the fact that most people who experience delusions in real life are harmless, and more likely to be the victims of violence).

Her sudden mental illness isn't even used to make her more sympathetic in say Zuko's eyes and make him realize she's a victim, no it's just there to nerf her so she can be violently put down. The way she's drawn, the way she acts, it's to paint her as monstrous as possible. Her last action is like sobbing and screaming while being drawn as ugly as possible. She's not even given a small hope for recovery, because it just ends there. That's a pretty great message to send people that experience delusions, not only will you not recover or be shown sympathy, you'll also get sent to a mental asylum for the rest of your life. The choice for both Azula and Dany is not to portray any kind of mental illness in a respectful way, but to make a plot point happen.

As I said I expect Dany to die in the books, but there's a difference between dying as a tragic hero succumbing to your flaws but still having your good intentions acknowledged and just turning into a villain for no reason and being put down like a rabid dog.

(This is a quote I stole from a Shigaraki post but): "Why does she need to be put down in the first place, she has trauma, not rabies."

The problem isn't bad thing happened to my favorite character, the problem with the ending is it doesn't take Dany's setup into consideration.

Stealing from @hamliet again:

The thing about tragedies is that you have to manage expectations and clearly show that your tragic hero is doomed from the very early on–ie you have to show them making steadily worse and worse decisions (see: Eren Jaeger in SnK), if not directly tell your audience at the very beginning that this is a tragic story (ie see Greek choruses and Shakespeare, the prequels from Star Wars because everyone knows Anakin is Vader–plus I’d argue Anakin’s arc only works because we know he comes back to the light in the end. Audiences don’t like reversing on set up/undoing structure. To make Dany a tragic villain is to go against the structure of her arc in both show and book. That’s why people don’t like it, even if the books makes it seem more believable.

Kate then goes onto describe a character that's much more comparable to Azula's. Honestly Arianne is closer to Azula than Daenerys is.

You know who is set up as a tragic heroine destined to descend and die because of her flaws in the books, whose arc has almost certainly been combined with Dany’s in some sense in the show? Arianne Martell. (and another character known as f!Aegon) In the books, Arianne is incredibly ambitious, and especially resents her brother and his quest for power. Like Margaery (another tragic character), Arianne seeks power and is intelligent and manipulative in her quest for it. But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising. Arianne, as her chapters hint, is going to almost certainly marry f!Aegon, playing with fire, and die burning for it. Arianne’s grasping for her own power is never portrayed as cruel or stupid like the main human villain (Cersei); on the contrary, we empathize with a girl who truly cares about her people, but resents her father’s preferential treatment towards her brother. That’s the difference between Arianne and Cersei: Arianne cares. She is not cruel. But her pride is still going to get her killed.

There's a lot of game of throne females you could compare Azula to because GOT is full of queens, but like. Azula may be a tragic villain firmly on the side of the antagonists but she's not Cerseie. She's not queen, she doesn't wield the power that Cersei wields. In fact one of Azula's downfalls is finding out she doesn't have as much power as she thought she had, and ultimately was just a tool of her fathers.

She's not Rhaenyra or Alicent, because yes she may be grabbing for power but her character isn't affected by misogyny. Because once again, the writers simply didn't think about misogyny except for a really surface level "girls can be just as strong as boys" way so we really have no idea how women are seen in the fire nation. The show doesn't really explore if being a woman makes things harder, or makes people treat her differently than Zuko because the writers just didn't consider Azula's perspcetive on that matter.

Azula is alike to Danaerys in several ways, but as I said I think her ultimate end comes from Azula understimating her own importance in her father's eyes, and quickly realizing when her father is her only family left she never had his love or loyalty in the first place.

But Margaery’s fatal mistake is that in seeking power and prestige, she’s become more a pawn than anything else for a villain (Cersei). She chose to play with lions, and she’ll be torn apart; that’s not surprising.

Azula's most famous quote is about how Long Feng isn't even a player, only to find out her father considered her a pawn from the beginning and be broken by the revelation.

The difference being of course that Avatar is not Game of Thrones and it won't even kill the evil fascist dictator so it doesn't make a lot of sense to hand Azula the ending that Arianne got. They have the same fatal flaw.

Anyway, I made this big post but I can explain why Azula's tragic ending down't work in one sentence.

AVATAR THE LAST AIRBENDER IS NOT A TRAGEDY.

Maybe the reason Azula should get redeemed is because THE SHOW IS ABOUT F&%CKING REDEMPTION.

#bnha meta #mha meta #atla meta #azula meta #azula #princess azula #dabi #toya todoroki #shoto todoroki #azula redemption

335 notes · View notes