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linkspooky · 8 months ago

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SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

The failure of Deku to save Shigaraki isn’t just a tragic conclusion for Shigaraki’s arc, it’s also My Hero Academia failing as a story. When I say the story failed, I mean the story has failed to answer any of the questions it asked its audience. It’s themes, character arcs, everything that communicates the meaning of the story to the audience is no longer clear.

Saving Shigaraki was the central goal of not only the story itself, but the main character Deku. By failing in its goal you can’t call this a good ending. In order to illustrate why this goal of saving the villain is so important to both Deku’s character and the central idea of MHA, I’m going to provide a positive example in Yu-Gi-Oh GX were the main character Judai successfully saves their villain. One of these stories fails, and the other succeeds. I will illustrate why under the cut.

BROKEN THEMES = BROKEN STORY

When artists draw they have to consider things like perspective, anatomy, shading, light, coloring. Drawing has rules, and it’s hard to produce good art without knowing these rules beforehand. If I draw something that has bad anatomy, you can criticize me for that.

Writing has rules, just like drawing. The rules of storytelling are important because writing is an act of communication. You can write whatever you want, just like how you can draw whatever you want, but if you break the rules the audience won’t understand what you are trying to communicate.

When I refer to MHA as a broken story, I am referring to the fact that it has broken the rules of storytelling. As this youtuber explains.

“I guess we should first define what broke and broken even means in this context. Has the story turned into an unintelligible mess? Not really. Value judgements aside, the narrative is still functional and fulfills the criteria of being a story. So how can a story that still functions be broken? Maybe to you it cannot. But to me a story that is still functional isn’t enough. What I mean when I say MHA is broken is that it’s lost something crucial. A codifying style of structure, pacing and payoff that until a certain point was the core of its identity.”

I could launch into a long-winded explanation of what themes are, but for the sake of simplicity I like to define themes in terms of “Ask, and answer.” The author asks a question to the audience, and then by the end of the story provides an answer. The audience is also invited to come up with their own answer which prompts them to think about the story on a deeper level. The question both MHA and GX are asking both its main characters and the audience is “Can you save the villain?” with the additional complicated question of “Should you save the villain?” This post will detail how both stories go about answering those two questions, and more importantly why those answers matter for the story.

With Great Power… You know the rest.

My Hero Academia and Yu-Gi-Oh Gx are actually similar stories once you get past their superficial differences. MHA is a story with way better worldbuilding, compared to a society where everything revolves around the trading card game, and people go to school to be better at a trading card game.

However, if you get past that. They are both bildungsroman, stories about the main characters growing up into adults. They both have an academy setting where the goal is for the main character to graduate and enter the adult world. They are both shonen manga. GX is the sequel of Yu-Gi-Oh a manga that ran in Shonen Jump the exact same magazine as MHA. The biggest point of comparison is their main characters, who both start out as young and naive who are driven by their admiration of heroes. Deku is a fan of All Might who wants to become a hero despite not having a quirk, because he loves All might who saves everyone with a smile. Judai’s entire deck archetype revolves around “Elemental Heroes’ and later “Neo-Spacians” who are all based on popular sentai heroes like ultraman.

The central arc for both characters is to grow up. Growing up for both of them not only requires figuring out what kind of adult they want to be, but also what kind of hero they want to be.

Now I’m going to drastically oversimplify what a character arc is.

A character arc first starts out with the character being wrong. Being wrong is essential because if the character is right from the beginning, then there’s no point in telling the story. A character often holds the wrong idea about the world, or has some sort of flaw that hinders their growth. The narrative then needs to challenge them on that flaw. It usually sets up some kind of goal or win condition. That flaw gets in the way of a character “winning” or achieving their goal, so they need to fix that flaw first. If their ideals are wrong, then they need to think about what the right ideals are. If they’re too childish, they need to grow up. If they have unhealthy behaviors or coping mechanisms, they need to unlearn it and require better ones. Otherwise, that flaw will keep sabotaging them until the end.

I’m borrowing the word “win condition” from class1akids here because it’s an incredibly appropriate terminology. Midoriya needs to do “x�� in order to win, otherwise this victory doesn’t feel earned. The “x” in this case is usually character development. As I said before, a story where the main character hasn’t changed from beginning to end feels pointless. Especially in Deku’s case, he was already a brave, strong hero who would charge right into battle and defeat the bad guys in chapter one, so him defeating Shigaraki in a fist fight doesn’t represent a change.

The story sets up not only “What does the hero need to do to win?” but also “How does the hero need to change in order to win?” A character either meets these requirements before the end of the story, or they don’t and usually this results in a negative ending.

MHA in its first half quite clearly set up both the final conflict of saving the villains, and also that saving the villains is its “win conditions.” The hero shouldn't be allowed to win without first fixing this flaw.

From this panel onward the central question Deku is forced to answer shifts from “Am I strong enough to defeat ShigarakI” to “Can I save Shigaraki?” However, much earlier than that All Might goes on to basically set up the win conditions of what makes the ultimate hero as someone who “Saves by winning, and wins by saving.”

All might: You can become the ultimate heroes. Ones who save by winning, and win by saving.

Therefore the story has set it’s criteria for what kind of hero Deku needs to become. If he wins without saving, then he’s failed to become what the series has set up as the Ultimate Hero.

Shigaraki and Yubel aren’t just narrative obstacles, or boss monsters to be killed like in a video game. They are narrative challenges, which means that the character can’t grow in any way if they don’t answer the challenge presented by the characters. They are villains who actively resist being saved, to provide a challenge for two heroes who define their heroism by saving others. The challenge they pose adds a third question to the story and the main characters.

"Can I save the villain?"

"Should I save the villain?"

"If I don't save the villain, then can I really call myself a hero?"

In other words the decision they make in saving, or not saving their final antagonist defines what kind of hero they are. In Deku’s case it’s even more critical he defines what hero he wants to be because the MHA is also a generational story, and several of the kids are asked to prove how exactly this generation of heroes is going to surpass the last one. The kids growing physically stronger than the last generation isn’t a satisfactory answer, Deku getting strong enough to punch Shigaraki hard is not a satisfactory answer, because we are reading a story and not watching a boxing match.

I’m going to focus on the last two questions though for a moment. Many people who argue against saving villains like Shigaraki argue he is a mass murderer and therefore isn’t worthy of salvation. However, the act of saving Shigaraki isn’t a reflection of Shigaraki himself, but rather the kind of hero Deku wants to be. It all boils down to Spiderman. In the opening issue of Spiderman, teenage Peter Parker is bitten by a radioactive spider and suddenly gains super strength, the ability to stick to walls along with other powers. However, being a teenager he uses these powers selfishly at first. He doesn’t feel the obligation to use his powers for other people, and therefore when he sees a robbery happening right in front of him he lets the robber go. However, because he lets the robber go, the robber then attempts to hijack a car and kills his Uncle Ben in the process. If Spiderman had stopped the robber then he might have prevented that from happening. He had the power to stop the robber, but he didn’t feel responsible or obligated to save other people. As a result Uncle Ben dies. It’s not enough to have power, ti’s how you use that power that reflects who you are, therefore: “with great power comes great responsibility.”

The choice to save Shigaraki actually has little to do with whether or not Shigaraki is redeemable, but rather how Deku chooses to use his power, and what he thinks he is responsible for reflects who Deku is as a person. Deku himself also clearly outlines how he wants to use his power, that One for All is a power for saving, and not killing.

How he uses his power reflects Deku’s ideal in saving others, and therefore if he doesnt use his power to save, then he’s failed to live up to his ideals. It's not whether it's morally right to save a murderer like Shigaraki, but rather the way Deku wants to choose to use his power. It's about whether he feels the responsibility to save others.

Judai explores an incredibly similar arc to Deku. They are basically both asked what kind of responsibilities a hero is supposed to have, which is also a metaphor for growing up to handle the responsibilities of adulthood. As both characters start out with incredibly naive and childish ideas about what a hero is. Therefore realizing what a hero is responsible for is key to them growing as a character. However, Judai is different from Deku. In some ways he’s more like Bakugo. Judai is a prodigy who’s naturally good at dueling. He doesn’t duel to save others, but rather because duels are fun and he’s good at it. He’s very much like Bakugo, who admired All Might as a hero just as much as Deku did, but admired the fact that he was strong and always won rather than he saved others.

However, I would say both Deku and Judai are questioning what a hero is responsible for. They are both asking if they have the responsibility to use their power to save others. If they have to fight for other people, just because they have power. His first big challenge as a character comes from Edo Phoenix, who calls out Judai for not thinking through what it means to be a hero, and what responsibilities heroes carry. Judai duels because he thinks it’s fun. He will show up to duel to help his friends, but that’s because he’s the most powerful person in the group. Even then it’s because he finds fighting strong opponents to be enjoyable. Bakugo will beat up a villain, but for him it’s more about winning then if the action will save someone or not.

Judai is more often than not pushed into the role of being a hero, he doesn’t play the hero because he’s a particularly selfless person, and he’ll often avoid responsibility if not forced. He has power but no sense of responsibility and the narrative calls them out as a problem.

Edo: Can you even fathom that, Judai?

For Judai, he can’t understand the responsibility of being a hero. For Deku, he idealizes heroes so much he can’t understand that there are people out there the heroes have failed to save. These two callouts towards Deku and Judai are discussing similar because they’re both discussing where a hero’s responsibilities lie. Is a hero responsible for saving everyone? Is someone strong like Judai responsible for using their strength to help other people?

Judai’s arc continues into the third season where he’s not shown to just be naive but ignorant. He’s not just childish, he actively resists growing up because he doesn’t want to take on adult responsibilities.

THe same way that Deku just decides not to think about whether or not All Might failed to save people in the panels above. However, in Judai's case he's actively called out for his choice to remain ignorant.

Satou: Now, which one is at fault? Judai: Isn’t it the guy who saw it, but didn’t pick it up. Satou: Not quite. If one is aware of the trash that fell, it may be picked up someday. But there is no possibility fo the unaware one ever picking it up. Judai-kun you are the foolish one unaware of the trash that has fallen. Judai: Are you calling me out for how I am? Satou: Your behavior towards me was atrocious. The worst was attending class only for credit, even if you were there you only slept. Judai: Yeah, I know. I was all bad, but it wasn’t that big a- Satou: It is important. You see, one by one, the students inspired by your attitude were losing their motivation. Now if you were a mediocre duelist, then this would not be an issue. Satou: However, you are the same hero who defeated the three mythic demons. Every single student in the academy admires you. You should have been a model for this academy. Judai: Me, a role model? Are you kidding? I just do whatever I feel like doing. Satou: Great power comes with great responsibility. Yet, as you remain unaware of that, you’ve spread your lethargy and self-indulgence.

seems like a minor issue, but look how Judai responds to the accusations. “I just do whatever I feel like doing.” Satou is arguing that Judai should pay attention to the influence he has on others because of his power, because how he chooses to use that power affects others. However, Judai chooses to actively not look at the consequences of his actions because he doesn’t want to take on that level of responsibility, and therefore he’s looking away from the trash.

While it seems like it doesn’t matter in Satou’s specific example, not thinking of the consequences, or how you use your power can have unexpected consequences. Spiderman doesn’t feel like it’s his responsibility to stop a bank robber, and that bank robber shoots his uncle. You could still argue it’s not Spiderman’s responsibility to stop every crime in the world, and I guess no one owes anyone anything from that point of view - but Spiderman failing to act responsibility had the consequence of directly hurting someone else.

Spiderman has to live with that consequence because it was his own Uncle that was hurt. This is where we really reach the duality of Judai.

In GX, Judai is, symbolically speaking, The Fool of the Tarot Deck, the Novice Alchemist — a person brimming with infinite potential, yet one who is also supremely ignorant, who walks forward with his eyes closed and often unknowingly causes harm in his great ignorance. In this, he is very much the embodiment of the faults we most commonly associate with teenagers — selfishness, recklessness, shallowness, a lack of dedication or empathy when it’s most needed. Like most people, he has good traits that work to balance out some of the above, but his narrative path through GX ends up being that of the flawed hero undone by his faults — and then that of the atoner, the repentant sinner. In his case, the mistakes of his teenage years are the catalyst for his growth from a boy into a man burdened with duty and purpose. Judai is someone with infinite potential, with great power, but also ignorant on how he should use that power, and that makes him an incredibly flawed hero who needs to learn how that power should be used.

Deku similarly exists in a society where heroes deliberately turn a blind eye to the suffering of a certain type of victim. Shigaraki’s speech heavily resmebles Satou’s speech about garbage on the side of the road.

Shigarali: "For generations you pretended not to see those you coudln't protect and swept their pain under the rug. It's tainted everything you've built."

Deku shares Judai’s ignorance, because he’s not only a part of a system that doesn’t even see trash on the side of the road, but he also worships heroes so much that he’s incapable of criticizing them. If Deku saw the flaws of heroes, but at first didn’t have the courage to speak out, but eventually gained the courage that would be one thing. However, if he doesn’t see the flaws of heroes, then the problem will never be fixed.

There are also consequences for both Judai and Deku failing to use their powers responsibly. These consequences take the form of the villains who came about because of all of society’s ignorance to the suffering of victims (Shigaraki) and because of the main character’s ignorance to their suffering (Yubel). Shigaraki and Yubel are also explicitly victims that the heroes failed to save, turned into villains who are active threats to the heroes.

Should I save the villain?

The answer is yes, because the decision to save is reflective of the kind of hero each character wants to be. Each story clearly sets up that Deku and Judai aren’t punisher style heroes who shoot their villains, they are being set up as heroes who save. Deku needs to “save by winning.” As for Judai, a big deal is made of Judai’s admiration for another character Johan who represents a more idealistic kind of hero. Johan unlike Judai is someone who duels with a purpose, something Judai outright says he admires because he’s empty in comparison.

Judai: Johan what have you been dueling for? See, it’s about fun for me… Well, for the surprise and happiness too. I guess I do do it for the fun. Sorry, I guess I put you on the spot by asking out of nowhere. Johan: What’s this about Judai? Judai: It’s nothing. Johan: I suppose there is one goal I have. Johan: Even if someone doesn’t have the power to see spirits, they can still form a bond with a spirit. That’s why I do it for people like him. [...] Johan: I'll fight for everyone who believes in me, and I'll do it with my Duel Monsters. Judai: I'm jealous you've got feelings like those in you.

Becoming a hero who uses their power to help others isn’t just a goal the story sets for Judai, it’s a goal that Judai sets for himself because of his admiration for Johan. Johan represents the idealistic hero Judai wants to be, but is also held back from because of his personality flaws. Johan represents the kind of heroic ideal that Deku is aspiring to be.

Johan’s ultimate goal isn’t punishing the wicked, but to use his power to save others.

Johan: Judai, it was my dream to save everyone through my dueling!

The story sets up the idea that it’s not enough for Judai to simply be strong, he’s also challenged to become a savior who uses his power to help others like Johan. Deku needs to “save by winning” and Judai needs to “Save everyone through his dueling.” However, Johan also adds another condition to what saving means. His idea of saving isn’t to defeat a villain, but rather his dream is to help connect spirits and humans together, even if there are humans who can’t see spirits. Johan doesn’t save people with the power of physical force, but rather the power of human connection.

Should I save the villain?

Here the answer is "Yes", because wants to become more like Johan someone who uses their power to help others not just for themselves. Then we reach the third question

If I don't save the villain, can I really call myself a hero?

It once again comes to power and responsibility. Heroes have great power, and they are responsible in how they use that power, if they use it irresponsibly then there are consequences. Shigaraki wants to destroy hero society, because the heroes irresponsibly use their power to turn a blind eye to everyone’s suffering.

People suffer when heroes fail to live up to their responsibilities. The entire conflict of season 3 is created by Judai failing to save Yubel. If Judai had helped Yubel when they most needed it, instead of abandoning them, then Yubel would never have been twisted by the light of destruction, would never have attempted to teleport the school to another dimension, would never have attacked all of JUdai’s friends.

These consequences matter. Deku can turn his eyes away from Shigaraki’s suffering, but let’s say a hero failed to stop a robbery, or rather he didn’t even try, and because of that his mom was shot and died in the street. Would Deku consider the man who failed to stop a bank robbery a hero? When Spiderman let a bank robber go instead of trying to stop him, was he being a hero in that moment? Both the stories and the characters themselves have defined heroes as people who use their powers to save others, therefore if Judai and Yubel fail to save their villains then they can’t be called heroes by the story’s own definition. Now let’s finally return to the question of "Can I save the villain?"

Was there ever someone you couldn’t save?

m going to start with Yu-Gi-Oh Gx as a positive example of how to save your villain. Gx works for two reasons. One, it’s established from the start that Yubel isn’t beyond salvation, and two, it makes it so Judai can’t win without saving Yubel. The conflict of the story does not end until Judai makes the decision to save Yubel. In some ways the writing is even stronger because Judai is directly responsible for the pain and suffering that Yubel went through that turned them into a villain in the first place. Yubel isn’t just a victim, they’re specifically Judai’s victim.

Yubel is a duel spirit who is also essentially Judai’s childhood friend. A duel spirit just like the kind that Johan wants to save. During their childhood Yubel got too overprotective of Judai, and started to curse his friends for making him cry or upsetting him in any way. Until everyone Judai’s age started avoiding him and Judai became all alone with only Yubel for company. Judai’s decision was to abandon Yubel at that time. He took the yubel card and shot them into space, hoping that being bathed in space rays will somehow “fix” what was wrong with them. I know that’s silly but just go with it. Judai abandoning Yubel had the unintended consequence of Yubel being subjected to the light of destruction, a corrupting light that subjected Yubel to years of pain. This pain literally takes the form of Yubel burning alive.

Yubel connected to his dreams called out for Judai every night, only for Judai’s parents to give him surgery that repressed his memories of Yubel causing him to forget them entirely. Yubel then spent the next ten years alone in space, continuously subjected to painful torture, with their cries for help being ignored.

"I was suffering even as you came to forget about me..."

Yubel is then met with the question of how can Judai treat them this way if they loved him so much? As from Yubel’s perspective, they’ve only ever tried to protect Judai, only for Judai to not only throw them away, but subject them to painful torture and ignore their cries for help. Judai effectively moves on with his life, goes to duel academy, makes friends while Yubel is left to suffer in silence all but forgotten. This is where Judai’s ignorance has serious plot consequences.

It’s not just the pain that Yubel endured that made them snap. It’s that their pain went ignored.

Yubel holds out the faint hope that Judai will answer their calls fro help until they finally burn up upon re-entry into earth’s orbit. At which point they’re left as nothing more than a single hand crawling on the ground. Yubel who cannot fathom why Judai would cause them so much pain, and then forget about them, convinces themselves that Judai must be causing them pain, BECAUSE he loves them.

But you see, I couldn't possibly forget about you in the time that I've suffered...

Judai is allowed to move on with his life, to make friends, to spend the next ten years doing so while Yubel is subjected to ten years of agony. When they finally escape their painful torment, they see all the friends Judai has made while they’re left alone and forgotten. However, Yubel’s goal isn’t revenge. Rather, it’s to make Judai share and recognize their pain. WHich is why I said it’s not the fact that they were made to suffer, but their suffering is ignored. Yubel’s entire philosophy revolves around the idea that sharing pain is an expression of love, and that they and Judai share their love for each other by hurting each other.

"That's why I sought to fill all those linked to you, your world, with both sadness and anguish..."

For Yubel, making all of Judai’s friends suffer and Judai themselves suffer is a way of making them and Judai equals again. They want to show “their love” for Judai, but it’s more about forcing Judai to recognize the pain he’s caused them by forcing him through the same pain. Yubel’s philosophy of sharing pain is actually a twisted form of empathy.

They’re not entirely wrong either, that even people who love each other can cause each other pain, and that if one person is suffering alone in a relationship or the suffering is one-sided then there’s something wrong with that relationship.

Yubel: I get it now… You weren’t in love, with Echo. Yubel: No.. you may have loved her just enough to clear the conditions in palace for you to control Exodia, but the you didn’t truly love each other. Yubel: You were only unfairly hurting her, while you stayed unharmed. You wouldn’t suffer. You wouldn’t suffer. You wouldn’t be in pain. Amon: What are you getting at? Yubel: I’ve been hurt! I’ve suffered! I’ve been in pain. That’s why I’m making JUdai feel the same things I did!

Yubel’s twisted theory of love, is a pretty thinly veiled cry for empathy.

They break out into tears when talking to Amon about the way they’ve hurt and suffered. They clearly state upfront that their goal is for Judai to recognize their love. One of the first things they say to Judai is a plea for Judai to remember them.

Yubel is presented as a very human character suffering through a lot of pain throughout their entire villai arc, they break down into tears multiple times, they cry out in agony, they're visibly suffering and you see their mental walls begin to break down when Judai denies them any empathy.

Yubel is actually incredibly clear and straightforward about their desire to be saved by Judai. However, Judai doesn’t lift a single finger to help Yubel the entire arc, even though they themselves admit they are directly responsible for Yubel’s suffering but they helped create who they are today.

Judai plunges into a different dimension and gives up everything to save someone, but it’s Johan, not Yubel they try to save. You have Johan, the perfect friend, and perfect victim that Judai gets obsessed over and will not stop at anything to save, and then you have Yubel, the imperfect victim that is actively harming Judai and all of his friends that Judai chooses to ignore. The whole season Judai only focuses on saving the perfect victim Johan, and this is clearly shown to be a flaw. Judai doesn’t just ignore Yubel to save Johan, he also ignores every single one of his friends.

Judai only caring about saving Johan, and deliberately ignoring and abandoning the friends who came with him to help, essentially abandoning them the way he did Yubel leads to another consequence. After he abandons them they get captured, rounded up, and actually die and become human sacrifices.

Losing his friends, causes Judai to snap. Judai becomes the supreme king and decides power is all that matters; he starts killing duel spirits en masse in order to forge the super polymerization card. Which means being left alone, suffering alone, being abandoned by everyone causes Judai to snap the exact same way that Yubel did.

In fact Judai is only saved from his darkest moment, because two of his friends sacrifice their lives, trying to get through to him and appeal to his humanity. At that point Judai’s friends could have just chosen to put him down like a mad dog, to punish him for the amount of people he’s killed, but instead they try to save him because of their friendship.

I just want to save my friend. That is all.

By the time Judai is facing Yubel in their final fight, Judai doesn’t have the moral highground against Yubel in any way whatsoever. They’ve both lashed out because of the pain they endured and killed countless people in the process of lashing out. The only real difference between them is that Judai is lucky. He had friends to support him at his lowest point, while Yubel didn’t. Does Judai learn from Jim’s example, and go out of their way to save Yubel the same way they were saved because Yubel is still a friend? Nope, Judai tries to kill Yubel at this point.

I made a lot of friends... And they all taught me something… real love is wide enough, large enough and deep enough to fill the universe. Your so-called love is only a conceited delusion.

Like, Judai, sweetie baby honey darling. How was Yubel supposed to make friends when they were floating in the empty void of space?

Judai hasn’t learned, they are still ignorant, and still turn a blind eye to Yubel’s suffering. After all if his love is wide enough, large enough,and deep enough to fill the universe then why don’t thy have any room in their heart whatsoever for empathizing with Yubel?

Judai making friends while Yubel was trapped in space doesn’t make Judai a better person than Yubel, it makes Judai lucky. Judai doesn’t even appreciate that luck, because he treats his friends like garbage. It’s not about whether Yubel is worthy of salvation, because Judai is a mass murderer and his friends still went to great lengths to save them anyway. It’s that Judai doesn’t want to empathize with Yubel, because they still want to remain ignorant and irresponsible. Judai wants to continue playing hero, with a very black and white definition of what a hero is. By this point Judai’s killed lots of people, but if he makes Yubel the villain in the situation, he can keep playing hero. He doesn’t have to look at himself and what he’s done, because blaming everything that happened on Yubel and then putting Yubel down like a mad dog allows Judai to absolve his own guilt. Judai practically ignores Yubel’s cries for help, even when Yubel spells it out for them.

I couldn't have lived with the heartache unless I felt that I was being loved...

At this point Yubel themselves acknowledges that their love was just a delusion. That it was a coping mechanism, because they couldn’t live with all the pain otherwise. WIthout it they would have just died, which makes Judai unmoved. The implication here is that Judai thinks yes, Yubel should have just died in that crater. It would have been easier for Yubel to die a perfect victim, then for Yubel to crawl out of that crater and go on to hurt other people. While that may be true the same can be said for Judai - it would have been better if Judai died rather than become the Supreme King. His friends could have put him down like a mad dog, you could have even called that justice - but they didn’t. Judai making no attempt to save Yubel isn’t because he thinks it’s morally wrong to save someone who’s killed as many people as Yubel has, or because he thinks he can’t forgive Yubel, it’s because Judai is taking the easy way out. Johan is a nice, easy victim to save, because he’s Judai’s perfect boyfriend, while Yubel is a complex victim that requires Judai to understand their suffering. Even the act of saving Johan isn’t about Johan himself, it’s about the fact that Judai feels guilt over Johan’s disappearance. What Judai wants isn’t really to save a friend, but to stop feeling guilty over that friend. Judai isn’t just disgusted by Yubel’s actions towards his friend, he also wants to avoid the guilt he feels over causing all of Yubel’s suffering, because it requires acknowledging the complex reality that he is both victim and perpretrator in this case, just as Yubel is both victim and perpetrator.

So how can an arc where Judai doesn’t try to save Yubel until the last possible minute, be better than an arc where Deku makes it his goal for the final act of the manga to save the crying boy in Shigaraki?

It’s because the story does not let Judai get away with his continual refusal to empathize with Yubel. Yubel’s entire character revolves around empathy, in the form of sharing pain. As a duel monster, Yubel’s effect is that they are a 0/0 attack monster who is immune to all damage, but when you attack them they deal all the damage back to you. Which means that Yubel will respond to all the pain they feel, by causing you just as much pain in return. Yubel is not a character who can be defeated in a fight, or a duel. In fact they’re the only Yu-Gi-Oh villain who never loses a duel once. The most Judai can do is duel them to a draw, and they draw three times. Yubel wins against everyone else who challenges them. In a way Yubel is like Shigaraki, the ultimate, unkillable enemy that can’t be done away with violence. Judai’s refusal to empathize with Yubel or attempt communication also makes them worse, every time Yubel is hurt they escalate. THe more Judai hurts them, the more they will hurt in return, it’s a cycle that will never be broken simply by killing Yubel, because Yubel is unkillable.

Not only that but the story has gone to great lengths to show that saving Yubel is the correct course of action. If Judai doesn’t save Yubel, he’s basically spitting on the selflessness Jim showed in saving him. In fact if he doesn’t save Yubel, Judai is contradicting his own words on what makes a good friend. Sho once asks Judai after witnessing his brother change, what he should do if a person you lov ehas changed into an entirely different person. What if they're a person you don't even recognize any more? A person you don’t even necessarily like anymore?

That's why if it were me. I'd probably just be looking after him until the very end, even if I didn't like him. I'd do it cause I think it'd prove that I care about him.

Judai doesn't even say that Sho is obligated to save his brother or morally redeem him, just that he has to keep looking at him instead of turning away or ignoring him.

Judai is being a bad friend, by his own definition. By choosing to deliberately look away from Yubel, Judai’s not living up to his advice for Sho for how you treat people you care about.

Which is why the resolution for Judai and Yubel’s arc is so important, because it’s done by Judai finally acknowledging Yubel’s pain, and promising to watch over them from now on, words that are followed by the action of physically fusing their souls together so they’ll never be alone again. Judai doesn’t just say pretty words about how they won’t ignore the crying child inside of Yubel, but instead he makes a sacrifice to save Yubel at risk to themselves to show their words are backed up by actions. Judai says Yubel will never be alone again, and then he commits.

"And even if that means I won't exist anymore... I don't care."

Judai has resolved his character arc by this action, because Judai is finally taking on responsibility and that responsibility is watching over Yubel, so the two of them can atone together. Judai even says himself this isn’t an act of sacrifice on his part, but rather him finally accepting adult responsibilities.

Judai: I wouldn't sacrifice myself for you guys. I'm just going on a journey to grow from a kid into a man.

Judai needed to save Yubel to complete his character arc and grow as a person. If Judai hadn’t saved Yubel, he would have still remained an ignorant child. By learning not to turn a blind eye to Yubel’s pain, and also smacking sacrifices and physically doing something to atone for the way they ignored Yubel up until this point they’ve not only saved Yubel they’ve also done something to address their wrongs. This also continues into the fourth season where Judai’s personal growth results in him learning what kind of hero he wants to be as in Season 4 in order to atone for the spirits that Judai slaughtered, he decides to leave his friends behind and walk the earth with Yubel helping spirits and humans get along with each other. In fact Judai’s final speech as a character isn’t even about how strong he is as a hero, but how weak he is as a person.

And I put my friends through some rough times. Form that, I figured a few things out... all I can do is believe in them.

The lesson Judai learned is because he’s weak, he needs to empathize and believe in other people the same way that his friends once believed in him when he was at his lowest point. Judai’s not the strongest hero, he’s the weakest one, but that gives him the ability to empathize with people who were lost just like he was, and guide them back from the darkness.

The story of how Deku became the worst hero.

I’m going to say this right now it might turn out next week that Shigaraki is just fine, and he’ll use the overhaul quirk to reconstruct his body. However, even if that happens Deku has completely failed at his goal of saving Shigaraki for the reasons I’ll illustrate below. In theory, Deku’s arc of saving Shigaraki, and therefore winning by saving should be much easier for the story to accomplish and also much less frustrating to watch. After all, Shigaraki has been around since the beginning of the manga, he’s literally the first villain that Deku faces. He’s also the first villain that Deku talks to, where he brings up the idea that there were some people All Might failed to save. There’s also many intentional parallels between the two characters, the entire manga is about their parallel journeys of becoming the next generation hero and the next generation villain. Shigaraki even directly quotes the line at one point that all he wanted was for someone in his house to tell him he could still be a hero, the same line Deku said in the first chapter was that he wanted his mom to tell him to be a hero instead of apoalogizing to him for being quirkless.

Not only is the setup for Shigaraki and Deku made obvious (Deku can redeem Shigaraki by telling him that he can still be a hero too), but Deku himself states out loud that he wants to save the crying child inside of Shigaraki.

Judai runs away from Yubel the whole time, whereas Deku is running towards Shigaraki and actively makes it his goal to understand Shigaraki and continue to see him as a human being rather than a villain. The story also makes it clear that saving Shigaraki is necessary to saving hero society as a whole. After all Yubel is just Judai’s victim. Whereas Shigaraki is the victim of all of society. He’s the crying child who was ignored. The cycle won’t be broken if heroes continue choosing to ignore people like Shigaraki, because more victims will grow up to replace him.

Shigaraki: Everything I've witnessed, this whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took this power formyself? Simple enough, yeah? I don't care if you don't understand. That's what makes us heroes and villains.

Shigaraki rejects the world because the world continues to reject him. THe solution to this problem is not rejecting Shigaraki, because Shigaraki won’t go away, the system will just continue to reject people like Shigaraki. As long as heroes and villains don’t understand each other, they’ll keep being forced to fight and the conflict won’t end, because hero society is what engineers it’s own villains.

clear as day by the story itself. If the objective of saving Shigaraki is clear, then how exactly did the story fail in this objective? What went wrong? In this case it’s a failure of framing, and breaking the rules of “show don’t tell.” Stories are all about actions and consequences. When a character makes a certain action in a story, the way other characters around them, the world, and whatever consequences that action frames that action in a certain light. It provides context for how we are supposed to interpret that character in that moment.

For example, when a character does something wrong and another character directly confronts them over what they did wrong, that frames them as in the wrong. The story is criticizing the character for what they did wrong. Context is everything in a story. Stories are just ideas, so they require framing and context to communicate those ideas for the audience. Certain character attributes can be strengths or flaws depending on the context. My go to example is that if you put Othello in Hamlet, the conflict would be resolved in five seconds because Othello’s straightforward personality and determination would have him kill Hamlet’s uncle without questioning things. Whereas, Hamlet constantly questioning and second guessing himself would lead to the worst ending possible. However, if you put Hamlet in Othello, then Hamlet wouldn’t fall prey to Iago’s manipulations, because Othello doubts and questions everything so he wouldn’t believe Iago the way Othello did.

Hamlet’s contemplative and introverted nature can be a strength in one situation, and a flaw in another. Othello’s tendency to act without thinking things through can be a strength in one situation, and a flaw in another. Context matters, because context tells you how you’re supposed to interpret a certain characters actions, and therefore tells you more about that character. This is why people repeat “Show don’t tell” as the golden rule of storytelling, it’s one thing to say something about a character, it’s another to us the characters actions in the story itself to show them something about the character.

What’s even worse then breaking the rules of show don’t tell however, is telling the audience one thing, and then going onto show in the narrative something completely different. In that case the narrative becomes muddled and confusing to read. If I the narrator say “Hamlet is someone who overthinks everything” and then in the story Hamlet walks up to his uncle and kills him with no hesitation, then the narrator is straight up unreliable. It becomes impossible to tell as an author what message I’m trying to get across about these characters, because I’m telling you one thing and showing another.

This is why the writing fails in the second half of My Hero Academia because we are constantly told one thing, but then the story shows something entirely different and sometimes even contradictory to the thing we are being told.

Judai is a much worse hero than Deku, he always runs away from Yubel, and we’re never directly told that he’s supposed to save Yubel either. However, the narrative is incredibly consistent. Judai’s behavior of running away is consistent with his character. All the other character call Judai selfish for abandoning his friends (and they’re not even talking about Yubel). Judai is never painted in any positive light for his actions, therefore we as the audience understand Judai’s behavior is wrong and he needs to fix it. The narrative makes it clear that Judai needs to grow up, and Judai is never rewarded for his refusal to grow up, he’s ruthlessly chewed out, not by his enemies but also by his own friends. However, the narrative isn’t merciless on him either. Season 3 of GX is dark, but it’s not grimdark. Even when Judai loses his way, he’s still shown love and compassion by those same friends who go to great lengths for his sake. The narrative criticize Judai but it never insists that he’s beyond redemption and needs to be put down like a mad dog.

The message is very clear, that not only does Judai need to grow up, but he also deserves the chance to grow and change, which is why he should give Yubel a similar chance. In comparison the story sets out this clear narrative arc for Deku of understanding Shigaraki, but it never challenges him for failing to understand Shigaraki. If you listen to what the narrative says, how other characters describe Deku, and what Deku himself says and only read it on a surface level then yes, Deku’s goal is to save Shigaraki. If you analyze actions however, he is in effect just like Judai he never takes any meaningful action or steps towards Shigaraki, nor does he think of what saving Shigaraki might look like or entail.

The story describes Deku as someone who is possessed by a drive to save others that eclipses all common understanding, but does the story give us any examples of that behavior?

Judai is characterized as a selfish, irresponsible child, and the story gives us countless examples of his immaturity and how it hurts others. Does the story of MHA do the same for Deku's purported virtues? Let’s run through Deku’s actions, step by step, the actions themselves and how they are framed in order to find any evidence that Deku possesses this drive to save others. Does Deku reflect at all on the question of:

Can Shigaraki be Saved?

Deku leaves on a journey to try to understand villains. When he makes a perfunctory attempt to understand and empathize with Muscle, and Muscle replies that some people are just evil does Deku keep trying to reach his heart? Nope, he just punches him.

Well, if he’s failed in his goal of understanding a villain then does the story call him out on his failure? Does Deku face any sort of narrative consequence for that failure? Is he framed negatively for failing to understand Muscle, the same way that Judai is framed for abandoning Yubel? Nope. Deku doesn’t express any frustration at all over is inability to reason with Muscle. There’s also no negative consequence for Deku just choosing to punch muscle, it turns out that there was no reasoning with Muscle and some people are just bad eggs so Deku was right. It’s okay for characters to fail, but if a character fails and it’s not framed by the story as a failure then the writing itself as failed. Why even bother to include this scene in the first place if it doesn’t advance Deku’s character in any way? This scene in spite of showing Deku failing to understand someone actively paints Deku in a positive light, because of how much stronger he is ow that he can OHKO a guy that gave him trouble all the way back in the camp arc.

This scene doesn’t tell anything about Deku as a character, it just makes him look cool. In fact that’s precisely the problem, Deku isn’t adequately challenged as a character, because he’s never allowed to fail. Even when he does obviously fail at the things the narrative set out for him to do, he’s never challenged on those failures, because the priority isn’t to make Deku grow, it’s to make Deku look good. As I said before, Judai is the hero because he’s the weakest. Deku is the hero because he’s the strongest. Well, next a big flaw on Deku’s part is that he worshippd the same heroes that were making the world corrupt. Heroes like Endeavor who created people like Dabi. So, does Deku take action to either criticize the older generation of heroes, or separate himself from them in order to try to be better than them? Nope, he teams up with them. Not only that, Deku can’t do something as simple as tell Gran Torino out loud about his plans to save Shigaraki. If Deku feels that Shigaraki is worthy of salvation then he should at least try to make an argument here about his ideal of saving others.

Now here’s the thing, if Deku hadn’t directly looked at the camera and told us he wanted to save Shgiaraki, would we be able to deduce his intentions from his actions? If you took away all of Deku’s internal monologue, and just showed him punching Muscular and saying nothing when Gran Torino says he may have no choice but to kill Shigaraki would anything about Deku’s actions indicate that he wants to save Shigaraki? Let me use avatar the last airbender as a positive example for a moment. People say that Aang’s desire to spare Ozai’s life comes out of left field, but like if you analyze Aang as a character down to their bending, and the way they react in situations they always prefer de-escalation, or taking a third option as opposed to confronting things head on. It’s literally why Toph says Aang has trouble learning earth bending, because as an airbender, he always tries to look for some other way to solve the problem, instead of a direct confrontation with force. As early as season one, Aang tells Zuko someone who has tried to kill him several times that he was friends with someone from the fire nation one hundred years ago and in a different situation they could be friends. Aang’s desire to save the Firelord may not have been told to us until the last possible minute, but Aang’s aversion to violence has always been a part of his character from the beginning. However, Deku never shows any similar aversion to violence. There’s basically no example where he ever tries to de-escalate a situation, or he avoids a conflict by seeking a third option.

Anyway, let’s move onto the next example. In the confrontation where Lady Nagant fights Deku, when Deku learns the fact that the heroes were employing government hitmen to attack people for uhh… exercising free speech does Deku give any reaction to this information? When Lady Nagant says that Deku is only going to bring back the status quo, does he show her any meaningful evidence that he won’t do that.

Deku’s response is because the world is so grey, he needs to extend a helping hand to others. Which you know what thay could be a response. Deku saying that his response to the corruption of the hero world is that he now understands that society led some people down the wrong path, so his way of addressing the wrongs of that society is lending a helping hand to as many people as possible even people he used to think was irredeemable.

I will give Deku the benefit of the doubt, I think this is an acceptable answer. I can’t save everyone, but that’s not going to stop me from trying to save as many people as possible and maybe I can save people who were this society’s victims on the way too. However, does Deku demonstrate his resolve to extend a helping hand in any meaningful way.

Deku is met with an armless, insane Overhaul who’s begging for someone to help heal his father figure in the Yakuza from his coma. This isn’t like Muscular who insists that there’s no helping him, Deku is met face by face with someone asking him for help. Deku’s gotta extend a helping arm whenever he can, because he knows some people were abandoned and led astray by this society… Unless that person is someone he doesn’t like personally. At which point he only helps them on a conditional basis. We are told Deku will save anyone and everyone, but Deku is met face to face with an armless man who is begging for help and Deku’s does nothing to help him. Deku’s not criticized for refusing to help overhaul either, it’s never brought up again. When Deku begins to experience a mental breakdown because of all the people he’s trying to help in the Dark Deku arc, we are told this is the result of Deku trying to save everyone, but we do not see Deku attempting to save a single villain after Muscular and Nagant.

He exhausts himself beating up villains that AFO sends after him, and only helping innocent civilians. Which would be fine if this arc were about how Deku is running away from his real responsibilities the same way that Judai was running, but that’s not what we’re being told. We are told that this is all part of an arc of Deku learning to understand villains and be a hero.

Deku is asked “Can you save Shigaraki?” by the story, but Deku never at any point has to deliberate on that question. Judai doesn’t deliberate on that question either, but him choosing not to think about things and stay ignorant is the point.

It’s actually fine to make Deku stagnate as a character. It’s fine to have him take the easy way out by just punching villains and giving up on them after one conversation. It’s fine for him to be empathetic to other people’s suffering, or even self-righteous. It’s fine for him to be ignorant.

He could be all of those things if it was a part of a narrative teaching him to unlearn his behavior. In fact the narrative might have been better if Deku started out by saying he didn’t want to save Shigaraki, that there was no choice but to kill him, because then at least his actions would be consistent with his words. Then his lack of empathy and his tendency to resort to violently beating up villains instead of avoiding violence would be character flaws he could work on. Deku however, is presented to us as this empathic hero who is always willing to give others a second chance though he never actually sticks his neck out in order to do so. Continuing on with our slow crawl through MHA, one of Deku’s friends is revealed as the traitor. Deku has a heartwarming scene fo saying that Aoyama can still be a hero, but look at his actions. He lets the adults in the room physically tie Aoyama in a straightjacket and imprison him, for the crime of… doing bad things while he was in a hostage situation. Apparently, if a bank teller helps the bank robber by giving them money when the robber has a gun to his head, the swat team should just snipe the bank teller. Not only does he not defend Aoyama against the adults, or stand up for him, or tell the adults they’re wrong to treat Aoyama a clear cut victim who had a gun to his head and was bing held hostage like he’s a villain - he also lets the adults use Aoyama an innocent victim as bait in order to lure out AFO. Deku tells Aoyama he can still be a hero, but he doesn’t defend Aoyama as a victim of being taken hostage, nor does he stop the adults from further taking advantage of him and throwing him right into danger. Some people are just led the wrong way that’s why they need to be extended a helping hand, but fuck Aoyama I guess. He needs to earn the right to be sympathized with by physically putting his life in danger.

Deku can’t even go out of his way to save a friend who he’s known for the better part of a year, when that friend is a complex victim forced to do bad things.

Then Deku and Uraraka have a conversation where they both, kind of ruminate on the idea that maybe the villains are human beings who are worthy of sympathy.

In fact Uraraka is actively trying to dehumanize Toga by looking at the destroyed city, so she won't have to think of Togaas a person.

The language here is also a major fault of this arc. It focuses far too hard on “forgiveness” over and over again. As I said before, saving Shigaraki isn’t about Shigaraki at all, it’s about Deku, and how he wants to use his power as a hero. Deku has even stated himself that he doesn’t believe that OFA is a power that should be used for killing people. So why does whether Toga or Shigaraki are forgivable or not even matter? It’s the same with Deku refusing Overhaul any sympathy. If he’s so morally opposed to abusers, then why does he work with Endeavor and defend him at every visible opportunity, even in front of his victims? Whether or not Deku can forgive Shigaraki doesn’t matter, because Deku is not the moral arbitrator or right and wrong. In fact Deku doesn’t even have any morals, so how is this a moral debate? Is there any point where Deku gives a clear definition of what he thinks right and wrong is? Does he quot Immanuel Kant to the audience?

Batman doesn’t kill people, not because he thinks that every last person on earth can be saved, but because Bruce Wayne an incredibly rich white man thinks that maybe he shouldn’t have the authority to decide who lives and who dies. When Bruce doesn’t kill the joker, it doesn’t mean he thinks the Jokers actions are forgivable, it’s because Bruce thinks it’s not his place to determine whether someone has the right to live.

The whole conflict that MHA presents us is that heroes pick and choose who to save, and only save the ones they deem as innocent. So, how does Deku saying repeatedly they can’t forgive Shigaraki contribute to that theme in any way? In fact by focusing on forgiveness, rather than whether or not he personally has the right to pick and choose who lives and who dies Deku is ignoring the elephant in the room. The question isn’t about whether Shigaraki’s redeemable or if his deeds should ever be forgiven. The question is whether Deku has the right to decide who gets saved and who doesn’t.

We are told that Deku as a character is someone who wants to save everyone no matter what, so Deku shouldn’t be focusing on whether or not Shigaraki is worthy of forgiveness, he should be making an idealistic argument like Xavier does in this panel. Why doesn’t Deku talk out loud with Uraraka on how he believes his power is for saving others, and not killing? If he’s meant to represent some idealistic hero, then why doesn’t he even talk about his ideals? Why don’t I as the reader know what those ideals are?

I think Xavier’s ideals of forcing the X-men to provide a good example to the mutant community, in order to try to earn the respect of other human beings is wrong, but at least he has ideals. He tries to inspire the other people around him to live up to those ideals. The story can criticize him for his ideals and point out how they’re wrong, while it can also uplift parts of his idelogy like where he believes there are no evil mutants. Deku has a chance to do the same to Uraraka, to tell her clearly, “I don’t think we as heroes have the right to pick and choose who we help…?” but he waffles. Not only does he waffle, but this moment is meant to be read as an indication that both Deku and Uraraka are sympathetic individuals who want to save their villains. They are supposed to look good and idealistic here and they don’t. For Deku it just seems like a repeat of his behavior with Overhaul. The only villains that are worthy of sympathy, are the ones that he personally decides are forgivable.

The story isn’t about whether or not it’s moral to save someone who’s killed as many as Shigaraki has. The story never seriously discusses any sort of complex morality or moral philosophy. Once again to bring up avatar, yes you can argue Aang sparing the life of a war crimminal is bad, but Aang mentions on multiple occasions that he wants to retain the cultural values of the airbending people. Aang has a morality, a consistent morality, it might not be a morality you personally agree with but at least he has one. Deku hates abusers, unless he’s next to Endeavor then he thinks abusers should be given the chance to atone. Deku doesn’t believe that One for All is a power for killing, but he never stands up to any of the adults who are blatantly trying to kill Shigaraki, he doesn’t even express out loud to Uraraka that he doesn’t think heroes have the right to decide who lives and who dies. In fact he’s given the perfect opportunity to, when Hawks kills a villain and it’s broadcast live on the news in font of everyone, but Deku never has anything to say about that. The reason Deku and Uraraka both put such an emphasis on “forgiving” their villains has nothing to do with the story itself. It’s because the author Horikoshi, is afraid that some people will misinterpret his story as saying that he actually thinks that saving a villain like Shigaraki means that he condones mass murder, so he has to have the characters talk about not forgiving Shigaraki.

Judai doesn’t have any consistent morals either, but once again that’s the point and something the story relentlessly calls him out on.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels. Cobra: You are certainly a talented duelist. But you have one fatal flaw. Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory. Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match. Judai: I... Cobra: Afraid aren't you? Right now, you have nothing to support you.

Judai’s regularly called out for his superficiality. Judai is only a hero because he’s strong and wins fight, he doesn’t feel any responsibility towards other people, and in fact he loathes having to feel responsible for others. Judai isn’t just naive, he deliberately chooses to remain ignorant. Since he’s ignorant of his own faults, he makes awful decisions when it comes time for him to lead, and his friends die because of choices he made. We are told that Deku doesn’t want to remain ignorant, that he wants to understand villains, but Deku’s actual actions are him continuing to ignore society’s ills and the suffering of victims. In fact if you take away Deku’s internal monologue and the narration, Deku’s actions almost exactly mirror Judai’s.

Deku is just as superficial as Judai, and he also doesn't want to spend any time thinking about what kind of hero he wants to be, but the narrative never punishes him for it.

Judai is asked what burdens he has to bear and he has to meaningfull answer that question, Deku is allowed to get away with not having to think about anything. Deku remains superficial. Both Judai and Deku spend the entire arc running away from their villain rather than confronting them in any meaningful way. They both never express out loud any sympathy for their villain, or try to empathize. THey both never step down from the role of hero, and only confront their villain as a hero, because they don’t want to think about themselves as complicit or in the wrong. Shigaraki and Deku’s final confrontation mirrors Judai and Yubel’s but without the same clear framing. THe entire time Yubel is trying to get Judai to empathize with them, and Judai only responds with physical violence, because they don’t want to stop being the hero and because they can’t see Yubel as anything other than the villain. As soon as Deku arrives on the battlefield (by the way everyone else and their mom pointed this out, but Deku who doesn’t think OFA is a power for killing, is completely okay with a plan called the “Sky coffin plan” where every other hero was clearly trying to murder Shigaraki).

When Deku arrives he asks if Shigaraki is still in there, but he doesn’t do anything to try to reach Shigaraki, he jumps right to punching him. In fact he never tries anything besides punching him as hard as possible. How is punching Shigaraki with the force of a thousand suns saving him exactly? How is that different from how he tried to defeat Shigaraki the last war arc, before he saw the image of the crying child that made him want to try a different approach in saving Shigaraki? In Judai’s final fight with Yubel, it’s made explicitly clear that Judai is not trying to save Yubel, and that’s a fault on his part. In fact Judai gives the traditional “I have friends, and you don’t” speech to Yubel but it’s a subversion of how that speech is usually used. Usually that speech is used to show that the protagonist won because of they valued friendship,while the villain treated their friends poorly and only cared about power. However, it’s ironic in this case because Judai got all of his friends killed. Judai treats his friends like garbage. This speech isn’t used to show that Judai is winning because he values his friends more than Yubel does, it shows that Judai is a hypocrite, playing the hero in this situation where they are just as bad as Yubel. Judai’s not morally superior, he’s just lucky that he has good friends. Friends that were willing to save him. The only connection Yubel has to anyone else, Yubel’s only friend is Judai and Judai is a shit friend.

In fact, Mirio tries to give a version of the “You don’t have any friends” speech to Shigarkai, only for Shigaraki to get mad and tell Mirio that he does have friends and people he wants to protect.

This fact is also something that is blatantly ignored by Deku, even though Mirio tells him about it… even though we are told that Deku is trying his best to see the humanity in Shigaraki.

Judai blatantly admits they’re trying to kill Yubel. Which makes them a worse person, but a better character than Deku, because their actions are clearly framed by the narrative and consistent.

On the other hand we are told that Deku doesn’t want to kill Shigaraki, and yet everything Deku does makes it look like he’s just trying to kill Shigaraki and put him out of its misery. If we didn’t have Deku stating out loud that he wants to save Shigaraki and wants to see him as a human, there’d be nothing in his actions to indicate that he’s trying to avoid killing Shigaraki. Deku says he can’t pretend he didn’t see Shigaraki crying, but like, does he ever hesitate to punch Shigaraki, does he ever think that causing Shigaraki more harm is wrong when he’s already suffered so much? Deku says that Shigaraki is a person but does he treat him like a person? Does he try to talk to him like a person? To use avatar again, Aang does talk to Zuko pretty early on. Deku doesn’t even give the classic “We could have been friends under different circumstances” speech. When Shigaraki resists Deku’s attempts to see him as a person or emapthize with him, Deku’s response is to just resort to punching harder.

Which is in effect the same thing Judai does to Yubel, just kill them as a villain so they don’t hurt anybody else, but framed in an entirely different light. Judai is shown to be ruthless, and cold in his attempt to only settle the conflict with Yubel by violently putting them down. On the other hand we’re being told that Deku is compassionate and empathic while he punches Shigaraki with the force of a thousand suns.

There’s another eerie similarity between both of these final confrontations. At the climax of the confrontation, both Judai and Deku have a psychic vision where they see events from Yubel and Shigaraki’s childhood. This vision is supposed to help both characters understand the good in the villain they’re facing.

Let’s see the contents of this vision and how the visions change each character. Judai is shown a vision of his past life where Yubel sacrifices their entire body, and even their humanity to go through painful surgery to turn into an ugly dragon, all for the sake of protecting Judai in a previous life.

Judai is then forced to witness the good side of Yubel they’ve been ignoring all along to paint them as a villain. Yubel is simultaneously extremely selfish and willing to hurt people Judai cares about, but they’re also extremely selfless and will do anything to protect Judai and have made great sacrifices in the past for Judai’s sake. Deku gives lip service to not ignoring the humanity in Shigaraki, but Judai is literally forced to acknowledge the humanity in Yubel. Not only that, but Judai changes his behavior immediately after learning this new information. After seing the sacrifice that Yubel made for him in the past, Judai responds with a sacrifice of his own. A sacrifice that perfectly mirrors the sacrifice that Yubel once made for him. Yubel gave up their humanity for Judai, so Judai fuses his spirit to Yubel’s, becoming a human / spirit hybrid so Yubel no longer has to be alone.

Judai also doesn’t just fuse their soul with Yubel’s in order to stop Yubel from destroying everything, it’s because both of them at this point need to atone together, and Judai is fulfilling his responsibility of watching over his friend until the end to prove that you care about them - as he said to Sho. Judai’s also fulfilling Johan’s dream of helping repair the bonds between spirits and humans, by reconciling with Yubel and repairing their bond. It’s also Judai atoning for his previous behavior of abandoning Yubel, by choosing to stay alongside them as they both atone together. Deku does sacrifice OFA during the fight against Shigaraki, but their sacrifice isn’t to help Shigaraki, but rather doing psychic damage to Shigaraki by using OFA is the only way to defeat them. He transfers OFA in order to break Shigaraki’s brain so he’ll stop reissting and Deku can beat him down. Judai fuses their soul together with Yubel out of empathy and a responsibility they feel to help their friend fater abandoning them, Deku transfers One for All to Shigaraki in order to hurt him and make him easier to punch. It's funny that Deku doesn't travel to Shigaraki's mind to learn more about him, but instead with the specific intent of harming him.

Once he's inside Shigaraki's mind, he doesn't take time to reflect on how Shigaraki used to stand up for bullied kids, or how he wants to be a hero to villains because no one else will stick up for the outcasts in society. No, he only care about Shigaraki when he takes the form of a child crying for help.

In the aftermath of the psychic vision Deku’s behavior doesn’t change towards Shigaraki in any way either. You could say he sacrificed his own arms in order to try to comfort Shigaraki within the depths of his own mind - but that’s not a real sacrifice either because his arms immediately come back. When Judai learns about the sacrifice that Yubel made in a previous life towards him, he stops seeing Yubel as an enemy and finds a way to resolve things peacefully between them. When Deku lanterns that Shigaraki’s a victim of All for One, and that his entire life was a lie, when he sees Shigaraki’s suffering first hand does his beavior twoards Shigaraki change in any way?

When he sees Afo has taken over Shigaraki’s body again, does he try to shout for Shigaraki, to tell Shigaraki to fight from the inside, to reassure Shigaraki that he’s still in there that there’s still good in him? Nope. He just punches Shigaraki some more.

What Deku needed to tell Shigaraki is so obviously set up by the narrative too. Shigaraki wanted just one person in that house to tell him he could be a hero. Deku wanted his mother to tell him he could be a hero if he was quirkless. Deku sees that Shigaraki started out as a boy who wanted to be a hero, and who was manipulated into being a villain but does he try to appeal to the boy inside of Shigaraki by telling him he can still be a hero? Does he now see the good in Shigaraki? Nope, he just tries to kill him by punching him really hard.

I purposefully chose the images for the banner of this post, because it shows how differently MHA and GX treated its villains in the end. Yubel is embraced by Judai in the end, Shigaraki evaporates into dust.

"Judai, now that our souls have become one we will never be separated again. I have now been filled with your love and power. Let us fight together, against the wave of light leading this universe to destruction!"

Shigaraki could so easily have been given the love and empathy that Yubel was shown, but instead their life ends with no show of empathy from Deku, and with them dying believing that their long life of tragedy meant nothing in the end. Shigaraki realizes he's a crying kid, but he's never comforted.

Shigaraki: I only stole my body back from Master, and I didn't destroy anything. "In the end, I was just as you said... A crying kid, huh?"

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

One of these stories is apparently an optimistic story about heroes saving people, but it ends with the lifelong victim being killed in the most nihilistic manner possible, never receiving comfort, and never achieving anything with his long life.

The other story is a silly anime about card games, shows that when people are alone and suffering they can lash out and do terrible things. That all people are weak especially when they're alone, but the solution isn't to abandon them, or condemn them for their faults, but to believe in them and help uplift them the same way that Judai decides to uplift Yubel so they can atone together.

Which is why Deku gets an F in being a hero. Go directly to summer school. Do not pass Go. Do not collect $100.

#mha meta #ygo meta #mha 423 #bnha 423 #mha 423 spoilers #bnha 423 spoilers #izuku midoriya #deku #shigaraki tomura #tenko shimura #judai yuki #yubel #soulshipping #yu gi oh gx #yu gi oh

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lesbomaticlove · 3 months ago

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ive talked about it before but i wanna talk about it again and that's

body types in drawing especially in terms of one piece characters

and i know its because official art presents them all the same but it just does not feel right to me, y'know? especially when i look at fanart and it looks like they just drew the same body multiple times with different faces (talent in that yes but god change it up a bit PLEASE)

like with my style i like to draw semi-realistic cartoon type beat, and that means im thinking about an abstract of shape language in the way that i present the characters. i consider their fighting styles and workouts when i think about what their body type would be, not just for op ive done this with mha and jjk characters too because god dammit gege, maki deserves bulkier muscles for her efforts

so here it is. my analysis of more semi-realistic designs for these characters. all my opinion and not meant to be a call out to anyone.

also, not including the women because we all know how unrealistic they look and i dont need to explain that to you im begging just use reference.

LUFFY

rubberhose arms are ESSENTIAL in his design so when i draw him, i never put too much definition in his muscles. real definition should be reserved for gears that alter his muscles

noodly arms and stick ass legs that is his Charm thank you i dont need super definition

ZORO

on the opposite end of the spectrum, zoro.

though, i see many people draw him more bodybuilder silhouette when he should be powerlifter silhouette, youve SEEN how this man works out. stereotypical bodybuilder physique that's all muscle and no fat is EXTREMELY UNHEALTHY TO MAINTAIN and you know theres no damn way sanjis letting someone on the ship watch their weight for the sake of visuals. he should be defined and bulky, but softer edges on the abs.

USOPP

Speaking first on pre ts, what does he excel at most? long range weapons and running.

obviously he gets proper strength training during timeskip, but i really think the best representative for him is olympic sprinters

muscular, but still pretty skinny

SANJI

hear me out. ballet physique.

i see him drawn w the same physique as Zoro and it just feels so wrong. he doesnt train his upper body, so most of his definition would be in his core and legs. not to mention his flexibility tracks with that.

maybe ill come back with a figure study on these later to fully show how it translates into my drawings but. for now. tumblr wont let me add any more images to this post

#one piece #monkey d. luffy #roronoa zoro #usopp #sanji #lesbomatic meta #artists on tumblr

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jamiepaige · 2 months ago

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Constant Companions Closeup #2: NOT QUITE THERE

(also on spotify!)

b-b-back once again

Round two of the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was track one, Dyad - today is track two, Not Quite There, featuring the incomparable telebasher!

This one's a bit of a dark horse relative to the rest of the album, but it may very well be my personal favorite song on the entire thing so dammit let's Yap

---

For the uninitiated, this song pulls heavily from a song off my previous album called Gummyworm, both in vibe and by very directly quoting its synth motif.

Both of these songs deal with two sides of the same emotional coin. I actually don't want to go into too much detail about it - I feel like the lyrics spell things out clearly enough - but I will say this:

When it's all you know, it's easy to believe that a love that isolates you, a love that doesn't respect you, a love that hurts is better than no love at all.

You deserve better. There are always people who genuinely want what's best for you, who want you to feel truly loved. It certainly isn't always easy - it's genuinely good if your interpersonal relationships have a little friction sometimes - but love should make your life brighter.

You deserve a love that's fair.

---

The original version of this song was actually intended to be on Bittersweet alongside Gummyworm. The original concept for that album had a whole heady concept involving duality, songs reflecting each other, the two halves basically being reprisals of each other... Ultimately, I'm glad I scrapped that idea, because it was waaaaaay too much for me to manage after a couple years of barely making music. Maybe I'll revisit it someday though?

The drums on this song are sampled from an Instagram post by Louis Cole, where he's doing this crazy one-handed hi-hat blast by holding a drumstick sideways. I'm a drummer and that shit genuinely scares me a little like i dont know how he does half the things he does its fucked BUT. I bring this up because he's one of my biggest inspirations as a musician! I'm really big on jazz in general, in case my love for spicy chords wasn't enough of an indication, but his specific brand of freaky hyperactive bullshit just does it for me.

Seriously, go watch his band KNOWER play their song Overtime. Absolutely insane performances across the board. also Clown Core

This whole song is really just my attempt at matching some of that hectic jazzy energy with my own style of music, so I figured it only made sense to make it another collab with another musician making delightfully frantic jazz bullshit - the legend herself, telebasher! I really am such a massive fan of her work, and I struggle to think of anyone who plays guitar quite like she does. We previously worked together on another Bittersweet track, Asemic Speech, and her guitar work is a major reason why that song is still one of my favorite I've ever released!! She's just built different like listen to this oh my god!!!!

Lastly, since this song was one of the first written for this entire project... it is admittedly a case of me shoehorning the album's leitmotif in after the fact. It's a little forced when it shows up in the backing vocals! But, the choir of vocal synths during the guitar solo served an additional purpose - my own voice doesn't show up on the album again for another four entire songs, and this would've otherwise been the only song on the entire album that didn't feature any vocal synths. Thus did I attempt to bridge the gap, as it were. Hopefully it makes the final product feel more natural!!

Either way, that's all for today's post.... i think.... which means that tomorrow.... we're gonna rot.... for clout

#jamie paige #music #constant companions #bandcamp #behind da scenes #slightly shorter post today orz

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absolutebl · 9 months ago

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This Week in BL - Lesbians WIN & I'm excited about a Thai BL again!

Organized, in each category, with ones I'm enjoying most at the top.

April 2024 Wk 4

Ongoing Series - Thai

My Stand-In (Thai Fri iQIYI) ep 1 of 12 eps - Adaptation of Chinese novel Professional Body Double by Shui Qiang Cheng. Stars Up (Lovely Writer) and Poom (Bake Me Please) directed by the same team as KP (not a recommendation IMHO - my biggest criticism of KP was the clashing directing styles). The MDL description made it sound complicated af but actually it's not so bad. In fact it's GOOD.

Stuntman Joe dies on the job and wakes up in the body of another Joe who has an entirely different life. But our Joe just gets his new body right back into his old existence, full of friends, enemies, and one troublesome ex. Poom is absolutely killing it in the lead. Mek is perfectly cast as the Actor du Jerk. I’m not sold on Up’s bratty brokenhearted rich kid... yet. The show though, I like it. I like a one (two) night stand starting things off and I like a lot of morally gray characters. Fun fun!

Deep Night (Thurs iQiyi) ep 8fin - The lesbian moms are the cutest thing in the world and my favorite thing this week. Bar none.

Summation:

It's about a host club and all the gay boys in it and some stuff that's not important because... PEOPLE OF EARTH WE HAVE A HONEST REP OF POLY IN A BL. Stand up and raise your hands in prayer to the Thai BL gods because sure as shit no one else was ever going to give this to us. For that alone this show gets 8/10 from me. Bonus Lesbian moms and great kisses.

Two Worlds (Thurs iQIYI) ep 7 of 10 - Say what you want about MaxNat all these years that they've been paired makes them great onscreen boyfriends. And you know me, I'm a total sucker for linguistic negotiation. Makes my heart go all mushy. That said, now that the leads are together, I’m really uninterested in all the drama around the ex-boyfriend/triangle. I'm glad this is only 10 eps.

1000 Years Old (Thurs iQIYI) ep 11 of 12 - They gave me the tiniest teaser for the kinky vampire BL that I have wanted my whole life. And now I'm just fucking annoyed with the rest of the show.

We Are (Weds iQIYI) ep 3-4 of 16 - Q & Toey are the only interesting thing going on. I actually didn’t like this pair in My School President, but I’m enjoying them here. The others are all fine but these two have my heart. I have questions like: did Phum ever get his shopping bags back? And why is Phum driving a different colored car half way through the ep?

Only Boo! (Sun YouTube) ep 3 of 12 - The quality is good (it’s GMMTV) but the acting is... not. Still I loved that Moo just made the confession for both of them. Very in character. Does this plot remind anyone else of Footloose? Just me? Side couple was cute but now a bit too stalker for me.

Ongoing Series - Not Thai

Unknown (Taiwan Tues YouTube & Viki) ep 10 of 12 - It’s fantastic. Such a great show. We are so lucky. This is basically Taiwan’s The Eights Sense. I didn’t know they had it in them, but I’m really glad that they did.

Living With Him AKA Kare no Iru Seikatsu (Japan Thurs Gaga) ep 3 of 10 - As JBL’s go this is way more my speed (than Alaska). It’s just so sweet and awkward but charming about it. The confession was so earnest.

Blue Boys (Korea YouTube) 2 of ? No MDL link - It’s very sexy this one. Not sure what Korea thinks it's doing, but I’m not mad about it.

Gray Shelter (Korea Thurs iQIYI) ep 5fin - summation: About a slacker nursing a crush on the (brief) older stepbrother who abandoned him. Upon finding him again he moves in with him, upends the mans lost suffering life. A dark gritty piece with confusing subs making it too chewy to really grok. It's trying to do too much for its length. The tension is real and the acting is good, it's just everything else stymied clean execution of the core concept. Frankly I spent this show expecting (and wanting them) to just fall into bed together - in a kind of desperate fight sex. It didn’t happen, and I’m disappointed by the non-ending we got. (Whether it’s going to have more in the series or not.) 7/10 I'm open to changing the rank if a part two fixes this one's flaws.

Boys Be Brave AKA Roommates (Korea Thurs Viki) ep 1-2 of 8 - Oh dear. Terrible hair. Jock nerd pairing. OCD baby cakes. Cohabitation trope. Killer side couple. Def unhinged.

At 25:00 in Alaska AKA 25 Ji Akasaka de (Japan Thurs Gaga) ep 2 of 10 - I’m still genuinely not sure about this one. It’s just a little too awkward for me in the wrong way. I expect all Japanese BL to have a certain aura of awkwardness so I don’t know what it is about this one turnign me off. I do enjoy that we’re getting both stories, the one between the actors, and a little bit of the roles that they’re playing on screen but... yeah

Love is like a Cat (Korea Mon Viki) eps 7-8 of 12 - The leads finally had a moment but there is negative chemistry. Why am I watching this?

It's airing but...

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing.

Memory in the Letter (Thai WeTV) - 6 eps, when it's done, tell me if I should bother?

In case you missed it

Kiseki Chapter 2 (Sun iQIYI) 6 eps - finished its run but I won't be finishing it. Stays dropped.

GMMTV announced the second half of their 2024 line up. I got excited and picked my favorites, details + trailers here. Basically my ranking is:

The Heart Killers

ThamePo

Revamp

Sweet Tooth

Perfect 10 Liners

The Ex-Morning

Ossan’s Love Thailand

Next Week Looks Like This:

What happened?

Knock-Knock Boys (Thai WeTV) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous pairing) and Best, news here. But will it actually air this month?

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

THIS WEEK’S BEST MOMENT

I have adopted him. He is MINE. I love him, your honor. (The Stand In)

I love them SO MUCH. (Deep Night)

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are a pain.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @rocketturtle4 @blglplus @anythinggoesintheshire @everlightly @renafire

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

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unaloid · 3 months ago

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WOY au notes

this is my swap au, if you haven't seen it, you can look at #swap au on my blog 👍

back then, i wrote down my thoughts on the characters new personalities and dynamics. but i didn't end up posting since i just kept editing it. so here is what i wrote!

~~~~ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ~~~~

basically i aim to keep the core personalities of the characters the same, even if they swap roles they are still themselves inside wherever i can help it. find a similarity between the characters and lean into it!

DOMINATOR: dawdle, name change suggested by @/kradeiz. i love it so much.

she is not 1000 years old, she is not a legend. she is just some immature woman who stole a hat. because she likes to take things 💚 she was down on her luck after fleeing her old galaxy for hat crimes, so wander helped her and quickly realized someone needs to keep her out of trouble. wander worries a lot for her when she goes off on her own.

she is selfish and tends to "look out for number one". she doesn't understand being told "no" and thinks, well i want it, so its mine.

when you watch episode "the prisoner", you don't get the sense that wander is being cruel in the episode. but if dom did the same thing, she would be laughing at him. if hater confessed his love to her, she is still laughing her ass off. she is a force of chaos more than anything.

WANDER: even while taking og!sylvia's role as a "toughguy", he is still 1000s years old and "the legend". he is wander the travelling hero who has saved many planets from villains, and will always lend a helping hand to those in need.

he is small but a good fighter that can take down a big opponent with tricks. wander and dawdle travel on his motorcycle, with which he has beaten many villains by challenging them to a race. wander offers a defeated villain his mercy, he still reforms people, its a bit of tough love ^_^ on the bike, dom holds onto his back or later he gets her a sidecar.

wander doesn't like to leave dawdle alone, he is always thinking of worst case scenarios

SYLVIA: "lady haymaker"! but i will still call her sylvia.

watchdogs had a lightning on their hats to match hater, so sylvia's army have a feather on their helmets to match her! the knight theming came from this. plus she is like a big dragon, so knights seem thematically appropriate. all she needs is a princess. her army call her "milady" instead of sir, and dawdle might call her "lady".

she is similar to og!hater in that her rage gets the best of her, so she wrecks her own plans often. why does she want planets? i guess she deserves some respect after always being shoved down by her family.

lady sylvia is bigger than normal, so she is taller than both hater and dom while standing up!! she needs an extra power, too, so she has fire breath!

dawdle is super annoying, she needs to be stopped, and stop saying we are friends and stop trying to ride my back. but maybe we can harness her chaos and use it for evil.

HATER: "sir hater". sylvia's minions are little skeletons called boneheads, but hater gets to be second in command because he is the biggest and strongest. his incompetence ruins things just as often... i originally thought, "they are like pinky and the brain," where sylvia is more competent and its hater who brings her down. but really, its more fun if they are both failing in different ways.

hater is bossed around by sylvia because she is bigger than him. he takes great pride in representing the army, being the best at what he does and being told "good job". it hasn't occurred to him that he could get recognition elsewhere, he wouldn't even know where to begin as a solo villain.

yupppp he likes dom. how conflicting, he's battling a lot of emotions when he's assigned to go capture and destroy her. she can often just talk him out of it bugs bunny style, running mental laps around him. she treats him cruelly and just finds the whole thing very funny.

PEEPERS: lord peepers.. maybe he should have a cooler name but i like to keep it simple. it takes a lot for me to change names lol.

he made it to the top due to being smart and nerd brain. i have the least to say about him because... you get it right? you can look at him and understand everything. its peepers if he was successful as a solo villain like he always wanted to be.

his suit is a big robot that he pilots, and its the big reveal that he's just a little guy in there.

i said this before, but sylvia does not want him. plots from the show about hater wanting dominator, can be supplemented by dawdle trying to be his friend. she thinks he is sooo cute and doesn't understand why she can't do whatever she wants. that's why she goes into his ship in this version of "my fair hatey" and they have to rescue her

SIDE CHARACTERS?????

the way i did the main characters was by lining them up in order of screentime and shifting to the right. there needs to be an end of the list so that the last character can swap to the front. i like that no one "trades" with eachother one-for-one like most swap AUs do, it changes the dynamics between characters more dramatically!

so if i wanted to add side characters, i'd pick the next group of 5 (or more or less) by screentime and do the same thing. i'm not a big side characters girlie tho, i prefer to only focus on the main characters, so i was not rly concerned with this at all lol. but there is a "right" way to do it, and i don't rly want to calculate all dat

(the only side characters i really like are major threat and emperor awesome)

#woy au #swap au

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mooncalvin · 2 years ago

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Across the hall (pt. 2)

Summary: just George and you getting to know each other a bit better.

Warnings: pure smut. Choking kink, Dom!George, and much more.

Words: 4k

A/n: I'll leave this here and go back to my cave. I just finished uni and now I have much more time for writing so let's just see how it goes. Hope you like this very much!

A few days later you two meet at the same caffee of the last time.

“So what about Georgie?”

You flush once again “I mean, he is really nice, I don’t really know much about him”

“It’s not like you have to know an awful lot of someone to want to fuck them” she stated “By the way, I think he likes you too, we went to see him on Tuesday and he couldn’t shut up about you and your paintings, and he isn’t really an artsy guy, you know?”

“But before this , he barely even looked at my direction, I’m sure he didn’t even know I existed”

“Girl! The only reason I went for sugar to your house is because he said you looked nice and didn’t want to go by himself, we weren’t even baking a cake” her answer took you by surprise.

“Lily!”

You kept talking to her as the days went by, you were more similar than what you would’ve thought. But he wouldn’t stop bringing up George, dead-set on getting you two together.

You haven’t seen him since the last interaction at your apartment one week ago. So you were surprised when you saw him knocking at your door.

“Hi” you greeted him, failing to hide your smile “is there anything you need”.

“Not really” he answered “I thought it was only fair to invite you for coffee at my place since you invited me the other day.” he proposed to you shyly.

“Sure I would love to,” you said enthusiastically.

You walked to his flat, very different from yours, sober and modern style, almost impersonal, probably because he has recently moved in. You smiled when you saw some of his helmets and pictures of a much younger him from when he was in the lower racing categories.

“You were cute here” he smiled as a red layer covered his cheeks.

“Well, do you want to sit down? I can put on a movie or something while I prepare the drinks” he muttered.

“Yeah, sure”. After a while he returns and sits next to you, fairly close to you, but not enough. Neither of you started a conversation at first, feeling a bit awkward. It’s him who breaks the silence.

“How is your artwork coming?” you turn to him to answer.

“I finished the piece I was working on when you visited, now I’m working on a personal piece.” he hummed and turned his gaze to the tv. A while after, you turn your head to discover him already looking at you. This man has to be interested in you, right? The looks he’s been giving to you since you’ve entered his apartment screaming “I’m thinking about fucking you right now”. He wouldn’t be smirking and staring at you if he didn’t want to sleep with you. But were you going to act on it? Hell no.

“So, you are a formula one driver” you stated.

“I am indeed” he answered.

“And how is it?” you asked, genuinely curious about it.

“Well, I’ve been racing all my life and formula one is the top of racing, so it feels like an actual dream but it also has its flaws. I don’t really like all of the press stuff and how paparazzis and magazines intrude into your private life, ” he said. You bite your lip while listening to him.

“If you don’t stop biting your lip like that I don't know how much more I could control myself” he mutters so quietly that you almost can’t hear him, but you do. Your eyes go wide as you freeze, watching how he licks his lips as he approaches you “God I want to fuck you so bad.”

All the breath leaves your body, heat rushing to your core. Your cheeks are bright red, heart shaking as you look at him.

He actually wants you. He wants to fuck you.

All you can do is look at him, muttering a quiet “George…” Before he is leaning over you, body pressing against yours, lips so close that you can feel his hot breath, hands gripping your chin. You can feel the slight hardness poking at your stomach so you look down briefly before looking into his eyes again.

George’s blue eyes stare into yours, watching your every movement. Your lips are practically brushing each other. And his hand goes to your hip, pressing you close to him. A moan escapes your mouth before his lips are fully into yours, silencing you.

It takes you a second to respond to the kiss. But then you feel his lips move against your and follow, kissing him with passion. Your hands come up to hold onto him. One pressing against his cheek and the other on the back of his head, so you can run it through his hair. He presses you harder against him as his other hand goes to your hair tugging it, leaving your neck uncovered, so he can start to kiss it and bite it.

He lets out a little moan when you pull his hair to bring your lips together again.

One of his hands moves up to your neck, wrapping around it and adding a light pressure. You take his bottom lip with your teeth , pulling back and biting down lightly before pulling away from his lips entirely.

He stares down at you, hand wrapped around your neck as you pant and whine, legs wrapped around him squeezing while you attempt to grind into him.

“Do you like it rough sweet girl?” A laugh escapes him, fingers pressing into your throat a little tighter for a moment, you moan out, nodding your head.

Right now you feel like you’ve never before, relinquishing all your control to George as your mind goes fuzzy and your pussy gets wetter.

Both of you moan when George grinds his cock straight into you, the friction scratching right against your clit.

He buries his head into your neck befores going upwars, his mouth coming to rest beside your ear.

“I’m going to take you into my room and I’m going to eat this pussy before fucking you raw. Is that alright darling?” your pussy clenches as and your head is nodding before he grabs you under your thighs and picks you up, walking through his apartment towards his bedroom.

You bounce on the bed when he throws you down, giggling while you lay there and stare at him.

He stands at the end of the bed, tall and imposing.

You watch as he takes off his t-shirt, his body skinny but full of muscle, wanting nothing more than to rip the rest of his clothes, but he is quicker as he grabs your legs and slides you down the bed.

“Do you want this sweetheart?” he stares down at you with a smirk, palming his erection through his trousers. You glance at him, nodding your head. “Words, darling”

“Yes,” you mutter.

“Yes what? Your eyebrows furrow, and you take a moment comprehending what you heard before you realise.

“Yes sir” you practically moan.

He lets out a groan at your words, hands rushing to undo your belt and take off your trousers, sliding them down your legs, leaving you in only your panties.

You’re grateful that you didn't choose to wear your teddy bear panties, maybe you knew that something like this could happen.

George moans when he sees your soaked underwear, a hand reaching your covered pussy. You whine and move your hips up, only hoping that he would do something else. “George…” Suddenly he is rushing to pull your pants down your legs, spreading them and throwing them over his shoulders as he kneels in front of you.

You lay there in anticipation as George lays open mouthed kisses on your thighs. He continues to tease you, coming closer to your core before moving away. Your whine at the teasing.

“So desperate for me, aren’t you?” When you look down at him, he’s still looking at you, lips puffy from all the kisses you shared. “If you beg me I might just consider going further love” he says before nipping the skin of your thigh.

Your legs tighten around his head “Please, George, please, I need it so bad”. He scoffs against your leg, a hand going up to caress your ass gently, before laying a smack onto it, making your hips buck into him.

“I don’t think I remember what I told you to call me, was it that?” He says sharply.

“Please sir…” you let out another whine as he licks a strip up your pussy, getting the attention you needed.

“You taste so good, sweet girl” he says before diving back and running his tongue all the way to your clit, sucking it.

You moan out, and your hands fly to tangle in his hair and pull. He lets out a moan and brings an arm to hold your hips down, continuing his duty.

You cannot stop moaning, a pressure building up your lower stomach as he continues with his torment.

He fucks you with his tongue, his nose digging into your clit, one of his hands harshly gripping onto your thighs as they rest on his shoulders. All you can do is look down and watch him, eyes almost closed because of the pleasure.

His hand releases your leg and comes to your pussy, one of your fingers sliding into it, making your grip on his hair tighten.

He puts another one not long after, curving both of them, hitting the spot that makes you see stars. He pulls his face away from you for a moment, his fingers still fucking you as he looks up at you, his chin covered in your slick. Your walls clench around his fingers, making him let out a laugh, motivating him to do it harder.

“Such a dirty little whore, aren’t you?” you tighten around his fingers as he says it, making him laugh again “You like that, don’t you? My little slut” you let out a moan indicating that you are going to come soon.

“I-I’m going to come” you stutter, not being able to form a coherent sentence.

“Yeah baby? Are you going to soak my fingers like the dirty girl you are?” you feel as he adds a third one, stretching you.

You moan as a confirmation, and he leans down again, sucking you hard as he continues pounding his fingers into you.

You feel your stomach pull tighter, as your release comes, moaning his name as you cum. Your legs shake, back arching as the pleasure invades you. That doesn’t make him stop, as he continues licking you through your orgasm.

He pulls away from your pussy, and lets his hand to his mouth, tasting your release as he lets out a moan.

He stands up fully, towering over you once again as you lay in bed, recovering from the orgasm that has just hit you.

You come back to earth as you feel him grab your waist and hike you up the bed, resting your head on one of the pillows that lies there. Then he dives down to connect your lips and your hands go up to wrap around his shoulders, nails digging into them. You continue to kiss as he grinds his erection over your pussy. You shake at the overstimulation, whining when his lips leave your mouth. You open your eyes to see him hovering over you, smirk on his face.

“From the moment I saw you I knew I had to ruin you” he says, eyes dark with lust. You moan at his words.

“Please fuck me George” you mutter, pulling him back down and kissing him fiercely. He pins your wrists to the bed, taking control.

He pulls away, releasing your arms and pulling you up so he can pull your shirt off, admiring your breasts in your bra before removing it. He pushes you back down and starts laying kisses across your chest until he takes one of your nipples into his mouth, sucking it lightly and pinching the other one with his hand. You moan, your hips grinding on him and hands on his hair as he continues to lap at your breasts, switching between them.

He pulls away and stares at you for a moment, “I’m going to fuck you so hard” he says before pulling away undoing his pants so he can push them and his underwear down, revealing his cock to you.

He’s actually bigger than you expected, precum dripping from his tip. You can’t help but moan at the sight as your legs open on their own, almost like a reflex, exposing yourself to him again.

He laughs at your eagerness. “You don’t mind if I fuck you raw, do you, love?” you shake your head quickly.

“Please I need to feel you inside me” You whine, becoming desperate for him. He smirks at you as he climbs the bed, crawling on top of you, getting himself between your legs, dragging his cock across your wet folds, making you leave a moan as he brushes your clit.

He grabs your legs, pushing them up slightly as he holds himself up on top of you, guiding the tip to your hole, pushing it slightly.

Both of you moan, your back arched at the feeling and your eyes closed. But they shoot open when you feel George wrapping one of his hands around your throat, adding a light pressure “that’s right babygirl” he whispers “keep your eyes open for me”.

Then he begins pushing in, your walls squeezing him as you struggle to keep your eyes open, gasping.

He mumbles a “fuck” and keeps pushing in, hand squeezing your throat slightly.

“Oh George…” you whine when he bottoms out, him fully inside you.

The feeling is just amazing. The stretch of his dick and the feeling of his hand around your throat sends you into a state of bliss, making you struggle to keep your eyes open.

George is not much better, his eyes are also closed as he refrains himself not to start pounding into you like some kind of animal, wanting to give you a second to adjust to his size before fucking you fully.

His eyes are open when he hears you mutter a little “please”. And he looks at your face as you stare up at him, begging him to move and fuck you.

He doesn’t waste a second, pulling out of you before sliding back in.

You both moan at the same time and he begins pushing in and out of your cunt, picking up his pace.

Your eyes roll to the back of your head, and your hands come to grab his wrist as he continues to choke you, slowing your breathing in the most delightful way.

The coil is back on your stomach, this time faster than before. The feeling of his cock pushing against your walls is just as good as you had imagined, maybe even better.

You stare up at him as he pounds into you, his pace picking up as your eyes catch his. He slides the hand that was at your throat down your body until it reaches your clit, rubbing it.

“Open your mouth” he suddenly says. You can’t help but be confused, not really understanding why you should open your mouth, but you do it anyway. You watch as he spits in your mouth. “Swallow it”. You do it immediately, your pussy squeezing as he lets out a “good girl” after.

He lets out another moan before pulling out of you.

You whine at the emptiness, hands going to his arms before he’s grabbing you and flipping you over onto your stomach, grabbing your hips and pitching them up, hips in the air and face buried in the pillows.

George grabs onto your ass, kneading it before leaning down and biting you, spanking you after you let a little moan. “You’re just the perfect girl for me”. You hear him mutter before his hands go to your hips and he starts pushing his cock into you again, making you moan happily.

Now he goes pounding into you, pace fast and rough as he fucks you into the bed.

His cock glides in and out of you, the occasional smack on your ass as you moan out.

You feel so close to coming. “Harder George please!”, you call out, painting and gripping onto the sheets tight as his trusts get harder.

He grabs your hair, pulling until you’re leaning up on your knees, your back to his chest, hitting deeper with each thrust. You moan together, and you turn your face to his, your lips connecting in a sloppy but passionate kiss. Your hand cradles his head, the other grabbing his side, as he continues to fuck up into you.

You feel the coil tighten and tighten, bringing you closer to relief. And as if he had read your mind, George’s hand comes to your clit, making you cum all over him.

You moan loudly, body trembling as he continues to fuck you, your hand pullin his hair tightly, even louder when you feel the heat of his cum fill you as he comes inside of you, his own moans mixing with yours as he connects your lips again.

You keep kissing as you come down from your highs. Breaths steadying when you pull away from each other.

You stare into his eyes as he stares into yours, the both of you panting. A smile makes its way into your lips, one forming in his no long after. One of his hands comes to cradle the back of your head, pulling you into him to kiss you again.

He then slowly pulls his cock out of your pussy, making you whine at the feeling, already missing him. He gives you a short peck and helps you lay down on the bed before pulling away from you entirely.

“I’ll come back in a moment, love” he says. You nod and close your eyes as you feel the exhaustion creepin into you.

You don’t even know how long it went until George gets back. You feel him spread your legs a little before a wet cloth is cleaning away the cum that pools your pussy. You half open your eyes and watch him, a dizzy smile on your face at his caring actions.

He glances at you when he’s done, climbing back into bed next to you.

He pulls you into him, pulling you to rest onto his chest. You wrap your arm around him, squeezing harder when you hear his heart beating faster.

You feel him lean down and press a kiss to your head, sighing in contentment at the moment.

After what could have been hours but were just a few minutes settling after your littler encounter, you pull away from him a little bit, leaning up as you look at him, him looking back at you. A small smile rests on his face, and you lean forward to press a kiss to his lips, humming with joy as his lips press back.

When you pull away you look back at him.

It’s now or never.

“Would you go on a date with me?” you ask him, anxiety crippling.

He can’t help but laugh at your question.

“I’d love to go on a date with you”.

Taglist: @mysticalnightenthusiast @vildetry06 @rens-daylight

#f1 x reader #f1 fanfic #george russell imagine #george russell x reader #george russell smut #george russell fluff

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mysticbewitched · 2 years ago

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My Beliefs Have Evolved..

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▪︎ I'm about to piss off some popular bloggers & start a major fire in this community.

{ Lights, Camera, Action.}

A serious epiphany hit me hard out of nowhere as I was wandering through some of my old posts way back when I first started this blog. As I was reading through some of my old writings from my former posts, I realized that I held certain beliefs at those times that no longer resonate with me anymore.

I did not realize at the time, but I took some teachings of things from Neville in a *literal manner* that were never supposed to be taken in that way and some aspects of my understanding of the law of consciousness were completely distorted due to the ridiculous amount of ignorant misinformation and misinterpretations flooding through tumblr.

I admit that in the beginning, I was one of the ignorant ones, and it was because of all the information you're constantly seeing spread around like chaotic wildfire in this community.

It clearly warped my understanding and I thought I finally had Neville's teachings all figured out.

Let me tell you, I was beyond wrong.

Recently, I had discovered that I've been missing the main puzzle piece: the entire source of the law of consciousness.

For that reason alone, I want everyone to know that I will most definitely be revamping and transforming quite a lot of my older posts to reflect my newer, evolved beliefs to reflect the philosophy of nondualism.

Now before you start stressing out, I want to explain to you that Neville Goddard was actually teaching nondualism at the core of his teachings, which a lot of people wrongly mistake as something separate or completely different from the law of consciousness.

They could not be more mistaken, and they simply do not understand it. The law of consciousness is the expression of nondualism at its core.

I'm here to tell you that they are the exact same philosophy with different delivery. That is truthfully what Neville was teaching about all this time.

Now whether or not you believe in nondualism, that's entirely up to you, and you are free to believe whatever you wish. - I just want you to truly understand and realize that Neville Goddard was, in fact, truly teaching nondualism.

Admittedly, Neville did start off his teachings with some limiting beliefs, but he eventually evolved in his beliefs and his teachings after he experienced the promise.

The law of consciousness is just a name for the physical expression of nondualism's philosophy. Simple as that.

For everyone who is here for the "law of assumption" and you are being led to believe that you are somehow separate from your own reality, or the law of consciousness is a law "operating outside of you"- you are seriously not being taught the law of consciousness in the way that Neville Goddard actually intended for you to understand the whole core his teachings.

*Your understanding of the law is being warped and twisted out of shape because of all the countless amounts of misinformation.*

Neville Goddard and Alan Watts both taught nondualism at its core. However, their styles of teaching were different from the other, and they were focused on different aspects of nondualism.

Neville focused his teachings on the true operation of the law of consciousness shaping our own lives from within us for his listeners to understand how to consciously create their own realities while Alan Watts' teachings were more centered around our true self as unmatched, infinite awareness and how we as awareness are the original source of the universe experiencing the physical expression of itself.

Nondualism is all about oneness and unity, not separation.

All the total bullshit you hear these days coming from the most popular bloggers in this community about: "The 4D vs. The 3D", "The 3D conforming to your desires", or "The 4D is more real than the 3D" -

Blah, blah, blah.

Throw all of that shit out of the door.

All of that implies separation. There is no separation.

You are the prime *source of all creation* and one with all. This is what true nondualism is all about.

You are source of the universe.

You are God of your own reality and all things come from *within.*

All comes from within. This is the core of nondualism: absolute oneness and unity.

You are one with your reality.

Consciousness is the only reality.

"All things come from within; nothing comes from without-" - Neville Goddard

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A lot of my former beliefs were about:

▪︎ The "3D conforming" - That's a huge no, no. There is no damn "conforming" going on, and I will explain all about that in another post. "Conforming" implies separation, and there is absolutely no separation. You and your reality are *one*. Simple as that.

▪︎ Taking Neville's whole "mirror" comparison in a literal manner to imply separation between imagination and reality.

Guess what? That teaching from Neville was *never* meant to be taken as literal.

I'll say it louder for the people in the back this time. There is absolutely *no* separation. Your reality "mirrors" your state of mind because there is no separation between you and your reality.

You can thank the ridiculous flood of popularized misinformation flowing through this platform for making me think there was some sort of invisible, barrier between imagination and reality that performed as a literal mirror in action.

What the hell was I thinking? Most definitely not. Those former beliefs of mine are history and deep in the trash where they belong.

▪︎ Focusing on the "time" with manifestations:

I actually now feel as if focusing your attention on the "time" implies a lack mindset because you're just supposed to focus on enjoying already having your desires in the present moment.

"Time" does not matter.

Stressing out and worrying about the "time" is a strong indicator of a victimhood mindset, and I only want to empower my followers to step into their power and change their mindset to manifest their dreams.

I firmly believe that the more confidence in yourself and your own ability to manifest, the less "time" it takes for the physical manifestation of your desire to be expressed in your reality.

▪︎ Thinking as if the "law of assumption" was a law that was somehow operating outside of us. -

Oh, hell no, it's not. Not even close.

The law of consciousness is *you*.

Everything is coming from within you.

You are the *infinite source of all creation.*

It's simply a beautiful and freeing realization.

Free yourself from the chains of misinformation.

▪︎ { I will be doing a post sometime to explain nondualism in greater detail and how it is actually about the true nature of the law of consciousness under a different name and form of delivery. }

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None of the former beliefs reflect my views anymore, and people who are still following these beliefs are only overcomplicating and distorting their understanding of Neville's teachings about the law of consciousness.

I resonate far deeper with the true intended teachings of nondualism from Neville and Alan Watts compared to the popular ways that people are trying to teach "law of assumption" these days on here.

I'm just not having it, chief.

I have stepped away and opened my eyes. I am on the outside looking in and I am now seeing just how much distorted misinformation are being blindly accepted as the end-all and be-all from even most of the Neville inspired blogs.

The teachings from Neville in this modern community are incredibly warped and distorted. These people just don't get it, man and I remember being in the exact same position, myself.

I shake my head when I think about the old, ignorant version of myself. I really thought I had it all figured out and I was missing the main piece of the puzzle the whole entire time to tie everything together.

It is now safe for me to say that I have definitely strayed far away from the distorted misconceptions and "popular" ways a lot of bloggers are trying to teach "law of assumption" these days. I'm just not having it, man. The ignorance is unbearable.

*Knowledge is power* and you want to make sure that you are being exposed to the right information from others that will simplify everything and actually help you achieve success on your manifestation journey.

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#loassumption #law of assumption #manifestation #manifesting #law of manifestation #neville goddard #nondualism #nonduality

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summerofofelia · 3 months ago

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15 day BL challenge time!

OG here 🧡

Day 8 - The trope you hate except when it’s “this series”.

Throughout the course of my twenties, due to a combination of working with incredibly difficult people (never work in Australian media y’all) and navigating personal drama, I have learned that the best way to interact with people is through direct, honest communication. I have learned how to be gently confrontational, I am comfortable being uncomfortable and saying to someone, “hey, can we sit down and have a chat?” And as a result, I find myself huffing impatiently when miscommunication rears its ugly head.

Looking at you buddy

Ah yes, miscommunication. My arch nemesis. Miscommunication is the rotten toenail of tropes. So often it feels like a cheap way to manufacture drama because the writer was too lazy to come up with something more original.

If the central conflict of your story stems from a miscommunication that could be resolved if the characters had a two minute conversation, but instead you stretch this petty misunderstanding out for an infuriatingly long amount of time… ya boring. Go back to the drawing board. Think of how else you can create tension and obstacles that compel the audience to care.

So which show is my only exception?

BL: My Personal Weatherman.

My Personal Weatherman, for those unfamiliar, is essentially a story about two emotionally constipated dumbasses that are desperately in love with each other.

And I adore it.

So what makes their miscommunication different?

This is not a surface level miscommunication that can be solved with a simple conversation. It requires serious introspection, recognition of fears, voicing insecurities and allowing vulnerability. These are not things that happen overnight.

Yoh has incredibly low self esteem and believes he has nothing to offer Segasaki. He constantly downplays his abilities, despite the fact that throughout the series we see him being Segasaki’s safe space.

He can’t bring himself to be honest about his feelings to Segasaki (except when he’s drunk). He is confused by Segasaki’s actions and finds himself becoming resentful, finding reasons to hate Segasaki because he thinks his heart is the only one that races when they’re together.

Segasaki, on the other hand, wears a mask around others, feeling like Yoh is the only one that understands him. He can pretend with everyone else, but with Yoh he is utterly defenseless. Since day one he has been captivated by this man that sees right through him to his very core.

Segasaki desperately needs Yoh to be by his side, he craves him, and yet it takes seven episodes for him to finally break and say, I can’t breathe without you. Even after this declaration we see him tying Yoh up in an attempt to keep him from leaving, begging telling Yoh to be his and his alone, his insecurity palpable (also, he never actually tells Yoh about his insecurities, he just tortures himself in private). This moment of vulnerability is a turning point in their relationship.

And all this is externalised through a lack of communication, and not just that, but a lack of understanding about different communication styles. Segasaki is taken aback when he finds Yoh drunk and sullen, proclaiming that he will earn enough money to move out because Segasaki only sees him as a slave. Meanwhile Segasaki is like, wow, okay, first of all rude to say that to your husband.

But after this, Segasaki specifically takes Yoh out and they experience all these cute little date moments. It’s super sweet and everything is going well, until Yoh says, “hey, if you want to do something without me you can”, leading Segasaki to walk away despondently (and lie about having other plans) because he clearly thought they were on the same page (however, he still uses this time to buy Yoh a jumper while Yoh goes off to buy more sheets so they can fuck be intimate more often (because they’re both dumbasses who haven’t heard of a dryer)).

Through Segasaki’s actions, he thought he was clearly saying, “hey, I like you.” And yet, the lack of literal vocal communication meant these gestures went completely over Yoh’s head (literally at one point he says, this guy really needs to use more words!!). His low self esteem has created a barrier in their relationship. He doesn’t understand that Segasaki actually wants to be with him. How could this amazing man ever actually want him? And it’s understandable that he’s struggling, because Segasaki can be quite ambiguous with his words.

Now could all of this be resolved in one conversation? Not exactly, no. It’s more complicated than that. Which is why it works. Because there is something far deeper going on.

In order for these two to find each other, they have to overcome their own insecurities. They are each fighting an internal battle and don’t actually understand how to vocalise their needs and fears to each other.

It’s hard, but they get there eventually.

Dumbasses (affectionate).

#blchallenge2k24 #my personal weatherman #taikan yoho #segasaki x yoh #Yoh: *sigh* he hates me doesn’t he #Segasaki: I literally want to devour you #it’s also so funny rewatching the series after seeing Segasaki’s POV #this man absolutely ADORES Yoh #“oh you’re having dinner? yeah I GUESS I could sit with you no big deal #ummm can you feed me pls #like I GUESS you could hold my hand #no like actually hold my hand

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shoccolat · 3 months ago

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this is probably going to sound crazy, but i really do think the most vital and pivotal core of nishimaji is nishitani's death.

not just in the way it affects, and influences, majima—giving him the motivation to break out and present himself on his own terms, his mad dog fighting style, his flashy and garish fashion choices, even his facial hair, as well as dreaming of nishitani telling him he's proud of him—but in what we learn about nishitani in his final moments.

before we get to that, though, let's take a closer look at who nishitani is.

nishitani is a wildcard. he does whatever he wants, whenever he wants, however he wants. he's not held back by anything other than a personal moral code that's a bit questionable, but usually well-intentioned nonetheless.

by that i mean, he's not heartless.

he backs off when the grand's hostess tells him she's not interested and lets her set the conditions on her own terms. he doesn't keep fighting majima after he throws the first punch and realizes majima isn't fighting back. he's out for makoto, sure, but he reassures majima that he's not going to harm her and never planned to, even before majima showed discomfort in nishitani 'hunting' her. and of course, he avenged biliken's daughter because of how devastatingly hard it hit his uncle.

nishitani may be rough and cocky, but he's never cruel. he's incredibly perceptive and knows when to back off. for a yakuza patriarch, he's vastly different than the cold, uncaring, selfish ones we see in the series.

and yet, he says this:

and that changes things a bit. because in a way, he sees himself just like those other heartless yakuza—he's done all the dirty work it takes to get to where he is and then some, and has gotten quite successful because of it. so why would "a guy like [him]" be feeling sentimental towards majima?

really, hasn't he been feeling this way the entire time?

he plays the tough guy act, but really, he's fallen head over heels for majima and he knows it. says it himself, even.

and it's not just a creepy façade to deter majima (especially since majima never really seems all that deterred by it, especially in the jail cell, where he even starts to flirt along) because nishitani isn't one to fake anything. he's so unapologetically himself and if anything, that's what majima admires and looks up to most.

but majima is also perceptive and smart and kind, and wouldn't look up to a shitty person who never cared for anyone but himself, even if they're yakuza and in a higher position than himself. he has sagawa for that, and majima absolutely hates his guts. whereas he sees something novel and good in nishitani.

it's especially notable that nishitani shares the same sentiment about sagawa, and even offers majima an alternative.

at this point we know that working under nishitani would've been vastly different than being under sagawa's thumb, but not to what extent... what kind of boss would he have been to majima…?

honestly, they could've left it right there. "nishitani has a weak spot for majima, majima looks up to nishitani, and there's some semblance of respect between them." that alone would've left plenty for fans to work with.

but no. they just had to take it that one step further.

they had nishitani sacrifice himself for majima. he fully, physically blocked majima from getting shot, arms outstretched, protecting majima. he drops the playful banter and gives majima the most motivating advice of his life. and he shows a fierce loyalty towards majima that would probably never have been shown just as intensely as it was in that moment. in life or death, he chose majima's over his own.

i made a post about his irezumi a while ago, but if you haven't seen it yet, i imagine his would've been an okami.

okami are seen as wildcards, too, being either protective or aggressive towards humans—how they act is entirely dependent on how the human treats them. and for okami, there exists the fierce loyalty that a wolf maintains towards its pack.

it's only in nishitani's final moments that we see just how deep that loyalty lies.

#sometimes you just gotta stop and write a 700 word analysis of your ship in one sitting #i hope this is coherent i wrote it at 2am 🙏#i have a lot of Big Feelings about nishitani #nishitani homare #nishimaji #yakuza 0 spoilers #yakuza 0 #yakuza #rgg #ameplays.txt #meta.txt

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dragonwysper · 2 months ago

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Just finished Mouthwashing, after hearing all sorts of snippets of fandom drama about it. I'd stayed away from all that because I didn't have the context, but now I do! So I'm blasting you all with my thoughts.

Long post. Be prepared. Spoilers for Mouthwashing and CW for in-depth discussion of SA below.

So the biggest aspect of the drama side of the fandom that I've been seeing is how the game handled Anya's rape. Some people think it was devastating and properly showed the awfulness of Jimmy, and feel Anya's trauma was portrayed accurately and handled well. Others think Anya was somewhat one-dimensional; she was given a stereotypically female-specific trauma to match the different pain/traumas of the other crew members, and feel the subject wasn't given enough weight and respect.

After having played the game (while also going into it with the knowledge and expectation that it would be about SA), I can see both sides. Though I think my thoughts on everything come from some core details.

Firstly, the core theme of the game is not SA. It's karma. Jimmy is a terrible person who doesn't care about the pain he inflicts on others, as long as he gains something from it. The game follows him as he destroys the people around him, and treats them like fodder to fuel his own goals. We see all of this catch up to him in the end, and he's sortof divinely punished, or overcome with guilt, or whatever it is, because of it. Each person's harm is unique and everybody has their own micro-themes, but the core theme of the game is overwhelmingly karma.

Essentially, this is not a game about SA. This is a game about a terrible person getting what's coming to him.

Secondly, rape as shock content is a common gripe regarding mostly horror movies. It's a quick and easy way to create motivation, so much so that it's turned into its own subgenre of 'rape and revenge' plots. Think I Spit On Your Grave style movies. The other side of the same coin is objectifying the victim, which creates an exploitative feel. The act of the rape itself, and furthermore the shock of it, is more important than the victim and their feelings and trauma. Rape is detached from the lasting harm it causes, and is more something to justify getting up in arms about something/someone rather than a trauma.

And while we do see some of Anya's trauma from SA, Mouthwashing by and large is not meant to be a commentary on SA specifically. Again, it's about how terrible of a person Jimmy is, which makes the SA, at least in part, a tool to make the player hate him.

Ultimately, if Mouthwashing was changed to where Anya faced a different form of harm from Jimmy, instead of SA, it would still be just about the same game. You could still make a convincing game with karma and bad people getting their comeuppance as the core theme. And that I think is the most important realization to have about the subject.

Anya's SA was the first trauma, and the details of the aftermath are what kickstarted the plot, but it was, intentionally or not, a tool to make you hate Jimmy. Because the game isn't about Anya and her trauma. It's about Jimmy and his karma.

I think Mouthwashing is fascinating, and that theme of karma is not something I see done well very often. I think the style of the plot and all the little details that expound upon the micro-themes of the game are extremely well done. And I think it did handle its themes of SA better than a lot of content that discusses it. But it's not perfect, and it falls short of really digging into the true weight of it. It's not a game that makes any real progress on the portrayal of sexual trauma in media. It's cleaner and less graphic than 'rape and revenge' stories, but it ultimately still relies on exploiting the shock of rape to serve a 'bigger' plot.

It's late, I'm tired, and I'm struggling to properly word what I'm feeling, but hopefully my interpretation of nuance comes through.

#restating again that i really liked mouthwashing and i think it's super creative #it just is not a game about sa #trying to look at it through that lens and deem it exemplary as a game about sa is misguided #anyway #tw sa #mouthwashing #anya mouthwashing #jimmy mouthwashing #long post #i rate this game 7/10 btw #i might make a post in the future discussing my thoughts on the woobification of media by fandoms #because that is also a huge critique by people critical of mouthwashing #but that time is not now #i have no idea how this post will be recieved. but i can only hope i don't get crucified for it

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basil-does-arttt · 7 months ago

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Devil May Cry 2. The pimple-faced teenager of the series, widely regarded as the worst game in the franchise.

While yes i agree with this viewpoint to some degree, and i think all the jokes about it being the worst one are funny... i honestly dont think the game is THAT bad. In fact, i think people give it too much shit.

Ill start out by saying this: no, the game isnt amazing. Its under-developed, rushed, and in no way is it up to the same standard as the other 4 games. Im not saying its this perfect game, but its not as horrible as some make it out to be.

Ive played through the game on the original PS2 version and the remastered version, and although im yet to complete Lucia's campaign, i can confidently say the game is mediocre at worst really.

First the gameplay: Boring? Yes. Definitely. Do you like standing in one place and shooting everything for 15 minutes untill it drops dead? This is the game for you. But you dont have to do that, it just happens to be the easiest option because the controls are so jank. I spent (some) time myself learning the combos, turns out it depends on the way you angle the joystick, and once you get the hang of it, its not that difficult to S rank combat encounters at all. Its annoying, but not impossible, and the combos can honestly look pretty cool imo.

The movement is also another thing, the dodge animation takes way too long to perform but i do like the forward dash. Its a nice alternative to using stinger as a makeshift movement dash, i wish they kept it for furture versions of Dante. (Yes i know theres the trickster dash, but he doesn't do a flip)

I also really love the flying mechanic with aerial heart, and the different kinds of core thingies you could combine as a whole. A unique feature that kinda got combined into other things in Dante's design.

A few of the bosses, if they had been fleshed out and maybe balanced a bit better, could've been just amazing too. Furiataurus for example. One boss i feel was done well though was The Despair Embodied, and although you can just stand around and shoot it to death like everything else, you do actually have to put effort in to not get hit and die. (Trismalga is also kinda in that boat too, a well(ish) done fight you actually have to put effort into, but i personally didn't like it.)

Next, level design: You have to admit they did some cool things with the level design. *some*. The whole "grungy city" vibe is something i found very interesting, and the trippy purple iteration of lower town was, while infuriating to navigate thanks to the camera and graphics (esp on the ps2 version), was actually quite neat. I also really liked the clock tower in Lucia's campaign.

And also, the music. Can i just say, i think dmc 2's soundtrack is my favorite one out of all 5 games. The ambient background tracks are almost dreamy, especially Lucia's ones, the boss themes honestly go hard and the piano track that's repeated throughout the whole soundtrack just sounds good. If you take anything away from this post, its that you should listen to the soundtrack. (I reccomend the tracks "Unholy Relics", "Cry for the Moon", and "Shoot the Works")

The character designs are another thing i think they did well in this game. In my humble opinion, Dante's dmc 2 style is the best looking one in the whole series. Lucia also looks quite cool, her devil trigger form especially.

The characters themselves, Dante especially, need work, but might i remind you the developers were rushed when making this game. They didn't have enough time to do everything they wanted to do, 6 months before the game was supposed to release they didn't even have it in working condition. It was only thanks to Itsuno stepping in as the director that we got this game in the first place, and all he could do was salvage what the team had already created and get it in a releasable state before launch.

If only they had a bit more time (and maybe resources), dmc 2 couldve been quite the cool game. Though, on that note, if it werent for dmc 2's catastrophic faliure and Itsuno's prompt pestering for a sequel so the franchise didn't die outright, we wouldn't have gotten dmc 3. Though i think Capcom would've made a 3rd game regardless of the scenario.

All in all, i dont think dmc 2 is that horrible of a game. If you have the remaster collection, or even the original PS2 version, at least try it. Give it a go, play through the first few missions and kill one or two of the bosses.

Don't take it seriously, just have fun and enjoy the game in all its janky half-finished glory. If you look at dmc 2 that way, i think you'll enjoy it a whole lot more.

Or dont. Yknow, its your choice.

#devil may cry #dmc #devil may cry 2 #dante devil may cry #lucia devil may cry #also #bloody palace (and sin DT technically) was introduced in dmc 2 #and i didn't even mention its the first game where you can play as Trish #a lot of design elements carried throughout the series from this game #but thank god they left the “pay to win” doors behind.

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kyriefae · 5 months ago

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Being a Whovian is sincerely so much fun.

This show is so many different things to so many people but what I think truly makes it special is not just the change it forces on us as an audience but the way it pushes us subconsciously to give up on purism.

"Your Doctor" was <insert amiable character traits> but the current one doesn't represent that same persona? Pity. Almost like we can be different people all throughout our lives...

You ever hear someone say like..."it's fine it's just not for me"?

I wonder how many people who say that about the newest Doccy Who seasons genuinely think in their heart of hearts "actually this is garbage and you should agree with me that it is garbage" because those two are not the same thing at all! 🤭 Ugh, I can't help my incredulity sometimes. Maybe the internet adds to the expectation of toxicity. ...or I just spent a lot of time growing up around cynical assholes that hated fun. *shrug*

More to the point! 😅

Pick an era of this show; pick a doctor and you'll be transported to a world more or less unique to them. That's pretty cool if you ask me. They still have that silly multidimensional blue box; they still have two hearts (even if it didn't become canon until their 3rd incarnation)...and yes they still pick up stray humans (...usually young, petite British women from whatever decade said Doctor conveniently and sequentially visits).

But maybe to really hit home on what I mean about this show tackling purism in its audience's mind...it's always been a silly sci-fi show meant to elicit joy and wonder out of children. Additionally so, to help adults retain that same joy and wonder in their own lives by reflecting on the excitement that comes from infinite possibilities only possible when traveling with a genderfluid space alien that wears extraordinary clothes and hands out candy like it's already gone out of style. Oh and you become the universe's only hope the moment you step into another time or location lol.

Sometimes when we love something, we take it very seriously no matter how absurd it truly is at its core. We may not even notice we're doing it but any criticism of Doctor Who really ought to be taken with a grain of salt (and spread out at the very edge of creation...just for good measure). No need to get all salty over a television show. 🧂

So yeah. Being a Whovian, for me, is having the freedom to dive head first into an ocean of lore whenever I desire and really explore storytelling from several perspectives. Albeit many of the early years were written and directed and produced from the perspectives of white, straight men in the U.K. and stories with misogynist stances that heavily limited the functional roles of women in the context of said stories and were also affirmed by narratives and protagonists that failed to question any of it. *clearing throat* Oof, there was a frog back there!

All the same, our heroes of yesterday battled styrofoam monsters breaking through plywood walls built on cardboard sets represented by painted miniatures dangling on strings over a starlit portrait meant to look like space. Even when they couldn't help but be a bit cringe, they were still a silly lil sci-fi show playing at games of the imagination. Like children at play.

Now, we have this beautiful and talented man standing at center stage:

He is all the play; all the heart(s); all the joy we have known in this character but decorated in his own unique way.

My love for this show has evolved and I intend to allow it to continue doing just that. Hopefully we can continue to see the Whoniverse do just the same...instead of getting too caught up in the past. 🫣

Anywho, that's all for now.

Kisses 😘

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barren-heart · 5 months ago

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What We do in the Shadows is going to break the fourth wall in a major way in S6. Here’s why.

I know I’ve been super annoying about this, but I’m literally convinced a real world episode is going to happen in season 6 of WWDITS.

Commonly referred to as “The French Mistake” Episode in reference to Supernatural’s The French Mistake which was itself a reference to Blazing Saddles which broke the fourth wall and (decades old spoiler alert) was discovered to be filmed on a film set.

The real-world episode is a trope in television where a character or characters discover for some reason that they are on a film set (either being transported by magic or maybe in a dream).

Sitcom Growing Pains (1985-1992) and sci-fi show Eerie, Indiana (1991-1992) are two of these early examples of where characters enter a tv set version of their lives, for different reasons.

Growing Pains, in sitcom fashion, was to teach a moral lesson.

Eerie, for its spooky episodes, was to showcase how supernatural and mysterious the town was.

And of course, Supernatural, known for its specific monster-of-the week style episodes, does so for its meta-commentary on the show.

Now why would WWDITS do one of these style episodes?

Well, it’s a comedy for one. Putting your characters in situations that are “out of the norm” helps make the conflicts more hilarious. It’s a fish-out-of-water situation.

The show is also meta as fuck. Maybe not in the same way as Supernatural did, but there are fourth wall breaking moments. Especially related to the documentary itself.

Unlike those other shows, WWDITS characters are meant to be on camera. This show is aware of its cameras at all times. The characters are constantly filmed and understand they are being filmed.

And my last reason, which I believe is the biggest reason, is for Guillermo’s character development.

Since they are constantly filmed, a lot of Nandor and Guillermo’s relationship has not been able to progress as much as it can. Nandor, like the other vampires, obviously doesn’t care about the cameras. Nudity and sex on camera doesn’t bother them. They arn’t holding much back. (Although you could argue Nandor might be holding back some feelings, as well).

Guillermo is definitely holding back. The most private character in front of the cameras. He is the most aware. And because he is aware, he never lets all of himself be revealed.

This is something that would help him if he wasn’t being filmed anymore. Taking the documentary element away and confronting the actors, producers, and potentially even Paul Simms himself, could change Guillermo at his core.

This would make himself more comfortable being his true self in front of the cameras, especially when it comes to his feelings about Nandor which he has consistently denied to the audience and other characters, even when it’s pretty obvious.

Now, could the other characters benefit from meeting the other actors and film crew? Yes. Nandor would certainly be a good character for this. Meeting Harvey could potentially break Nandor’s brain. Something I would love to see.

And Colin would be downright hilarious in this setting.

But, tbh, I think this episode would have Nandor and Guillermo confront their feelings, as we (the audience)would then see the motivations behind the characters. The notes in the script that we don’t get to see. Paul Simms referencing Nandermo ala Supernatural’s Fan Fiction.

It’s the perfect setting for a one-off comedy episode but also great for fan service…and the perfect set up for Nandermo to begin.

#WWDITS #WWDITS s6 #what we do in the shadows #nandor the relentless #guillermo de la cruz #nandermo

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highfantasy-soul · 10 months ago

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Ok, here's my breakdown of Jessie Gender's video on NATLA. I decided not to post this as a comment on the video because I just don't feel like it would be productive, but I needed to refute the points she was making as she's a quite respected (at least, I really respect her opinions on things) video essayist and I felt like this video was...wild.

So, I guess it's best to just watch along with her video and read my commentary side-by-side because I don't give much context for my points, this is just a stream-of-consciousness style response.

To be perfectly clear - this is not intended to be a 'hate post' about her, this is just me feeling very strongly that the interpretations of things she had in her video needed to be talked about and another perspective given.

I shift from saying 'you' to 'Jessie' like halfway through (when I decided not to post this as a comment) but I don't feel like going through and changing all those, so yeah, just ignore it.

1) you insulted a martial arts kata as 'a mildly choreographed dance' - it shows a complete lack of understanding of other cultures and a desire to take a quick dig at something you didn't like in a way that insults a cultural practice. I really didn't expect to hear that sort of comment from you so it was pretty jarring when you said it. Ironically, you say that Sokka was wrong to assume the Kyoshi warrior's kata was a 'dance' because that's 'a girl's place' when...you literally made the same insult with not a hint of recognition just a few minutes earlier about a movie you didn't like…

2) I felt that the live-action really deepened a lot of the themes from the OG - take Iroh's storyline for example, fleshing out Suki's character so she's...you know, her own character and not just there to teach Sokka a lesson, and delving into how hard of decisions you have to make during a century long war. Idk, I'm just really curious as to how you felt quite literally the polar opposite of me

3) Sokka's sexism: the animated show handled it one way, but Sokka's treating women as 'less than' wasn't a core part of his character - in all honesty, it doesn't actually make any sense as he was raised by Hakoda (who we never see being sexist), Gran Gran (who left the NWT due to its sexism), and was surrounded mostly by older women. The sexism storyline in the cartoon was to teach a very blatant lesson to kids "don't be sexist, boys!" while the live-action made Sokka's struggles much more realistic and in line with the world building: he struggled with non-traditional masculinity and if he was 'allowed' to be that way while they were at war. For me, it's a much more important message for young men today than the very dated 'women can fight, too!' message that was needed in the early 2000s. It's very odd to me how you claim that Sokka always taking charge isn't ever challenged when...in literally the scene you're showing when you say that, Katara challenges him.

4) I'm sorry, but I cannot possibly see how Suki is her own person more in the animated version than in the live-action. She was literally created solely to teach Sokka a lesson and have no character traits other than 'I'm a strong woman warrior' where 'woman' means 'I like romance' rather than...I'm a whole person with my own wants and desires and fears that have nothing to do with a love interest as is shown in the live-action. You keep comparing the animated and live action as though they were trying to tell the same story about Sokka's journey with his role in the world, but they weren't. Of course Suki's attitude toward him is going to be different, of course he's not going to need to tell her 'you're right, I'm a dumb, terrible man, pretty please could you teach me', because it's a different dynamic they're going for in the live-action.

5) When Sokka pinned her in their lesson in the live-action idk how you got that she was 'demuring herself' to Sokka? Just as in the cartoon, he managed to get the upper hand - which she promptly took back, teaching a lesson along the way. She didn't make herself less so Sokka could feel secure in his masculinity - it's a bit odd you feel that showing respect to someone and helping them learn is 'demuring yourself'. I much prefer them respecting each other than the animated version of them seeing each other as less than and then...her giving him a kiss to prove 'see, I'm a romance-loving girl, too'.

5) To me, Suki beating Sokka in the live-action when the first sparred wasn't her being mean, it was her not understanding how much less experience Sokka had fighting - she genuinely thought he would be able to hold his own against her because he had told her he was the best warrior in his tribe. Her face clearly shows 'I have no idea what I did wrong - I thought that type of sparring is what everyone did for fun, why was he uncomfortable with it?' Not really sure why you made the connection that us seeing Sokka's abs was meant to indicate that his insecurities are unfounded when...literally the whole season shows us that Sokka's struggles aren't "end goal = big strong warrior" but rather "you don't have to be a big strong warrior to help, you are allowed to delve into other aspects of who you are and those are just as important". Just because he has muscles, also doesn't mean he's a competent fighter - those two things aren't the same.

6) It feels like you took certain scenes and made wildly left-field interpretations of them and then claimed that that's what the show was intending you to take from it. It's like saying that the scene that cuts from Sokka saying he bets Momo tastes like chicken and cutting to the scene that shows people cooking meat actually means the showrunners are saying Sokka is going to cook and eat Momo this season and that will then give him the powers of the Avatar. It's very clearly not what the showrunners were saying, but if you interpret it in the least forgiving way and then make a wild leap off that, then yeah, you might get upset with that made-up interpretation. Same with the reasons they didn't put Sokka in the Kyoshi outfit - there is 0 evidence of them nixing that part due to transphobia. I didn't see it as any malicious intent, just a streamline of the plot so Sokka doesn't have to go change before running away on Appa.

7) I feel that the live-action DOES challenge the Fire Bender's colonialist rhetoric in the Kyoshi Island episode, but the animated...doesn't? At all? It's solely about girl power - and as we see with Azula and all the women fire nation soldiers, the fire nation doesn't seem too caught up in sexism. You know what they are caught up in? Which you mention? Bender supremacy. And that's what the live-action directly addresses with Sokka being so surprised that Suki is able to hold her own so well even though she isn't a bender. He's seen just how powerful benders are (they destroyed his home, killed his mom, and beat his ass last episode) and it's in line with the worldbuilding that he feels like he's already several steps behind in being a good enough warrior because he doesn't have bending (a storyline that isn't brought up until an episode in season 3 of the animated show). To me, the live-action Kyoshi storyline refutes the Fire Nation's imperialistic themes much better than the animated show does.

8) The live-action's lesson wasn't that might makes right - Suki never did any strength training exercises with Sokka, she taught him how to control his body and use his opponent's strength against them. Fight smarter, not harder. Know what you're fighting for, not just that you want to fight. Even if you don't have the resources of your opponent, it doesn't mean you're doomed from the start. That last one is particularly poignant when we look at how much stronger the Fire Nation is than the other nations they're subjugating: it's the classic 'oppressed rising up against their oppressors and not winning because they just punched harder, but because they used what they had to fight for a righteous cause and didn't just give up because the other side was more powerful'. That's quite directly what the live-action was saying - the exact lesson you thought it should be saying. You have to do some serious extrapolating from the animated episode to get to those themes while the live-action drew that concept up to the forefront immediately.

9) Aang's journey to accept his Avatar responsibility and the previous Avatar's enforcing this is directly from the animated series. Like, directly. It's not the live-action show saying 'colonialism good'. Showing the Avatar power wasn't the showrunners saying 'see, this OP is good and cool', it was to show the magnitude of it - something the animated show does too. The live-action does talk about how terrifying and damaging that power is - literally the previous episode has Aang almost toss Katara and Sokka off the mountain and they mention it. Just earlier in that episode, Sokka talks about Aang almost killing them and Aangs major hang up about embracing it is that he might hurt someone. Kyoshi argues that not learning to control it will hurt more people and - y'all, individuals are allowed to have their own views of the power that everyone doesn't have to agree with. What happened to 'make strong characters with flaws in their world view?' did you all of a sudden decide that's NOT actually good writing? So having the Avatar who used her powers liberally, and as the video states, used them maybe too much, telling Aang that he needs to use his own powers a lot is…consistent characterization? Which is then challenged by Roku later as he tells Aang that all the Avatars are different and have different views on the power of the Avatar. Why is Kyoshi's opinions suddenly taken as wholly accurate in representing what the show overall is trying to say? She's giving her opinion to Aang - an opinion that has some truth to it, but also some flaws that Aang will need to navigate on his own journey. Kyoshi and Roku's stories are not compressed all into Kyoshi - only the aspect of Roku taking control of Aang and using his body to fuck shit up in the Avatar state is compressed - not the ideological aspects of it

10) Sokka supporting Katara's fight against Pakku is a culmination of his arc to let go of obsessively protecting her and actually letting her decide her course of action herself - because his arc was different in the show than in the animated series. Trying to say that the reason he told her to kick Pakku's ass didn't fit because he was never sexist wasn't the reason - it WAS a culmination of his arc, you just refused to see it by clinging to the old one.

11) The whole argument as to 'why show genocide' I already made a post about, but to condemn the depiction based on the way you interpret the showrunner's quote is disingenuous. Again, it's taking something and making up a narrative around it so you can feel justified in hating it. It's important to show a culture before they are killed because they deserve to be seen as people, not just martyrs. They had lives. They lived and were happy and had a rich culture. They were not just 'fated to die and be told of in history books'. Genocide is disgusting and hard to watch - it's calculated and brutal. Showing that drives home just how awful the actions of the fire nation are in practice rather than just theory. Yes, the airbenders fighting was 'cool' to see - in the way that all action is 'cool' to see. But no, the genocide wasn't played as 'look at neat fighting!' in the live-action. It was shown as brutal and terrible, horrifying and surprising, and the airbenders didn't deserve what happened to them. It also gives you a direct view of what the fire nation is capable of when they come to the south pole and the northern water tribe: you've SEEN the devastation first hand and you DON'T want to see it again. The threat isn't theoretical, it's very real.

11.5) To take a CHILD'S quote about the sequence being 'so cool' is absolutely WILD to me. GORDON IS A CHILD! No, he's not going to have the most sophisticated and politically nuanced sound bite to say about the action sequence in an interview. HE'S A CHILD! Holy mother of god. To use that to bolster your point that 'that's the way it was intended to be viewed and how everyone is going to view it!' is just…..holy shit. You're taking media interpretation from A CHILD??????? Do you think, if we interviewed a child about the OG show, they'd talk about the fucking colonialism??? How Azula was abused too and didn't deserve her fate?? Or do you think they'd say "The fight between the Fire Lord and Aang at the end was so cool!" Honestly thought Jessie Gender wouldn't try to bolster her interpretation with a quote from A CHILD, but I guess here we are…

12) It's wild that she makes the point that conservatives are incapable of reading deeper than just the surface-level visuals of a story while…she's doing literally the same thing just in the opposite way. The live-action depicted the genocide, therefore they MUST just want to 'cool' visual of firebenders fighting airbenders! There can't be any other things at play here! No story being told whatsoever because all it is is spectacle! That's all I see! Ironically, she's falling into the same trap of not looking deeper at why one might depict the horrors of genocide and the battle against people with no army.

13) Aang actually treats the genocide as more immediate in the live-action than he does the animated show. Most animated episodes, you can forget that it even happened, while in the animated show, it pops up a lot in some unexpected ways like when he's uncomfortable waterbending because Gyatzo had always been his teacher, when he yells at Bumi for making light of the genocide, his desire to get to the north to keep it from happening again, when Zhao proclaims that he can wipe out an entire race of benders and Aang says he knows exactly what that's like, when he constantly stays to help people because 'I couldn’t help my own people, but I can help them'. Not only through Aang, but also through every child in the series - like with the animated show, the live-action shows how kids are shaped by the generational trauma of the war plus the immediate effects of it: Teo ready to fight, Jet making compromises to fight back, Sokka shouldering too much responsibility so young, Katara's trauma around her mother's death and her waterbending, Bumi losing his faith, Zuko and Azula being shaped by their father to be the perfect weapons to continue the war.

14) Interpreting Zuko's comment of 'sometimes the weak can become strong' right after his father mutilated him for showing compassion is not meant to be taken as a thesis that 'Zuko just needs to get better at fighting, this is what the story is saying, I am very smart'. It's showing HIS CURRENT view of the world - the idea that his father has taught him that he needs to be strong and Zuko has bought that and wants desperately to earn his father's love. Zuko's story through the series is showing that 'strength' isn't what his father defines it as (or what Jessie defines it as in her video) but rather it's strength of character - compassion is not weakness, it's strength, and no, that doesn't mean if you have compassion you punch harder.

15) The live-action show makes the Fire Nation MUCH more nuanced than the animated show - we see how Ozai and Azula aren't just maniacal villains, but we see the pain and torment their upbringings deal out to them, and in turn, deal to others. It shows the cycle much more clearly and showing fire nation citizens who disagree fleshes out the culture even more.

16) Jet was much more nuanced in the live-action as he's RIGHT about the mechanist being a spy and the king being lax in his duties. He's created a community of people to try to heal from the harm the fire nation has caused them and he gives actual good advice to Katara, helping her emotionally heal and remember the good aspects of her mother.

17) The argument that 'the live action is trying to ignore the past' is a massively simplified narrative. The live-action is showing Aang stuck in the past, unable to take large steps into the future. Pain, trauma and loss can anchor us in the past - it's HEALTHY to keep moving forward rather than only thinking about the pain in the past (ie Jet's advice to Katara). Aang was continually trying to avoid the genocide happening again while simultaneously trying to get past Avatars to do the big hard work for him. His lesson is not to 'forget the past just live in the now' but rather, don't let fear of what has happened in the past stop you from making a difference in the future. Yes, war is loss and suffering, but if you get paralyzed by not being able to prevent that, the fire nation will just keep marching across the world. It's about not letting the past immobilize you to the point where you stop fighting back against oppression - or getting together with a community to help you fight for fear they'll die just like those in the past did.

17.5) Letting go of the past is a buddhist philosophy that is a lot more complicated than Jessie is making it out to be here. Just as in the animated series, characters can come to realizations about lessons they need to learn while still taking seasons to fully learn the lesson - just because Aang said he's ready to let go of the past doesn't mean he's now ignoring it and all will be smooth sailing. It means he's ready to start taking steps to do that and approach life in a healthier way. It's wild that Jessie took the direct quote "I need to let go of the past to focus on my future" and then states that the show is saying "the character's aren't seeing future possibilities and hope, they're focused on the now" when, quite literally, the quote she just referenced….is talking about building a better future.

18) Then, she references later seasons (Aang in the fire nation school) a lot to indicate that the live-action is ignoring those concepts from the OG when….we're talking about season 1 here - not season 3. Why is the world not allowed to organically grow? Why would you make the argument that 'season 1 didn’t explicitly deal with these concepts that aren't brought up until season 3, so therefore they are ignoring them'?

19) Jessie uses a lot of clips from a Daily Wire (conservative talkshow) guy as if that has anything at all to do with the live-action ATLA. She's trying to draw a line between that ideology and the ideology of the show and I feel like she had to bastardize the NATLA show in order to do that so horribly, her interpretation of the story and themes is completely unrecognizable to what is actually shown on screen.

I usually agree with her takes on media, but this video was not it. Every interpretation she had, I interpreted the scenes/lessons in the exact opposite way and, I believe, I interpreted it closer to what the showrunners intended.

Oh no, i just had a thought: this is The Last Jedi all over again! I saw so many negative interpretations of that movie that I just sat and scratched my head over like "How in the WORLD did you get to that conclusion??" when I thought my own interpretation was just...the obvious way to view the movie. I had no idea my views on it would be so controversial. Here we are again. Time is a flat circle. Life is a meaningless cycle of disappointment and confusion, neverending.

#natla #natla positivity #netflix avatar #netflix atla #this isn't intended as hate to Jessie Gender - only a response to her publicly posted video

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