#who knows maybe i’ll come back for the season two animation if the fandom is more bustling then

[opalescentidiot]

additional note: i don’t think ima be active on this blog much longer due to various reasons, mainly a lack of motivation and interest/not having as much fun as i used to. i may keep posting for a couple more weeks then prob fizzle out. don’t forget about me guys🙏

[spiralinghours]

“Office Hours”

Fandom: Saw franchise

Pairing/Characters: Mark Hoffman x Peter Strahm

Rating: 18+ (R? M? I’m not the MPAA, you know the drill: if you’re a minor, scram, this ain’t for you)

Content Warnings/Tags: feeding kink/weight gain kink/fat fetishism, (mild?) pet play/pig play (Peter calls Mark animal names again), teasing/humiliation/degradation, blink-and-you-miss-it vore-ish reference (but it’s mild and kind of joking……..)

Summary: Peter and Mark are pretty much the only ones left in the precinct late at night… with boxes of donuts.

Author’s notes: Welcome back! I still don’t know how to write these fic intros, sorry!

This is continuation/installment 3 of “Filth”. Let me know where you’d like to see this turn and I might consider it? I’m literally only writing these one scenario at a time as they pop into my head.

But like seriously, comment on this or drop me a line. I wanna hear y’all’s ideas.

Days came and went, again, a blur. It was uncertain if it was a Tuesday or a Thursday, or maybe neither. But the day that Erickson announced that he wanted his agents to crack down and wrap it up was the day that felt ongoing.

On his end, Hoffman didn’t have as much to do. He was sure to get his part out of the way and remain on standby. The downside to that was having to stay as late as the last federal agent that hung around. It was like waiting for the final remaining patron at a bar to leave so the staff could lock up for the night. (Oops, he was that asshole before.)

Milling around the precinct, he shuffled down each hall, trying to look busy, on the way to something, as he checked to see who was where. A few uniformed officers nodded and gave brief acknowledgments before trickling out the back exit.

“Detective,” a voice darted, sounding like it wanted to laugh at something stupid. Of course: Strahm, with his rigid posture and tightly-lined features that made Mark’s insides go cold and fluttering at the same time. “Working late?”

“If everyone here is working late, I’m working late,” Mark shrugged as nonchalantly as he could.

“Right, right, ‘cause you’re the Big Boss.” Peter turned his head a little and grinned to himself, creeping and vicious.

“Mmhmm, yeah.” Mark tilted his head, staring down his nose at the nuisance. “So, I’ll be around if you need anything.”

Peter narrowed his eyes under dark lashes and serious brows, cutting a nasty line from Mark’s face, to his stomach, and then back. Really subtle. “I’ll be sure not to need anything.” He pushed past Mark, side-stepping his broad frame despite fully making contact.

It was a lot like the day they first met on the scene of Kerry’s murder. Peter was just as bitchy then, making faces, and shoving up against Mark as he left, despite having plenty of clearance in the space. Was that something too?

—

A few espressos and two 5-Hour energy drinks in (which equated to how many hours awake, he did not know), Strahm was wishing he had done a few lines coming in, mostly joking with himself about finding a bag in evidence somewhere. (But only mostly joking.)

He had to accept that he did have to question Hoffman on a few things, just to get the last details on some paperwork out of the way. But he had been putting it off, trying to tackle everything but. Mark’s content smugness mixed with absolute incompetence put a scowling, bitter taste in Peter’s mouth. He didn’t think a man like that deserved to be so high in the ranks, let alone get the satisfaction of “helping” someone with such seasoned experience in federal affairs. The fist-clenching, vein-popping cherry on top was that this was the same man who turned out to be the very serial-murdering accomplice Strahm was tasked to seek out. And he was so idiotic about it! Strahm was sure if the department hadn’t already been annihilated, one of them would have found out the truth. Surely. He had to have that faint hope.

Despite all that, Peter could at least revel in putting Hoffman in his place. Even if Hoffman’s given place was on some undeserved, decorated pedestal, Peter could easily knock it down, tapping into the squirming, friction-inducing shame Mark was a glutton for. Among more tactile, decadent things.

“Whatever,” Peter huffed, shooting his espresso down like it was cheap whiskey. He wished it was.

Before exiting his dead workspace, he considered the stack of donut boxes left on a random table, from hours earlier when more officers and agents were bustling around, ant-like. He strode over, shaking the first two boxes on the top before looking inside. One was straight empty, and the one below that had a chewed up fourth of a glazed remaining. He could have sworn on his childhood baseball cards that there were more untouched boxes. It was possible some officers took some home. But like a blessing, a wish granted, the power of manifestation—something—Peter inspected the remaining bottom two boxes to find them completely stocked.

“A nice little treat for Big Boss,” he hummed to himself, walking out with the one box poised on his palm like a serving tray. It was within the same minute that he turned back for the other one.

—

There was an awkward, light knock, but no answer. “Lieutenant Detective Mark Hoffman” in vinyl lettering stared back into Peter’s face obnoxiously from the shut door. He clanked his knuckles as hard as he could on the glass again, trying not to lose balance of the sliding boxes on his other hand.

“Hey! Detective! If you’re still on the clock like you’re supposed to be, you’d answer!”

There was a clearing of his throat, and some other obstructive sounds before Hoffman could reply. “Gimme like twenty minutes. Bit tied up.”

Bullshit. Was he… chewing?

The request fell on deaf ears, Strahm already turning the handle, finding it luckily unlocked. “Stupid,” he huffed.

The clanking of the metal handle mixed with muffled grunts—warnings of “Wait! Wait!”—created a chaotic sort of din that led into a surprising and tantalizing scene.

Strahm stiffened (in multiple ways) upon seeing Hoffman leaned back fully in his luxuriously-cushioned black leather chair, hand casually set on the crease where his chest (top buttons undone, practically heaving) and stomach met. That part of his shirt was peppered with crumbs. His tie draped loose, unraveled at either side of his shoulders, and sweat-dampened brown-black hairs fell over his eyes messily, the result of some labored activity. But where Peter’s eyes hovered the most was right at the rounded center of it all: Hoffman’s gut, peeking through the gaps created by the pull of the buttons, and rolling forward where his pants were undone. Actually, not undone. Upon further glance, it was a rubber band looped through the eyehole and tied to the button, pretty much indicating that Mark couldn’t close the flaps of his pants to begin with, and had to hold it together as such. Even then, the rubber band looked like it would easily snap with too heavy a breath.

It was a whole overindulgent sight to take in so quick, so suddenly. Peter felt lightheaded despite a pleased expression.

“I told you—“ Mark tried to bark in his husky voice, mustering as much anger as possible, but stopped short. He could sense Peter smirking at the way he was attempting to speak through his full mouth.

Strahm’s eyes darted to the opposite corner of Mark’s desk where one of the same donut boxes from the communal space resided.

“Ah, that makes sense,” Peter chimed, overly chipper. “Just like a pig.” He dropped the boxes carelessly onto the desk, watching them slide and nearly fall off. “Those were for everybody, you know. But you just couldn’t help it…” He stalked behind the desk, behind Mark’s chair, and clutched his fingers into the cushion, craning his head down, lips by Mark’s ear. “You thought they looked so good, but they would look even better in that gut. Tsk.”

Hoffman, all the while, felt his face heating up, past the point of even sweating—just burning up, drying up with embarrassment, wanting to crumble into a pile of dust. But all the same, he felt that pulse, that throb return—the instinctual itch that only gripped him when Peter spoke that way. He muzzled himself, keeping a sprinkled, chocolate piece between his teeth, masking any words or expressions that might seep out.

“Can you even sit up? Like correctly?” Peter tilted the chair back before letting it spring around into place.

Mark just sheepishly shook his head, eyes looking glossy, like he could weep from being cornered, berated.

“Feeling stuck? Trapped? Kinda like what you were gonna do to me, huh? Well… maybe not exactly… You did this to yourself, you big hog.”

Mark winced at that. Whenever he’d seen pornos or read anything where people in risqué situations called each other names, it always seemed cheesy, or demeaning for the sake of it. But Strahm had a way of dropping his tone and curling his inflection that told Mark “We’re both pretty fucked for this, but fucked up is fun. No one has to know.” It was suffocating.

“Go on, let me see you get out,” Strahm instructed, backing up with his arms crossed, intentional pressure in his gaze.

Rolling up on its own was the first challenge, as the curve of his belly had extended up to his ribs, with little give to even bend forward in the slightest. The rich coffee drinks and milk that was mingling with all the dough in his stomach was unforgiving. Secondly, his love handles were just broad enough to be squeezed into place by the arm rests. (The latter had been an ongoing problem that had only reached an irritating point recently.)

“Need help, big guy? I mean, watching you struggle is nice, but I don’t have all night.” Strahm couldn’t help biting his lip.

“Fuck you,” Mark managed, panting it out.

“Don’t talk back like that, I’m being nice. Let me get you up.”

Peter leaned down in front of Mark, hooking his arms under his armpits, and used his whole body to hoist him to standing. The embarrassment of the ordeal left Mark incredibly hard, unable to hide it in the slightest, especially with his pants mostly unbuttoned.

“You’re welcome,” Peter tutted. He brought his fingers to Mark’s cheeks and squeezed. “What do you say?”

“Thank you,” he complied, lips squished together in the hold.

“Good boy. Now, get down. Hands and knees.” It was like he was a dog trainer prompting a mutt. Peter took one of the full boxes and let it plop to the ground by his feet.

“What’re you doing?” Hoffman knew it was stupid to ask, knowing well what was expected. But playing dumb earned him sass. And he liked that.

“It’s your dessert. I mean, you kept that whole other box for yourself, might as well finish the rest.”

Mark was on autopilot, finding himself grumbling at Strahm while carefully sinking to his knees and propping up his backside.

“God, you’re like a dog, aren’t you?” Peter sneered. “Good job behaving so well.”

“Thought I was a pig.”

“You’re whatever I say you are, you pathetic pug. Now, come on, eat up, I brought this for you.” Peter nudged the box under Mark’s face with the tip of his shoe.

“Shut up, or maybe I’ll eat you.”

“Kinky. I’d like to see it, big boy.” Peter positioned himself onto Mark’s lower back like he had the other night, except a little less gentle this time. “You know, I prefer the mask on, but at least this way I get to see your dumb mug while you’re shoving food into it.”

Mark just grunted and grit his teeth, parading as mostly annoyed as best he could. He had to admit that lobbing the donuts into his mouth by his lips and tongue was strangely easy, but his ongoing hunger was probably what kept him at it.

“I could keep you as a fat, pampered house pet. You like that?”

Hoffman paused. “What’s with all the animal stuff? Is that some kinda thing for you? I thought it was only the pig stuff because I’m big. Fuck, you’re a weirdo.”

“What about it? I wouldn’t be talking if I were you. You’re the one with your face to the floor making a disgrace of yourself just because I wanted you to.” He lightly kicked his heel to the side of Mark’s belly. “Go on, give me an oink, pet. A real messy one.”

Mark let out a snort, unable to articulate the word “oink” with two donuts crammed in. He figured it was what Peter would prefer anyway.

“I bet this whole precinct jokes about what a stereotypical fatass cop you are. I’d like to see you wobble around here just to see what people say about it, behind your back, when they think you can’t hear them… On the flip side, just think what I could do with you in private, at home. You’d make a good house-pig.”

Mark cut a cold, blue glare, letting the begrudging, bratty acceptance warm him. What if he did want to be Peter’s little house pet? All kept and plump and wanted… Maybe. It was a bit farfetched to realistically maintain. With his position on the force, being on and accessible almost all hours of the day? No way. But… Maybe? Possibly? His brain was still caught in a riled up haze, too in a frenzy to think correctly. But the little notion would live in the rafters of his brain, far off and private, taken out for those moments alone on the couch or during a long morning shower.

“I can’t eat anymore,” was what he wanted to say, but there was no need. Without realizing it, Mark had finished off what was below him… now having to put up with the resulting low-hanging gut obstructing his movements.

“There’s still another box,” Peter snipped, crisp and curt. “But… I’ll be generous. Today.”

The last word rang out, standing to set checkpoints for more days, more badbadwrongnasty encounters. How many more times would there be?

“Need me to roll you over or have you got it?” Peter mulled on, flatly as if he was asking a tax question to an accountant.

“I got it, you cunt.” Though Hoffman just barely had it, moving slowly with discomfort, not being able to hide a wince here and there.

For the slightest moment, Peter looked genuine, a real and helpful softening in his eyes. “Take a Tums. And a melatonin. I’m done for the night so I guess you are too.” He patted Hoffman’s lower belly as a basic gesture to leave (even though it elicited a different mild jolt in Mark), and did just that, being nice enough to take the trashed boxes with him.

Once more, he didn’t look back.

Mark glanced down at the way the precise pinstripes on his shirt bowed out over his rotund form, and then took in how empty his office suddenly felt.

“Guess I’ll go deal with this at home,” he regarded his erection with snark.

[an-animation-situation]

Ꮆㄩ丨ᗪ乇ㄥ丨几乇丂 千ㄖ尺 尺乇Ҩㄩ乇丂ㄒ丂

X Reader Fics

Character desired

Situation or a song

Platonic or Romantic

No Smut, Yandere, heavily dark themes

No FxF or MxM as I am uncomfortable with that unless it is platonic

I have the right to refuse requests I do not feel comfortable doing (those requests will be deleted and never see the light of my blog)

Characters/Fandoms I Will Write For

Various Disney Films/Shows (please ask before requesting as believe it or not I haven’t seen every Disney film or Disney+ series)

How To Train Your Dragon (no dragons though…that’s gross…they’re pets. I don’t know who I can write for, and I only know the lore from the first two movies really. I’ll do my best though!)

Some Illumination Movies (Despicable Me, Sing, maybe more I just can’t remember atm)

Wordgirl (show from my childhood that deserves some x reader love)

At the moment of writing this, my brain is not really working so I probably will come back to this and fix some things. If there is a cartoon you’ve seen that you would like to see some content for, please throw a message in my ask box to see if I’ve seen it too! I have watched a lot of animated movies and series so don’t be afraid to ask.

I will warn that there will be NO anime asks in this. The only one I know anything about is Yo-Kai Watch; and even then, it’s been a while seen I’ve even seen the first season. Plus I don’t consider it a part of animation. It’s anime, and a genre all it’s own! This blog is more for dare I say kiddie cartoons that adults or even you kids who are on here want x reader fanfic for! I’ve scoured some of the tags, and there needs to be more content for some of these things!

Other than that, 丂乇几ᗪ 丨几 丂ㄖ爪乇 尺乇Ҩㄩ乇丂ㄒ丂!!!

[dahliacloud]

hihowareya

for the character asky game:

For any of the misfits: 6, 8, 21/22, 24 A Character Of Your Choice: 4, 5, 25, 26, 27: Extra time to yap about them if needed, bc hearing abt stuff like this is always so interesting

ahhhh ty for asking!

ok i'm going to do mainly ridley for these questions!

6. What's something you have in common with this character?

like ridley, i am a massive control freak and easily lash out when annoyed :/ and like her i do try my best not to! but it does still happen.

8. What's something the fandom does when it comes to this character that you despise?

god i really wish i could answer this but there's just so little fan content in this fandom that i haven't actually come across any i HATE. i literally cannot think of anything lol

21. If you're a fic writer and have written for this character, what's your favorite thing to do when you're writing for this character? What's something you don't like?

well i haven't written ridley much - just the chatfic and a short wip from ages ago but i definitely like writing her annoyed? idk i think she's very much one of those characters who lash out because she struggles to say her emotions out loud and i like writing her lashing out then apologising/admitting how she actually feels. i haven't really written her much so the only thing i don't like is that i struggle to get her voice down sometimes.

22. If you're a fic reader, what's something you like in fics when it comes to this character? Something you don't like?

hmmm since we have so little fics in this fandom i can't say there's any common trends in fics/characterisations. so instead i'll use this as an opportunity to advertise one of my favorite fics ever: I’ll Always Make My Way Back To You (cause that’s what we do) which is focused on the Golden Twins but does have really nice Ridley characterisation in chapter 3!

more under the cut!

uhhhh for these ones i'm going to do twilight from spy x family

24. What other character from another fandom of yours that reminds you of them?

ok i just realised this yesterday. twilight as a kid looks eerily like a younger carter locke from tmm it's actually ridiculous

like maybe it's just the outfit but idk it's just weird that two of my favorite characters look so similar lmao

4. If you could put this character in any other media, be it a book, a movie, anything, what would you put them in?

hmmm that's a really tough one. i think it could be funny to see him and the rest of the forger family in ace attorney because it'd be like "what the fuck why does this normal family have so many secrets. why does the six-year-old seem to know everyone's secrets." and then it'd never get discovered lmao

5. What's the first song that comes to mind when you think about them?

oooh. metaphor by the crane wives!

25. What was your first impression of this character? How about now?

hmmm at first i think i just thought of him as like. a cool spy who can do anything because that is how he's initially presented. ofc as the series progresses he slowly becomes more and more cringefail (for lack of a better word). now.... oogh i just want him to get one good night of sleep

26. What's something the character has done you can't get over? Be it something funny, bad, good, serious, whatever?

technically idk if this is even canon because it's in the intro for the second part of season 1 of the anime. there's one bit where anya spills a bunch of flour all over herself and makes a huge mess and instead of being annoyed he just has the softest smile on his face i'm-

because at the beginning of the series he knows NOTHING about kids and is so goddamn focused on his mission and sees anya as an annoying obstacle so for him to show that bit of emotion and tenderness is just........ oooogh

27. FREEBIE QUESTION!!

godddd he's just. he's so closed off from all intimacy and vulnerability and he can barely let himself admit to himself that he wants it. i think he really is a caring person but if he lets himself admit what he wants he can't be a good spy anymore and that's all he knows how to be

tysm this was fun!

[falseprophetpoll]

Ok so if you do want to dare and get into MCD let me set some expectations: It’s a founding father of Minecraft Roleplays, was one of the series that got that genre popular. It is ABANDONED I cannot stress that enough, if you go into it you will find no satisfying ending.

There’s Technically four seasons but you can ignore MCD Origins as that’s jsuy a mod showcase survival series with no bearing on the real start, one and two were both 100 episodes and season three only made it into the 20-30s before it got dropped (season three is also only accessible through it’s playlist on the side channel Aphmau Stories, as Jessica (the creator) kinda started hating MCD towards the end and especially that season). Now the early episodes of season one are more of a survival let’s play with a dash of story, but it quickly ramps into more of a focus on the story (that being said, it’s still slow going. It only really speeds up around Zane’s first appearance I’d say)

Also ships? Don’t have them. Just. Just don’t. Ignore all chemistry placed at your feet to chew on. It’s a whole thing I won’t get into it but my fellow MCD fansy will understand.

Also you may be tempted to jump into MCD Rebirth, the revamped version of season one with Jessica’s team’s new and fancy skills, I wouldn’t do that. It’s also abandoned and spoils some stuff abiut the OG MCD experience, however if you can’t get into MCD proper then yeah give it a shot but you won’t see any Zane in it as I don’t think it even reached episode 20 in regards to its events and Zane shows up around the 40-50s I think.

This is a TIME DUMP! And in this time dump uou CANNOT EXPECT QUALITY! Voice acting doesn’t come in until around s1-90 (and isn’t fully voice acted until the tail end of s2 or started with s3), the set dressing feels a bit Minecraft Basic until season 2, Jessica and her team only started having things like high definition skins and smooth animations by the time MCD was already abandoned, and the story is.

Well here’s a new point. The story. The story is something! The writing isn’t great! It has a lot of potential but because of some....choices there are points where characters get out of character or characters aren’t explored in the ways or lengths you want them to be. That’s partially because of the limited perspective as the main character Aphmau is our camera and view into the world, like a first person book. However the fan rewrites and redesigns and just fanworks in general? Call it MCD brain rot but damn that shit fucks. Someone made an entire Ro’Meave family tree going back hundreds of years. They created a LANGUAGE. Fucking love them shout out to @stellisketches

So I think that covers all the warnings you’d need. If you dare lift the old and mossy rock now, you can’t say no one warned you or hyped it up too much

I genuinely appreciate this honest assessment of the series. Personally, it doesn’t deter me because I know it’s abandoned now, but if I hadn’t known before getting into it, that really would’ve soured the experience. I’m not gonna tag as spoilers because I WANT to anyone else who’s considering it from this blog to see this.

Now, I don’t mind low quality and just, a lot of implications that are explored in fandom (I like the trafficblr series, Hermitcraft, Wizard101 - I get the “I’m gonna take these ideas and make ‘em beautiful” mentality) so I think I may look at it when I’ve the time! Maybe I’ll catch you on my fandom sideblog some time :)

[animebw]

Short Reflection: My Hero Academia Season 6

I try not to be too smug when talking about anime. Discussing media always works best when you keep an open mind to all perspectives, so if someone has an opinion I disagree with, I do my best to disagree politely and present my side of the argument fairly. I’m not always successful, but I always make the attempt. Today, though? I feel justified in being a bit of a smarmy jackass. So allow me to present a couple of quotes from my review of My Hero Academia’s fifth season, back when everyone was calling it the worst show in the world because it made a couple arcs 50% less bloody.

“All this is to say, don’t be surprised when My Hero Academia once again becomes the most beloved shonen on the planet heading into its final stretch. Because this show has far from run its course yet.”

“Season 5 may be a low point in its history, but the fact that its low point is still so damn high is a testament to why this show deserved to conquer the world in the first place. My Hero Academia is still good, and I’ll be happy to say “I told you so” when the final seasons blow everyone’s socks off and make them fall in love with it all over again.”

Ladies, gentlemen, and everyone in between, allow me to state, on record, that I fucking called it.

God, do you know how long I’ve been waiting to get that off my chest? I’ve suffered through years of mediocre actioners being worshipped as the new best thing ever, watched as bottom-of-the-barrel crap like Tokyo Revengers and Fire Force tricked everyone into liking them, listened to a flighty, tasteless fandom turn their backs on one of the modern era’s greatest shonen because their lizard brains couldn’t concentrate without a thousand particle effects popping off every second. But no more. No more do I have to carry the torch solo as I have for far too long. Because at long last, after two subpar seasons that still blow most of its contemporaries out of the water, the second anime I ever watched has clawed its way back to the front of the pack and forced everyone to remember why My Hero Academia remains one of anime’s greatest modern standard bearers. The king is back on top, and I look forward to apologies from everyone who ever doubted it deserved the crown.

Okay, maybe that’s a little harsh. It’s not like My Hero Academia has ever been a perfect show, despite its self-evident excellence. Even in this fantastic return to form, plenty of its old issues still carry over. There’s the stupid unnecessary title cards all the characters get every episode, like the show thinks we’re so stupid we’ll forget everyone’s name in the week’s time between episodes. There’s the comedy that never quite clicks as well as it needs to, often disrupting otherwise fantastic scenes. The cast has grown overstuffed enough to officially qualify as a problem, with some characters frustratingly underutilized and some given way too much attention (seriously, who thought Best Jeanist was interesting enough to take over the tertiary protagonist role this season?). And it has a bad habit of stopping at huge moments and pausing the action for unnecessary flashbacks that we didn’t need to understand how the characters got where they were. If you’re the kind of shonen-head who just wants to turn your brain off and enjoy a bunch of flashy fights, it’s no wonder you’d be seduced by the sakuga-laden likes of Demon Slayer and JJK, despite their far more glaring issues in the story department.

But if you’re someone who actually appreciates a good story as a backbone to all those fisticuffs? Then you already know why MHA stands head and shoulders above its competition. And after five seasons watching this pressure cooker of a society boil hotter and hotter, it’s finally time for the lid to pop.

Season 6 is an explosion, plain and simple. It’s over a hundred episodes of peeling back the layers of hero society finally coming to a head and bringing the whole damn house of cards crashing down. The season’s first half is entirely taken up by a massive heroes vs villains war, a war in which everyone is pushed past their breaking point and forced to make climactic decisions about who they are and who they want to be. Characters die, self-actualize, rise to their ideas and shatter beneath them, on all sides of the conflict and sometimes all at the same time. If the All Might vs All For One battle back in season 3 was the end of My Hero Academia’s first act, then this barn-burner brawl is the climax to its second act. It’s the destruction of the status quo, an inflection point for all its characters, and as definitive a no-going-back mic drop as you can imagine. This is the end of the world as we know it, all the mistakes and hypocrisies of heroes past finally coming home to roost as Shigaraki puts his master plan into motion and the foundations of the earth itself tremble in response.

And once the rubble has finally settled, the season’s second half turns to tackle the aftermath. What happens when the world falls apart? What happens when everything people believed in turns out to be a lie? The heroes they put their trust in failed to protect them, and many revealed themselves to be little better than the villains they were supposed to be fighting. Fear and hatred compound, safety nets fails one after the other, and this society that once seemed so perfect reveals itself for the sham it always was. And Deku and his friends are caught right in the middle of the chaos, thrust far too soon into the role of the world’s hope for the future. They always wanted to be heroes: now, it’s time for them to come to terms with what that really means.

There’s a level of moral complexity to these developments that I don’t think any of us could have predicted. My Hero Academia started out as one of the most outwardly inspirational, optimistic stories on the market, but it’s proven itself more than capable of deconstructing its own premise. Heroism in MHA isn’t a static state of affairs; it’s a question that must be asked, re-asked, and asked again through the contradictions and imperfections of the real world. What does it mean to protect? To save? Where does the responsibility lie when we fall short? Is it ever too late to fix your mistakes and start over again? A lesser show might shy away from those questions, but MHA relishes in teasing out their intricacies. And it makes this season- especially the second half- some of the most captivating drama we’ve ever gotten from this genre. Watching the world come undone, and watching the heroes struggle to face the new task before them, results in not just some of MHA’s best moments, but some of the most hard-hitting resolutions in all of shonen history. The Deku/Shigaraki parallels! The return of You Say Run! Uraraka’s climactic speech re-cementing her as one of the all-time great shonen love interests! Payoff for not one, but two of the best goddamn redemption arcs this side of Zuko (and with Shigaraki, that number may climb to 3...)! Twice! Hawks! Lady Nagant! Season 6 is a portrait of a world falling apart, but it’s also a portrait of what rises from the ashes it left behind. As Deku himself says at one point, the world is far more complex than simple black and white, but that only makes it even more important to stand up for what really matters when the chips are down.

I’ve been watching My Hero Academia for a while. I started it back when there were just two seasons out and everyone was still riding high on the hype train. I’ve experienced its highs, its lows, its brilliance and its stupidity (Mineta has done nothing pervy this season and I am SO HAPPY YOU GUYS). I’ve been with this show for a long ass time. But no matter how its perception has shifted over the years, no matter how much anime I’ve consumed since then, I keep returning to the simple fact that MHA is really goddamn good. I don’t just like it because it was one of my firsts, or because of sunk cost fallacy, or anything like that; this genuinely is one of the smartest, richest, most emotionally resonant works of shonen storytelling to ever appear in Jump’s pages. And watching so many of its threads come to a head in season 6 has only confirmed that it’s going to stand the test of time. I can’t count how many episodes left me weepy, how often I was left astonished at the courage and intelligence of Horikoshi’s writing. This isn’t one of those stories that squanders its potential along the way and leaves you indifferent by the end: this is a story that’s going to fulfil every last promise it made, pay off every last idea it set up, and bring it all together in a complete package that makes the entire show better in hindsight.

Because even in its slowest moments, this show was so much more than a mindless punch-em-up. This is a story all about the nature of heroism itself, and what it truly means to be a hero in a seemingly perfect world that actually has more cracks in its foundation than a log cabin built atop the San Andreas fault. This is a story about what happens when golden ideals run up against reality, how good intentions go awry and send an entire society down a path to ruin. This is a story about what drives villains to be villains in the first place, and why they deserve our understanding even in spite of their crimes. And it’s a story about how to rediscover and reforge hope, learning all over again what it means to make the world a better place. Unlike so many of its contemporaries, My Hero Academia actually has things to say about our modern world, ideas it wants to convey that run deeper than “just believe in yourself!” Demon Slayer can lavish as many pretty lights and spinning cameras as it wants atop its cardboard world and stick figure characters, but that momentary flash is nothing compared to this slow-burning tale of what it takes to rediscover heroism in a world that’s forgotten its true form.

Season 6 of My Hero Academia is phenomenal. It’s a lightning-bolt payoff to a story years in the making, sending it hurtling into its final act in as staggeringly brilliant fashion as I ever could have dreamed. It’s not just a new high water mark for this show, finally surpassing the bar set by season 3; it’s cemented this show’s status as one of anime’s all-time classics. When we look back on this period, it won’t be the vapid flashiness of Demon Slayer or the agonizing stupidity of Tokyo Revengers that stand the test of time. It’ll be the story of how a crybaby with green hair became the greatest hero... and how the entire world became the greatest hero right alongside him. And for that, I’m more than happy to give it a score of:

9.5/10

We’re almost at the end now. Bring it home, Horikoshi. I believe in you.

[thedarkone121]

Shower Thoughts Regarding A Crack Pairing I’m Slowly Coming Around To

I am back on my BS and ramblings for story ideas. Will I write? Maybe. We’ll see how my muse and the future looks. But for now, let’s see me ramble on about the crack pairing that I’m slowly taking seriously that I thought of when I was in the shower.

So, I have been in a new fandom that’s just recently released its fourth season in Mandarin: MONKIE KID! Amazing show, love the animation, story arcs, and characters. MK is now a character I want to protect and put through the ringer at the same time. And he is one of my main subjects for this post.

Next, I am also in uh... Fandom that is known for its discourse in a few of its tags. Mo Dao Zu Shi... Alright, no more beating around the bush. I do love the story and the characters. I think having TONS of morally grey characters in one setting is amazing because it really forces you to think. That said, I do not enjoy seeing all of that discourse in the Jiang Cheng tags. Like, for the love of Pete, let people enjoy what they do and don’t like about a character! Don’t go on this whole martyr thing on who’s right and wrong! It’s a fictional story we all enjoy!

Very sorry to all the Monkie Kid fans who are stumbling upon this, by the way.

Now, I’m sure you’re all wondering why I am talking about these two surprisingly different fandoms. Well, it all started with a shower. Now, I am not the type to think of story ideas while I shower. Those mostly come from running to my destination or having a back and forth between with one of my buddies. However, I had an idea sprung up upon me when I was enjoying my shower.

MK getting in a relationship with my MDZS OC, Jin Yuehua, Jin Ling’s twin sister.

What spark this idea, you may ask?

Well, for the most part, it came from the realization that a Monkie Kid and MDZS crossover could work out. They both tell stories that are set in China. Just think of some time/dimension portal for plot’s sake and we got ourselves a crossover.

The tiny part that prompted this? It’s the idea of Jin Yuehua and MK visiting the other’s world and seeing each other like one of those sneak-out-the-window dates.

And just like that, I was done for.

The more I thought about this idea, the less it became a crack ship for me. I just think these two together is sweet and I love the parallels of Jiang Yanli’s own daughter falls in love with a himbo of her own. Though — to people who are in both fandoms — we all agree that MK is way better than Jin Zixuan when it comes to a first impression 😆

And, yeah. I don’t know what else I want to say. I would like to add in more but I think the fact I don’t have a lot of Jin Yuehua’s own story out there on my Tumblr is really preventing me from going into the details of her and MK’s relationship. Maybe I’ll post a few out-of-context pictures of them together and slowly make most about what would be Jin Yuehua’s role in the canon of MDZS.

We’ll see. Until then, I hope everyone has good day of just enjoying fandoms. Ya got that, discourse?

[starfinss]

Shelter From The Storm — Razor 1/2

Fandom: Genshin Impact

Summary: You get lost in Wolvendom when searching for berries. Razor helps you out, leading to a new friendship.

Pairing: Razor x Reader

Rating: Fluff (SFW)

Word Count: 2,677

For future reference, all characters are depicted as 18+

You'd somehow managed to get yourself hopelessly lost on your quest to find enough berries to fill your basket. You wanted to bake a pie for Sara's birthday, and while she worked at Good Hunter and more than likely had access to the best pies in Mondstadt, you wanted her taste your grandmother's recipe. Her occupation and access to delicious pies would not stop you. But this was more than you bargained for. 

You'd ventured along the path outside of Mondstadt, attempting to take an alternate route to the Dawn Winery before doubling back and making your way back Springvale where you'd get a room at the inn and then head back to Mondstadt in the morning. It was supposed to be simple. But you'd ended up in the Archons only knew, which was far from simple. 

And it was getting dark. 

You'd dressed warm, it was mid autumn and winter was coming soon, and while Mondstadt didn't get nearly as cold as somewhere like Snezhnaya, the snowfall was still rather intense. It was the very end of berry season and you were making the most of it. Your outfit consisted of a cotton dress layered with a wool over skirt and a long wool cloak. You wore a pair of brown leather boots as well, gloves on your hands. You tugged the cloak more tightly around your body as the wind picked up. There was forest up ahead, dense and full of restless shadows so thick you could barely see past them. You had no idea where you were.

You turned in a full circle to try and regain your bearings, and after a moment or two, you realized you could see Mondstadt across the lake. There was the cathedral, backlit by the sinking sun, and all at once, you realized just where you were.

Wolvendom. 

Oh. Lovely. I'm going to be eaten by wolves.

You felt a raindrop splatter against your cheek and you looked up, face falling as you watched menacing clouds roll in, obscuring the stars that had just begun to freckle the sky. The God of Anemo was not on your side tonight. Your eyes scanned the area in front of you. The last thing you wanted was to be caught in one of Mondstadt's thunderstorms without shelter. 

"Thanks, Lord Barbatos," you muttered sarcastically. 

The wind didn't calm. 

You heard a twig snap behind you and you turned, tucking your basket against your chest almost like a shield. 

There was a hilichurl standing in front of you. It said something in that weird language they all spoke, something that didn't sound particularly friendly.

"Um," you stammered, "please don't hurt me."

It said something again, waving its club in front of it. You struggled to unsheathe your sword from its scabbard, the vision pendant hanging from the cord attached to your belt glowing softly in response. 

"Hey, can you just—"

The hilichurl lunged and you dropped your basket, blocking the club with your sword, swinging a leg out to hit the backs of the hilichurl's knees, making its legs buckle beneath it. You sent a blade of water sailing through the air as the hilichurl struggled to its feet, causing it to stagger back, knocking its head on the side of the ledge behind it. You scooped your basket up and made a run for it, only stopping once you were safely behind a tree. 

The lone hilichurl was joined by a mitachurl, and you were suddenly in over your head. You had a vision, sure. You could fight, yes, of course. But you were no Knight of Favonius. And your longsword was no match for a massive axe. You couldn't make it work like Cavalry Captain Kaeya. All your combat training had come from your father, who was a knight and from your mother who knew more than a few tricks of her own.

Of course you could fight. But this was a bit much.

You slid your sword back into its scabbard, but the rasp of metal against leather alerted the monsters, and your eyes went wide. 

Uh oh. 

You tried to scramble up the tree you were hiding behind, but managed to twist your ankle, making you yelp in pain. Nevertheless, you persisted, hauling your body into the branches. 

A scream left your mouth when the hilichurl began shaking the tree. You wrapped your arms and legs around the trunk, hanging on with all your might, but the rain was beginning to fall, and the sudden slickness wasn't helping with keeping your hold on the tree. Your world  shuddered as something struck the tree, making you scream again, and you didn't have to look to know that the mitachurl had struck with its axe. A few more swings and the tree would be down.

You grunted with effort as you attempted to pull yourself farther up the tree, hopefully to where the branches thinned enough so when the tree fell you wouldn't end up being trapped. You would not die here, damn it. You refused to. Your hair was now sticking to your cheeks and forehead as rain water streaked your face, the freezing kind of rain that even hydro vision users like yourself weren't all that fond of. 

You had no choice but to cry for help, not knowing if anyone would hear you and seriously doubting that they would. 

"Help me! Help me!"

Your voice sounded desperate, but at this point, you were desperate. 

You heard a shout after the tree shook with another strike, then the crackle of thunder. There was the sound of exchanging blows, something that sounded like a snarl, something animalistic. The ground shook, jostling you free, and you lost your grip, falling down to the next branch, crying out in pain. 

The ground shook again and you fell, straight to the ground, into a heap of limbs and messy hair, your basket flying from your hand.

You saw a figure crackling with violet energy before everything went dark.

————————————

You awoke to a loud bang, followed by rumbling. Thunder. 

Where... am I?

Your head hurt. Hell, your everything hurt. There was something laying beside you, something warm and furry and soft. An animal? You didn't move to touch it. Your mind was muddled with confusion, but your eyes finally snapped open when a hand lifted one of your own hands. 

There was a young man hovering above you. He was wearing a brown hooded coat and a light brown poncho sort of top with tribal markings. The rest of his toned torso was left exposed. A necklace with what looked like fangs hung around his neck. 

His hair was long and messy and silver in color, and he had a handsome face, his eyes a shocking shade of scarlet. There was a scar on his left cheek. He looked to be around your age, maybe a little older.

Who...?

He blinked in surprise when he noticed your eyes were open.

"You wake," he said. His voice was a rough sound, low and almost raspy. He sounded like he didn't speak much. 

You took note of your surroundings. 

You were in a cave. There was a fire crackling a few yards from your feet, and from what you could see through the mouth of the cave, it had begun to pour outside. Thunder was growling overhead, lightning flashing, the brief light making it look like daytime. You were laying on a collection of pelts and a few pillows. The cave was otherwise empty except for the silver haired boy and you. You turned your head to look at whatever was beside you.

You were met with a wall of grey fur, and it took you a moment to realize you were staring at a wolf's back. There was a wolf beside you. You tried to jerk into a sitting position, but the young man pushed you back down.

"No," he simply said, "rest."

He made a good call. Your head was spinning. 

"What... Happened?"

He glanced at you. You noticed a bowl of what you recognized after a few moments as wolf hook berries, as well as a bowl full of what looked to be crushed up ones beside it. There was a rock stained with the juice sitting beside this bowl.

"You fall from tree. I save you from monsters."

"...Oh."

"How long was I out?"

"Hours."

The young man turned to the bowls behind him, then looked back at you.

"Your name?"

It took you a moment to realize what he was asking. 

"Oh. It's (Y/N). My name is (Y/N). What's yours?"

A beat of silence as he studied you.

"I am Razor."

Razor reached into the bowl of paste, smearing some of it onto your palm, which you didn't notice had been scraped up. It stung.

"Medicine. Will help you heal."

You'd heard about the medicinal properties of wolf hook berries from Barbara at the cathedral before, so you didn't doubt that Razor was doing this to help.

"Thank you," you said, shifting, "for helping me. I should go, though—"

"No!"

You started at the sudden volume of his shout. "No?"

Razor looked sheepish, his voice quieting. "You rest. You are hurt."

You relaxed back into the pelts, sighing. "Okay. I'll rest. But I have to go when the rain stops."

Razor shook his head. "Your ankle is hurt."

You moved both your ankles, met with a painful stiffness in your left one. Razor was right. It was most likely sprained. It would be hard to get back to Mondstadt like that, and it was a beyond stupid idea to try and get anywhere in this rain, let alone on an injury.

A massive grey wolf suddenly entered the cave, startling you. It was carrying something in its mouth. You recognized it. 

"My basket!"

The wolf walked over to you, setting the basket down beside you, then promptly turned and left. Another smaller wolf entered a few minutes later carrying what looked to be the leg of a small animal. 

Razor took the leg from the wolf, and then turned so his back was to you, working with his hands. He then dropped the meat into a pot you hadn't noticed was over the fire.

"You don't eat it raw?" You asked, and Razor shook his head.

"No. Makes me sick. Heat helps."

"Yeah, I guess that makes sense," you said, "humans can digest raw meat, but we can also get sick from it. Cooking it makes it easier to eat and gives more nutrients."

Razor stared at you for a moment, something almost like awe sparkling in his eyes. It was a little endearing. You smiled.

Was this guy... raised by wolves?

He certainly looked the part.

His body was toned and covered in scars. He looked wild. 

"Sleep," he said, "I will wake you to eat."

You were tired. You rolled onto your side, realizing for the first time that you'd been stripped down to your underclothes, left in your blouse and the cotton skirt you'd been wearing underneath the woolen one.  Your shoes were gone, so were your socks. You spotted said articles of clothing on a rock, presumably drying. 

"I shouldn't," you said, "I might have a concussion."

He tilted his head curiously.

You tried to think of a way to explain what that was. You didn't think that Razor was dumb, far from it. He'd successfully treated your wounds and figured out how to cook without much outside interference it seemed. If anything, Razor was very intelligent. 

You sighed. "It's something that can occur if you hit your head really hard."

Recognition dawned on his face. "Oh. I think I know."

"Know?"

Razor nodded. "Yes. Has happened to me. I fall into hole. A red man helped me."

You furrowed your eyebrows. Red man?

"Someone from Mondstadt?"

"Do not know."

You ran through a mental list of any men that fit the description of 'red,' but Diluc was the only one who came to mind, so you settled on him.

"I need to stay awake, just until the dizziness passes," you said. 

Razor simply nodded, turning back to the fire, and you relaxed against the pelts beneath your body. 

You tried propping yourself up a few times to check and see if the dizziness had gone, and when it did, you fell asleep fast. 

You faded in and out of consciousness for the next few hours, waking only when Razor shook you in order to feed you. You ate greedily, not realizing how hungry you were until the tender meat was gone. After eating, you fell asleep again.

You awoke fully in the morning, and you rolled over to find Razor sound asleep beside you. The wolf that had been beside you before was now gone. The rain had stopped, leaving behind that musty smell that rain left behind. 

"(Y/N)!"

You started. That sounded familiar, even if the voice was far away. You propped yourself up on your hands, wincing at the remaining tenderness of the scrapes. They could have gotten infected if not for Razor, and you were thankful for his help.

The voice called out again, and you realized with a start who it belonged to. Amber.

Was there a search party?

You put a hand on Razor's shoulder, about to shake him awake, but when you looked down, his eyes were already open.

"Who is it?"

You smiled. "Amber. She's an Outrider for the Knights of Favonius. Someone must have come to the knights to tell them I was missing."

"You were... missing?"

"Yeah," you said, "I got lost."

You cupped your hands around your mouth. "Amber! In here!"

A beat of silence, then the sound of distant running footsteps getting closer. Amber appeared at the mouth of the cave, relief washing over her face as she hesitated before entering the cave.

"Razor," she said, "can I come in?"

Razor nodded. "Red girl is friend."

Amber walked towards you at a hurried clip. "What happened?"

You smiled. "I got attacked by hilichurls as the storm started and Razor rescued me. Wait, you two know each other?"

"Yep!" Amber said, "as an outrider, I know everyone in the Mondstadt region, including those in Wolvendom. You were in good hands."

"Razor helps friends," Razor said, matter-of-factly. 

"Thank you for helping her, Razor. I'll take her home."

Amber helped you get redressed, and it felt good to have the comforting weight of your sword on your back again. 

As you began to walk, supported by Amber's shoulder, you turned back to Razor. 

"I'll come back to visit. I'll bake you a pie."

Razor seemed to like the prospect of you coming back. 

"Visit again, friend!"

You smiled.

After getting back onto the main path, Amber spoke. 

"You really need to be more careful, (Y/N)," she said, "we were all so worried! What were you thinking?"

You chuckled sheepishly. "Sorry, sorry. I wanted to find an alternate path to find more berries. I got lost. I couldn't have predicted that a storm would roll in. The Anemo Archon was not on my side."

"Yeah," Amber said with a note of bitterness, "he's finicky like that."

You snickered. "You say that like you know him."

Amber simply laughed. 

You looked down at the basket in your free hand, noticing that not all of the berries inside had been lost. It looked to be just enough for one pie. 

You watched as the first few buildings of Springvale came into view, making a mental map of the area in your head. You'd have to write down the location of the cave when you got home. You'd be seeing Razor again soon, this time bearing gifts instead of injury. Sara's pie would have to wait. After all, she did have access to the most delicious pies in Mondstadt, what with working at Good Hunter and all.

You had a feeling this was the beginning of a wonderful friendship. 

You just hoped he liked berry pie.

[ackerpreach]

This ending .... I can name 500 reasons and I will name them right now, because I don’t think I’m the only one who is upset with how things turned out. (Also, A positive message for all of you at the end)

MAJOR LEAKS SPOILERS/ READ WITH CAUTION

Update: after reading more theories from fellow RM bloggers, and sleeping over it one day, this entire chapter might be an april fools... Don't fully lose hope yet beautiful people. It's me just giving a review on a possible fake April fools chapter

After following this franchise since 2013, so nearly a DECADE. this ending is a pure disserve to the entire fandom. I feel like Yams has rushed it just for the sake of being done with the entire manga. So many things are left open, characters and their developemt are reverted back all the way to chapter 1 or are left even worse than that...

Mikasa’s worthless character development/ Aaronmika’s horrible toxic codependent relationship 

Oh honey... Let’s start with how horrible Isayama has treated her. We were all rooting for her, because we all felt like she was so misunderstood. She had a horrible childhood and imprinted on a guy who treated her like trash 99 percent of the story. And then, slowly but surely, she starts to realize she has to stop obsessing over him in the uprising arc with the help of a real man who treats her like a queen, more importantly, he treats her like a real human being. This man sees her for her abilities and that she has the power to be self dependent. She learned parts of herself, that she was able to work together with him like no one else could.  She learned parts of herself she was unable to do so if she kept obsessing about Aaron. All this love, care, mutual understanding and RESPECT these two shared. 

but...NAH FUCK THAT, right Yams?? Throw all this development away, all this bonding. Let’s make the main female lead even more yandere than she already was in the first season. Let her make out with his decapacitated head (like dude, this is also pure disrespect to Aaron’s dead body btw) and let her obsess even more about the guy who has treated her no better than a piece of toilet cloth 99 percent of the time. The guy who was never really appreciative in front of her for saving his ass billions of times, who always pushed her away, who yells at her and snaps at her whenever he can instead of reasoning and talking calmly with her in mature way. (EVEN PARODY YOUTUBE CHANNELS WHO DONT SHIP ANYTHING MAKE IT A TROPE WHERE AARON TELLS MIKASA HE HATES HER GUTS WHENEVER HE CAN) 

Then after all that, suddenly Yams tries to last minute persuade us Aaron’s always been head over heels for her???  He should have build their relationship better which he hasn’t even tried to do so... He must be thinking his fans are stupid for eating this from his hands.    

Like seriously??? What is this??? 

Isayama is just fully contradicting himself. It’s like someone tipped him off with a buttload of money for him to write Aaron like this to satisfy shipping needs and to cash in those extra money’s from it. Even if he tried to cater to Erem*ika, this is not how you write a loving and caring couple which people will root for. 

This next two panels just freaking infuriates me to the core of my soul. I can’t even describe how dissapointed I am with Mikasa. 

Why is she clutching that head so obsessively like that?  Why is she walking and turning her back away from her comrades? After everything they have done for her, after all they’ve been through?! After everything Armin has done? Standing up for Mikasa, beating up Aaron for hurting her. I feel like even Jean, Connie and Sasha have cared more for her in a healthy way.  Sure, Aaron cares for her romantically too apparently (What a twist Yams :)), but has he aided her to becoming a mentally healthier individual? Has he aided in her mental stability? The answer is a big fat NO!  All I see between these two after today’s raw Chapter’s are too Yandere obsessed individuals who have no clue on how to maintain a healthy relationship. 

Love should only go as far as the heart can endure and it seems like her character is not willing to be aware of that. Even Armin was able to let go of Aaron in those latest panels. Why does her entire character resolve around this guy??? I really do not understand. Her Ackerbond and her age is not an excuse for her to throw her life away like this. 

Shonen’s disgusting portrayal of women 

I’ve seen this countless of times in the many years I’ve watched anime. SasuS*ku from Naruto, Ichih*me from Bleach, Shinji and that oranged hair girl from Neon Evangelion.. Why do these women get decreased to simpletons with one single goal? And that is to obsess over a bland male lead who either treats them like trash or doesn’t notice them up until the last last chapter (LITERALLY WHAT YAMS HAS DONE). Some go even as far as the male leading wanting the kill the female love interest and yet the female lead is still in love with them???. It’s disgusting for him to write the MAIN female character this way. 

It’s dissapointing we believed in Isayama doing Mikasa’s character right. That she’s finally being able to let go of her codependency and to live for herself maybe live in Hizuru and find more about her roots???, but every single time she shows some improvement, it’s burried deep in the ground again by the Author. It almost seems like a lowkey kink of some of the male Mangaka’s to write about a girl obsessing over them no matter what. I see this so many times to the point that I truly stand behind it that some of them might have this fantasy. 

I wished he didn’t portray her last panels like this. Everyone else is living their lives while Mikasa is still grieving about him. I’m not saying she’s not allowed to grieve and everyone takes it at their own pace, but cmon... Show her living her life too. This is too much. Her being next to his grave and grieving him as her last panels just shoves it in our faces that YET AGAIN, BEING OBSESSED WITH AARON IS ALL HER CHARACTER STANDS FOR. 

I truly despise how Isayama handles her grieving, kissing his decapacitated head, carrying it around like some handbag, and her last panels being thissss.

The world leaving Paradis alone miraciously after all that??? 

It’s so weird and out of place with so many political feuds and disagreements between the world and Paradis, the entire Rumbling happening and we can see Mikasa just chilling outside in Paradis with no one bothering them. You can see the rings of the walls in the picture below.  I don’t know the exact reason behind as the manga is still in Korean, but from what I see, the story went the route of: throwing a happy ending without enough proper reason and  it was all fixed just like that in a snap! It doesn’t fit the entire narrative of attack on titan for things to be so peacful out of nowhere. When it comes to the narrative, how things work in that world, how hard it is to achieve peace, everything made somewhat sense up until chapter 138. 139 seems so so out of place...  It’s like I’m reading a chapter from a totally different manga. 

Aaron Yoghurt got defeated so easily/ Aaron’s character assassination

The build up on the first part of the rumbling was great, those kids carrying coins. You could feel humanity’s fear and Aaron’s hatred in those pages. As if he truly had a goal and he has turned away completely from his comrades and his closest friends with no return. The world seemed truly doomed, but he  got defeated just like that. He was in the nape all this time (because screw the warhammer power of hiding yourself elsewhere in his ginormous titan body). There is no master plan as we all expected, and in the end he just acts all yandere in the paths with Armin and that’s it... They massacared his entire character as well. Many fan theories created a better ending with his character. Him being reincarnated as Historia’s baby would be so much better. For him to still keep on seeking and to strive for power. It has always been his motive. It’s his personality from the start until chapter 138. Even if things are okay, to keep on going and to seek that adventure, but then.. He’s so weak and directionless suddenly.. It’s so weird... This is not Aaron at all???

Using Aaron for him this entire post, because I don’t want others to invade our tags... :)))

Historia’s baby 

The only panel we got from Historia’s child was this. Just a normal kid, normal life... Why did Isayama put so much effort in highlighting Historia’s pregnancy if it was nothing too spectacular anyway? It seemed he had major plans for this kid and for their development too??? It’s again, big plans, big developments, big relationship dynamic, but all  got thrown out of the window... 

Don’t read the next sentence if you are a minor :’) 

It’s like almost ejaculating, but stopping right before it and repeating that every single Arc.

My energy when writing about this chapter is the same as Nostalgia Critic and his hatred for atla the live action

In Conclusion...

I know us fans should not be deciding on how this story should end, because this is Isayama’s story after all, but I truly wished for him to wrap up things much more rounded. There are so many unanswered questions... Again, I think for the sake of being done with this manga, he rushed all of it. He’s become a millionaire from this story and now his pockets are jammed full, I guess he doesn’t need to put in any effort anymore, right? Perhaps a controversial opinion, but I really wished he cared for his fans a little bit more with this last chapter by giving some answers that make sense at least. It’s his fans who gave him this platform and the opportunity to tell his story and for him to at least give in a bit of effort especially in the last chapter is the least he can do. Rivamika being canon or not, he truly rushed it without thinking much about the entire story line. He expanded it so much, he didn’t know how to bind it all together.

Even after all this, I’ll still ship them in the headcanon type of way. I do give credit to Isayama for giving us a template for such a beautiful dynamic between Levi and Mikasa. He decides to waste it, but that doesn’t mean we have to.  I want to thank all the people with amazing writing skills, the ones who give us beautiful art like @carmenlee @phit chan @vialesana​ and many more. I want to remind all of you that we can create something beautiful of our own and we don’t neccesarily need canon lore for that. The art I’ve seen, the fanfictions I’ve read have touched me deeper than Isayama ever could at times.The Mikasa in our mind is appreciate of Levi, is mature, classy and has a strong will for herself. They spend their remaining days together peacefully. Keep writing, keep drawing, stay creative. 

I love you all so so much, I’ve only been publicly active since March, but thank you Rivamika fandom for giving me so much joy as a lurker these past 7 years <3

[taki118]

Go Watch the Venture Brothers

So just heard the complete and utter Bullshit news that Adult Swim has cancelled one of (if not the best shows) they have the Venture Bros. This series is one of those shows that for WHATEVER reason never got to the level of fandom Rick and Morty has even though they’ve been at the genre parody game longer and in my opinion better. 

The series is about Rusty Venture former boy adventurer and failing super scientist who in an attempt to keep his head above water in debt goes around with his two boys Hank and Dean, and bodyguard Brock on misadventues while various legal archnemisis go after him, such as the Monarch. 

So if you never watched or never heard of this 7 season series let me give you a break down on why you should, 

1) Art Style & Animation

Venture bros is one of those rare Adult aimed animated series that that really truly tries to utilize their medium to the best of their abilities. Season 1 had like such a small budget and corners had to be cut so it can be a little hard to watch at times. 

But with each passing season they get a little better, a little more fluid, go just a little harder and it truly feels rewarding to watch. Like seeing an artist you follow online improve over the years. Like they COULD have stayed with the choppy and stiff animation from season 1 it fit right in with its fellow adult animated shows but it didn’t. They strove for quality to have something that matched the story they were telling.

2) The Writing 

Venture Bros has some of the tightest and consistently great writing of ANY serialized show I’ve seen, adult, animated or other wise. Wanna know why? Cause it’s all done by TWO people (save for like one ep each season where one other person is allowed to touch their baby). Yeah TWO people and they work their asses off every season to interject, humor, refrences, parody, plot and character development in equal measure. 

3) Character Development

Um yes in case you were wondering that’s right an adult animated show has CHARACTER DEVELOPMENT  that holds as the series goes on. Not to give spoilers but characters will go through changes in alignment, relationships will develop and change, some characters will go through negative arcs where they are straight up unbareable for a season before coming out the other side even better than they were before. There is no end of epsiode or even end of season reset. Characters, settings, and dynamics all change over the course of the show and it feels just so god damn good.

4) Story Development 

Just like the characters the story of the Venture Bros grows and changes each season. Things that are set up even as early as season one are paid off as the series goes on. Like not to be that bitch but you know how RIck and Morty teases an overarching plot ALL THE TIME but like will often just spit in the face of fans hoping for more than like one episode a season addressing it? Yeahhhhhhh that doesnt happen here, fans are consistently rewarded for putting the time in to rewatch and really think about what happened in the series. Characters that are seen in the background or are just referenced by other characters will be brought in to be recurring characters, things that start off as a small detail or gag will be given larger relevance and each time they do this you get that “OH I remember that from last season! So thats what it was!” The writers WANT you to rewatch, they WANT you to analyze and they WANT you to theorize, and they give you a show that gives back the time you put in.

5) Parody & Reference 

This series does a great thing with parody. They make real characters  who are just as enjoyable as the characters they parody, they make story lines that both poke fun at the absurdity of the media but shows the writers love for it. So often parody and references are just used to mock the thing but with Venture Bros you feel the love and care so when you know the thing being parodied you can laugh but feel good about laughing cause they are never laughing at a thing maybe you cared for in your youth but rather laughing with it.

And it’s never just one thing. When they parody a thing its often layered with other things to make it even more unique. Scooby-Doo is overlayed with famous criminals, Laura Croft is mixed Dr. Quinn Medicine Woman, GI Joe is given the look of the Village People and so on. They never go for the easy joke or reference. Hell theres an episode that starts with them reciting the lyrics to David Bowies Space Oddity for really no reason other than they could. They weave these things in naturally with their setting and characters so nothing feels out of place. Like if you dont catch a reference or parody you dont feel like “I think this isa reference to something?” like a LOT of things do not just adult animated shows. You arent taken out of the moment cause it all feels so natural. 

6) The Characters 

God damn these characters, I could go on for hours about these characters. From main to one off these are some of the most likeable characters you can find. I mean it when I say I can’t think of a single character I wish they had cut cause they are all so well created. Even the ones I hate i have fun hating cause they were made to be that way. I’ll be good though I’ll only talk about my absolute top faves.

- The Monarchs

You ever sit and wish villain couples could have functional  healthy relationships? Well look no further than Malcom Fitzcarraldo aka The Monarch and Dr. Shelia Girlfriend (yes that is her last name). The Monarch is a high strung impulsive saturday morning cartoon villain whos tendency to over react is only matched by his unspecified hatred of Dr. Venture. And Dr. G is his nonsense partner in crime who will cut a bitch if they don’t play by their admittedly weird rules. Both characters are great on their own but are better together. Though that doesnt mean they always get along. Like a real couple they have their ups and downs they fight, break up, make-up and grow stronger in their relationship with each season. 

- Shore Leave

Ok ok so I want you to imagine James Bond, mixed with GI Joe simmering in a cocktail of the most flamboyant gay men you have ever seen and you have one of my favorite gay characters/characters in general. Shore Leave is a member of OSI (the shows SHEILD/GI Joe parody organization) he’s loud, brash, flippant, sassy and highly competent at his job loving every second of getting to beat bad guys down within an inch of their life. I love seeing him play off the stoic Brock and the two have this great brotherly dynamic that’s never called into question. He also gets to have a very cute romance with Al the Alchemist (who is also great). I could talk about this man all day.

- Dr. Rusty Venture

They did such a good job with this man. He’s a self serving, sexist, perverted, whinny, self important asshole and yet you feel pity and genuine sympathy for him and want him to succeed. You can see how Dr. V was given a raw deal by his father who seemed to care more about his adventures than his sons well being and how this molded him into the bitter man he is today, but on the flip side you can see where he chose to use that as a crutch for his worst behaviors and impulses. Seeing him slowly grow and change and be an actual good father to his boys while all the while still be a giant dick is actually really great. 

- Dr. Byron Orpheus 

Ahhhhh Dr. Orpheus part Dr. Strange Parody part busybody stay at home dad, he’s just such a delight. Dr. Orpheus is a divorcee, with an unfulfilling job of maintaining order to the cosmos (which isnt as hard as one might think), and uses his magical ablities in ways most of us would (ie menial tasks and home chores). Overly dramatic and affectionate Dr. O is a delight whenever he appears, but he’s at his best around his daughter and old friends The Order of the Triad. 

Again I can go on but all these characters ranging from main to recurring are crafted with the utmost care for you to want to see them succeed or fail, to see them again even if you know it’ll never happen, and want them to cross paths with other characters. 

The Venture Bros is one of those series that I will ALWAYS recommend even to the pickiest of humor tastes. But if you don’t believe its as good as I said or don’t think the concept is to your tastes I’ll recommend a few eps that I think best show off the base idea of the series without giving much away. In terms of plot and spoilers, though somethings wont make a lot of sense. 

- S1 ep10 "Tag Sale – You're It!" - Dr. V is having a yard sale so of course all manner of costumed weirdos show up.  - S2 ep5 "Twenty Years to Midnight" - basically a fetch quest around the world to save the planet with daddy issues - S3 ep2 "The Doctor Is Sin" - Again daddy issues but with one of the best recurring characters and a great showcase of the series deeper emotional plots - S4 ep6 "Self-Medication" - Really embraces the parody as Rusty goes to a former boy adventurer support group.  Anyway the show is 7 seasons with 80 episodes, please go watch it. I will never forgive @adultswim​ for cancelling what was to be their final season. And in closing GO TEAM VENTURE!

[rhetorical-ink]

Haikyuu!! SPOILERS: Chapter 401, How We Connect the Dots.

**PENULTIMATE SPOILERS BELOW**

I just posted a video with my live reactions to the chapter, but here are my highlights, because FURUDATE YOU MADMAN GENIUS. This chapter connected so much together. So, let’s do:

My Top 10 Thoughts on Haikyuu!! Chapter 401:

10. Of course. In true Furudate fashion, he has Kageyama block the spike from Hinata, BUT, what Kageyama doesn’t realize is all the training on the beach Shoyo has done to prepare for such a moment. And that heel kick! *swoons* Also, someone reacting to Season 4, Episode 9 of the anime, where Hinata kicks the ball back to himself called this happening all those months ago...Furudate is next level at foreshadowing. Not that we didn’t already know that.

9. Hey, remember how in the VERY FIRST chapter of Haikyuu!! Shoyo did this crazy run across the court to score? Yeah, Furudate knows we remember. And he pulls this -- and Kageyama’s beautiful reaction, only for --

-- Only for it to all be a DECOY. Kageyama, you made this monster, you know. I love that Shoyo has come all this way from wanting to score all the points to accepting that the decoy DOES have a vital role to play, and in this instance, it’s allowing Bokuto to score the winning point for the MSBY Black Jackals. Just look at that smile! And of course, Tanaka and Asahi KNOW the power of Hinata as a Decoy...because they’ve been in Bokuto’s shoes before. 

8. UGH, the aftermath of that moment is glorious, which will detail down below -- but I love Shoyo and Kageyama’s interaction, though. How they’re still keeping track of each other’s wins and losses, exhausting Miya, hilariously, and showing that they’re on equal footing now, after all these years. This chapter is just cementing the last several chapters’ worth of character development. 

7. ARE YOU SHIPPERS READY FOR YOUR FOOD?!

Because these next few pages were healing my shipper heart. I mean, yes, the Kagehina fanbase is raving right now, but let’s talk about THESE ships below, starting with:

Tsukishima x Yamaguchi:

So, Tsukishima, of course, is not sappy about any of this and just points out how the season’s just getting started (ready the fanfics, y’all). 

And of course, Yamaguchi wants to watch Tsuki play! Yachi says she’ll come too! I LOVE how just like he was with Akiteru, he doesn’t want them to come watch (even though we all know he’ll love it when they’re there). Now, some people have commented that Yamaguchi could be with Yachi, but y’all...Yachi is in Tokyo. Yamaguchi and Tsuki both live in Miyagi. I can’t wait for all the Sendai Frog/TsukiYama fanfics!

If you’re looking for an extra Kagehina crumble, just look at the end of this adorable exchange between Romero, smol adorable Rubens, and Shoyo (who perfectly crouches down to talk to him MY HEART I CAN’T), to see Kageyama notice that Shoyo can speak multiple languages...oh, honey! If only you know about Hinata and Pedro’s marathons of DBZ in Portugese and English! ^^

Also, Furudate WE SEE YOU. We see you being meta and implying that now Haikyuu!! is over, he’s moving on...Akaashi’s line about going forward hit me hard...it’s like he’s telling us, the fandom, that going on to start something new isn’t so bad. SO YOU SAY. 

BOKUAKA NATION -- WE CANON NOW, RIGHT?!

I love that Akaashi gets to interview Bokuto (IS HE GOING TO BE THE STAR of the Volleyball manga Tenma Udai is writing?! He would be PERFECT for it!) and how happy Akaashi looks, even if he and Bokuto realize how differently they view the term “normal.” 

ALSO, it’s implied above that Akaashi, Bokuto, and Tenma were going out for drinks...which now....we know that it’s just Bokuto and Akaashi, since Tenma was going home. Uhm, FAN FIC WRITERS ASSEMBLE!

I also love that Udai joins the club, along with Fukurodani’s coach and manager, of people who realize that Bokuto and Akaashi are weirdos but they are weirdos together, so it’s fine. 

Keeping the “Ship Train” going, we get little bits of Shimizu x Yachi from the bathhouse before the Inarizaki Match, where Kiyoko finally acknowledges she is okay showing her legs...thanks to Yachi’s words. I also find Suga wanting to know “the tea” on the situation to be adorable. 

AND FINALLY, YES, Y’ALL:

I was spoiled with Kuroo’s return, but seriously, Furudate, you saved him for the end here so INTENTIONALLY. 

Because OF COURSE Kuroo would work for the JVA. As a promoter. CONNECTING people...with Volleyball...because that’s the Nekoma way.

And FURUDATE ARE YOU SUGGESTING TO US THAT KUROO AND KENMA ARE BUSINESS PARTNERS AND COLLABORATORS BECAUSE MY KUROKEN HEART IS SOARING -- 

-- and let it be known Atsumu Miya rightfully doesn’t trust Kuroo, and neither does Sakusa. A nice SakuAtsu crumb where we actually see Sakusa agree with Miya without sacrasm or question! Poor Shoyo is a salesman’s dream, though. I mean, Kuroo does look a little sketchy in some of those shots...BUT....

6. Kuroo’s speech about sports was SO fitting. Seriously, everything he says here is BASICALLY what makes Haikyuu!! such a great series. I DID laugh out loud at the line about “hardly anybody dies.” 

*Flashbacks to “Dead Daichi” meme*

5. It’s taken us the ENTIRE series, but Kageyama finally talks to Kindaichi and Kunimi. This was so heartwarming, seeing Kageyama wanting to play WITH THEM. AS A TEAM. This made my heart expand three sizes. The character development on Kageyama, and Kindaichi, is through the roof.

I also LOVE Kunimi the most in these panels. Kunimi is a MOOD. 

Y’ALL. I’VE WAITED 400 CHAPTERS FOR THIS PANEL OF THESE THREE HAPPY AND BECOMING FRIENDS AGAIN.

4. I love that Hoshiumi doesn’t see Hinata as a Rival, but as someone that is going to help him show the rest of the world the strength of someone who doesn’t have height. I also find it interesting that we see the Japanese Olympic Coach walking out just as Hoshiumi gives us that beautiful gaze. So...does Hoshiumi know he’s going to be on the Olympic team, with Hinata, maybe? Foreshadowing, perhaps?

3. Okay, okay, I held it together until this page. 

It wasn’t Ushijima’s panel with Washijo that got me.

It wasn’t Saeko and Akane reuniting, though that was sweet. 

It wasn’t the three “Pure Captains” reuniting, though it made my heart happy.

It honestly wasn’t the five first years together, either. They’re all so happy and having a laugh at Kageyama’s expense, and as beautiful as that panel is.

SUGAWARA IN LINE TO GET KAGEYAMA’S AUTOGRAPH.

That is what got me. 

Him in line, so meekly, to get the autograph of his kouhai, the man Suga joked would have to tell about how much he learned from HIM when he was giving out interviews and autographs...I just...Sugawara made me cry. That is all. 

2. Then there’s this last page. 2021. 

"We overcame difficulties and stand here.”

Furudate really said “screw you” to Covid messing up the timeline.

Yes, seeing Kageyama and Hinata in their original jersey numbers was amazing, but I think we all saw that coming if these two happened to get on the Olympic team. 

What I want to focus on are the two countries we see included in the bottom corner here. We see: 

Brazil -- and some fluffy haired man carrying the flag for the team.

And we see the United States -- there’s several American Flags and stars and stripes on the shirts of the crowd, there.

SO, HEADCANON TIME: 

* Oikawa was on the Argentinean League, so could he play for Brazil? It’s not likely, but not impossible....BUT, I don’t think that’s it.

I don’t think Oikawa is on Japan’s National Team for the Olympics.

If he is on the Olympic Team, I think he’ll be on America’s. 

Why? Because, and this could be because I’m the biggest IwaOi shipper, but Iwaizumi was still in the United States with Ushijima’s father at the end of Chapter 395. And if he’s still there, there is no reason why Iwaizumi couldn’t be a physical trainer alongside Ushijima’s father for the U.S. Olympic team. And why wouldn’t Oikawa trek over to the States to be on the same team as Iwa-Chan’s working with? I’m probably wrong, BUT -- 

We also still need to see Seijoh’s banner, and as others have theorized, how fitting would it be to see Hinata, Kageyama, and (probably) Ushijima on the team facing Oikawa? I just....I’m betting money that Oikawa shows up in 402. I hope we at least see him on the Olympic Stage. OIKAWA DESERVES IT. 

1. So, who are we missing that hasn’t been shown yet?

We still need to see the rest of Nekoma (Lev, Yaku, Yamamoto, Kai....could they be in the stands or on the Japan team? I guess we’ll find out!)

We haven’t seen Daishou and Mika -- I would love to see them watching or narrating in the audience during the Olympic game.

And finally, yes, we’ve seen Tendo in the Chapter 395 flashback, but we’ve never seen what he’s DOING. Furudate has shown us with every character what they’ve been doing since the timeskip....EXCEPT TENDO. I’m calling it that he’ll appear one more time next chapter, too.

So....guys....I’m staying off of Social Media from Wednesday to Sunday next week, to prep for the last chapter and not be spoiled. I’m going to do a live reaction for YouTube, and I’ll post it here. You can see the one I did for 401 now. 

Furudate, this series has been immaculate. Time for one more round.

Let’s all cry together next week.

[galemalio]

3 Examples of Racial Bias in Animation Storytelling

It’s not hard to grasp that a white person, while not explicitly or consciously racist in the sense we might usually imagine, is still inherently racially biased because they benefit from and grow up used to white supremacy.” - Scottishwobbly, Tumblr

This is nothing new. This is something POC (People of Color) have been talking about in separate fandoms. Nevertheless, it needs to be acknowledged by those unaware.

This article is not made to say that some of the animations that I will use as examples are bad. But in the hopes that we, as consumers and creators, will do better in the future in handling characters that are POC. 

Most often, racial bias in storytelling is when the narrative treats white or light skin toned characters better than darker skin toned characters. The darker skin toned characters are often POC-coded or actual POC.

White creators often do not notice their racial bias in their storytelling as they benefit from and grow up with white privileges and white supremacy. This can also apply to light-skinned POC who have light skin priviliges. 

Some of us don’t often see it but real people who relate to the characters of color do. Especially when it reflects from their experiences with racial bias, microaggressions, colorism and flat out racism.

So when they speak up, it’s important to listen to them to unlearn the racial bias we may have in ourselves. 

I will be emphasizing “the narrative” for I am criticizing how the story treats its dark-skinned characters and not because I am criticizing the characters themselves.

This article is critiqued by @visibilityofcolor​ as a sensitivity reader once and then additions were made before publishing. If you’re looking for a Black sensitivity reader, you can contact her. 

This article is a 14-minute read at average speed so buckle up. Unless you want to skip to your show mentioned below. External Tumblr Resources will be put in the reblog.

Here are three examples that I was made aware of. 

Example #1: The Narrative Treats the Light-Skinned Character at the Expense of the Dark-Skinned Character

Steven Universe was one of the animations that pushed lgbt+ representation in cartoon media. However, there are narratives here and there that showed racial bias. 

SU creator Rebecca Sugar was raised with "Jewish sensibilities" and both siblings observe the lighting of Hanukkah candles with their parents through Skype.[1] Rebecca Sugar also talked about being non-binary.[2] 

But as a white person, she (and the rest of the SU crew) is not aware of the inherently biased values from growing up and benefiting from white privilege. 

One example is the human zoo. There are people that have spoken up about this such as @jellyfax​​ of Tumblr who pointed out that the Crewniverse mishandled a loaded topic and reinforced a white colonist propaganda where the captive humans of mostly black/brown people are naive, docile and childlike in order to subjugate the people that they colonized. .

What I’m here is how a character of color from the main cast is more obligated to the lighter-skinned character. 

In the episode, Friend Ship, one fan had spoken out about how Garnet, who had been validly angry at Pearl, was compelled by a dangerous situation to forgive Pearl. Garnet is a Black-coded character. While Pearl is a light-skinned character.  

Garnet was mad at Pearl for tricking her into always fusing with her. Then they were trapped in a chamber that was going to crush them. In this situation, they have to fuse in order to save themselves but Garnet refuses to because she was still angry at her. 

In the end, they were forced to talk it out, for Garnet to understand Pearl’s reason for wanting to fuse with her and everything worked out well.

The narrative focused so much on Pearl’s self-worth issues at the expense of Garnet’s right to be angry. 

Yes, it showed that Pearl is trying her best to make up for it but Garnet should have been allowed to work at her own anger at her own pace instead of being obligated to consider Pearl’s feelings over her own. 

I wouldn’t have noticed it until someone had mentioned it. Because it was never my experience. 

But it’s there, continuing the message that it’s okay to put the emotional labor on Black people and disregard their own feelings for the sake of the non-Black people who have hurt them -particularly light-skinned women. 

White Fragility and Being Silenced White Woman Tears

Again, racial bias in animation storytelling is often not intentional because white creators do not experience it due to white privilege. 

Without meaning to, that scene alone shows Garnet as the Angry Black woman trope that is ungrateful and rude to Pearl who then ends up in tears. Without meaning to, Pearl with her light skin, became the tearful white girl trope that had to be sympathized over.

The Angry Black Woman trope is a combination of the worst negative stereotypes of a Black woman: overly aggressive, domineering, emasculating, loud, disagreeable and uppity.[13] 

The Tearful white girl trope comes from the combination of the stereotypes of white women being morally upstanding and delicate and therefore should be protected.[13] 

Which, unfortunately, many white women have taken advantage of.

These two tropes are harmful to WOC (Women of Color) because they experience the "weary weaponizing of white women's tears". This tactic employed by many white women incites sympathy and avoids accountability for their actions, turning the tables to their accuser and forcing their accuser to understand them instead.

(Image by Виктория Бородинова from Pixabay)

In "Weapon of lass destruction: The tears of a white woman", Author Shay described that white tears turns a white woman into the priority of whatever space she's in. "It doesn't matter if you're right, once her tears are activated, you cease to exist." [11] 

White woman tears have gotten Black people beaten and lynched such as Emmett Till. Carolyn Bryant who had accused 14 year old Emmett Till of sexually harassing her in 1955, admitted she lied about those claims years later in 2007.[15]

In Awesomely Luvvie's "About the Weary Weaponizing of White Women Tears", she states that the innocent white woman is a caricature many subconsciously embrace because it hides them from consequences. [10]

In The Guardian’s article, "How White Women Use Strategic Tears to Silence Women of Colour", Ruby Hamad shares her experience:

"Often, when I have attempted to speak to or confront a white woman about something she has said or done that has impacted me adversely, I am met with tearful denials and indignant accusations that I am hurting her. My confidence diminished and second-guessing myself, I either flare up in frustration at not being heard (which only seems to prove her point) or I back down immediately, apologising and consoling the very person causing me harm."[4]

This is not to say that all crying white women are insincere. But as activist Rachel Cargle said:

“I refuse to listen to white women cry about something. When women have come up to me crying, I say, ‘Let me know when you feel a little better, then maybe we can talk.’”[3]

One of the most quoted words in “White Fragility: Why It’s So Hard for White People to Talk About Racism.” is this:

“It is white people’s responsibility to be less fragile; people of color don’t need to twist themselves into knots trying to navigate us as painlessly as possible.”[3]  

When white women cry in defense, instead of taking accountability, People of Color are then gaslighted into thinking they’re the bad guy. This is emotional abuse and a manipulation tactic. 

People of Color shouldn’t have to bend backwards to accommodate discomfited white or light-skinned people who have hurt them. 

How She-Ra and the Princesses of Power (SPOP) Did It Right

Despite SPOP having good lgbtq+ representations, there are other biases in the show. Such as Mara, a WOC whose only purpose was to sacrifice herself for the white protagonist. There was also the insensitive joke in their stream regarding Bow’s sibling that perpetuated an Anti-Black stereotype which Noelle Stevenson has apologized for.[14]

But the scene I have encountered where the Black character was validly angry and his feelings were treated well by the narrative, came from SPOP.

Bow, a black character, was validly angry at Glimmer, a lighter skinned character. Glimmer made a lot of bad decisions, one of them was using Adora and their friends as bait, without their knowledge, to lure out and capture Catra.  

Glimmer tearfully apologized in Season 5, Episode 4. Adora readily forgave her. But Bow didn't. 

They faced dangers along the way but the story didn't put them in a dangerous situation where Bow has to forgive Glimmer in order to get out of it. 

This was Glimmer's words of apology:

"Look, I know you're still mad at me. Maybe you'll be mad at me for a really long time. I deserved it. And maybe... maybe we'll never be friends like we used to be. But I'm not going to stop trying to make it better. I made a mistake with the heart of Etheria. I should've listened to you and I'm sorry. You get to be mad. For as long as you need to be. But I'm not going anywhere. And when you're ready, I'll be here."

In short, Bow was allowed to take the time to be mad and not just get over it for someone else’s sake. The story validates his feelings and he was allowed to take his own pace. That is emotional respect the story gave to him.

Example #2: The Narrative Gives Better Endings or Portrayals to Colonizers than Their Victims

Avatar: The Last Airbender has handled dark themes well such as genocide, war, PTSD, disability and redemption with great worldbuilding.

However, I never noticed the racial bias in ATLA until people spoke up of the double standards in ATLA’s treatment of light-skinned colonizers compared to their dark-skinned victims-turned-villains.

The characters in question -Iroh, Azula, Jet and Hama- are all flawed and well-rounded in a believable way. But how the narrative treats them is unequal.

General Iroh is an ex-colonizer who gets to redeem himself and not answer for his past war crimes, living a peaceful life as a tea shop owner. The only reason Iroh changed was when he was personally affected by the negativity of their military subjugation -his son’s death. It wasn’t the harm of the Fire nation ravaging Earth kingdom villages or cities and affecting millions of people that opened his eyes.

Azula, the tyrannical daughter, had closure of her mother's rejection when she was a child and was able to escape imprisonment.

Jet and Hama, victims of colonization who have done bad things, did not get similar conclusions to their stories OR compensation for what they have gone through from the Fire Nation's colonization. 

Jet was given a second chance but was arrested for trying to expose Zuko and Iroh being firebenders -firebenders who were their enemies for conquering their villages. Then he died from the injuries of the person who had brainwashed and mind-controlled him. 

Hama was imprisoned for life. 

Compared to the sins of the light-skinned colonizers, the narrative didn’t give Jet and Hama the development where they could heal from their trauma, receive compensation for what happened to them and really have a chance in life. 

The dark-skinned victims of colonization just became a lesson to the viewers how they shouldn’t hold grudges for being colonized. The end. They have received consequences for their actions but there is no continuation to their stories after that. 

It almost seems like the narrative is saying that because they have harmed colonizers who have no part in their trauma (and in Jet’s case, some Earth kingdom villagers), they are therefore unworthy to be given an actual chance in life. 

While Azula and Iroh, who have actively participated in conquering, colonizing and attacking the Earth Kingdom itself, were.   

Someone once said that if indigenous people have control over Hama’s story, it would have been done differently. But the ATLA crew are white, non-indigenous people who prioritized redeeming colonizers instead.

The narrative has also affected how the ATLA fandom thinks. If most fans are asked who they would want to be redeemed, the popular option would be Azula over Jet or Hama.

Once again, I don’t think the ATLA crew noticed it due to their racial bias. But still, the harm is done and the racially biased message is continued: 

The colonizers and their descendants don’t have to make amends for the colonizers’ crimes. Or if they do, only lightly since it’s in the past (no matter how recent that past is). 

The colonized who rebel will tend to hurt innocent people and then get a grisly end for getting in way over their heads.  

I would venture as far as to say that the narrative may have the  added subconscious desire to quiet their white anxiety on the vengeance of the colonized. As I have learned when writing about Vodou stereotypes and how they have stemmed from the history of white anxiety of Black vengeance, of Black fetishization and of dissolution of the white race through intermarriages.

In @visibilityofcolor’s blog, someone asked:

 “So I saw some of the really heated debates on here and on twitter about how if Iroh and Azula can be portrayed sympathetically despite their actions then characters like Jet and Hama should've been given a chance too. Do you think that the writers understood the implications of only redeeming characters from the colonizer/fascist nation but not giving the characters who suffered because of their fascism a second chance too?”

To which VisibilityOfColor replied:

“No, because at the end of the day, the writers are white. When it comes to stuff like this, it’s no surprise when we see white writers redeem problematic characters before they actually redeem victims of those racist problematic characters. For instance, Dave Filioni, who worked on both avatar and star wars rebels, did the same thing when redeeming agent kallus who was an soldiers in the imperial army and took credit for a genocide. where as victims of the empire were still painted in negative lights. i really don’t think they understand.

They have this ‘be the better person’ view on things, which is what a lot of white people tend to emulate when it comes to people of color standing up to their oppressors. and unfortunately, these are ideas passed on to children, esp minorities. that they should forgive people and communities who hurt them and ‘be the better person’. this is why white ppl don’t need to write narratives for people of color.”

Example #3: The Narrative Favors the Light Skinned Character Than Dark Skinned Character in Similar Situations

I would like to reiterate that racial bias in storytelling is often not intentional. I am not saying the creators and the people who support them are bad people. No.

However, I encourage that once a racial bias is made known in our work, it is our responsibility to change them to stop the perpetuation of its harmful message.

Hazbin Hotel is a popular cartoon with whimsical designs and its concept opens the conversation about redemption. The creator, Vivziepop may not have noticed the racial bias in her cartoon as a white Latina [5] that grew up with and benefits from white privileges, along with the Hazbin crew. 

In the Youtbe video, "Hazbin Hotel - How Art took over Writing", Staxlotl states:

“I understand that there was a lot of time and effort put into this pilot, almost three years worth of effort. But I think most of that time was spent into the art and visuals when it should’ve gone into polishing the writing in the characters.”[6]

Once again, I’m not here to critique the characters but how the narrative treats its dark-skinned characters.

The story treats Charlie, the white-skinned, “Disney-esque” protagonist princess differently from how it treats Vaggie, the dark-skinned, more outspoken and protective Latina girlfriend of Charlie who supports the princess’ cause. 

In its pilot episode, both girls experience humiliation. While Charlie is portrayed by the story as someone the viewers have to feel sorry for...

...Vaggie is portrayed in her humiliation as the butt of the joke for the viewers.

While they both didn’t like what Angel Dust did, Charlie was sympathized over in the narrative as a moment... 

...while Vaggie’s angry but valid callouts were dismissed and ignored as part of the comedy.

While Charlie was someone that needs to be protected in the narrative... 

...Vaggie is left to fend for herself. 

Again, I don’t think the creators noticed the racial bias of their cartoon. However, this racial bias is reflected in the harmful perceptions that dark-skinned women, particularly Black women and Black girls, are more mature, tougher and need less protection at a young age.[7] 

This adultification bias perceives them as challenging authority when they express strong or contrary views and are then given harsher discipline than white girls who misbehave.[8] And this continues when they grow up.

In a 2017 study, Black women and girls aged 12-60 years old confirmed they are treated harsher by their white peers and are accused of being aggressive when they would defend themselves or explain their point of view to authority figures.[8] 

This bias also coincides with the Spicy Latina trope of a brown-skinned, hot-blooded, quick-tempered and passionate woman.

Everyday Feminism described this trope as "Although objects of desire for many, the spicy Latina may have too much personality to handle. So much so that she is often viewed as domineering or emasculating." [16]

Sounds familiar? (Look at Angry Black Woman trope above.)

Why is it that a light-skinned character, Charlie, is allowed to be vulnerable and be sympathized while the dark-skinned Latina character, Vaggie, is mocked, dismissed and expected to tough it out?

Severina Ware had to remind the world in her article that relates to the bias against dark skinned characters:

“Black women are not offered the protection and gentleness of our white counterparts. We are not given permission to be soft and delicate. We are required to exhibit strength and fortitude not only because our lives depend on it, but because so many others depend on us. Black women should not be charged with the responsibility of saving everyone when nobody is here to save us.”[12] 

As @cullenvhenan​ of Tumblr has said in her post:

“if you're a white creator and your brown/black characters are always sassy, reckless, aggressive or cold and your white characters are always soft, demure, shy and introverted you should think about maybe why you did that”

(Image above from Iowa Law Reviews’ “Aggressive Encounters & White Fragility: Deconstructing the Trope of the Angry Black Woman”)

Detecting Your Own Racial Bias

It would be hard. No matter how much you edit and create, you may miss it because it was never your experience. 

So how do we prevent our racial bias from creeping into our creations?

Listen to POC and their feedback.

As @charishjb from Instagram has shared, here is one of the things that we can do (tumblr link here) [9]:

Consider POC voices. Listen to their experiences. Hire sensitivity POC readers. Put multiple POC voices in positions of leadership in creative projects.

Then we can stop the racial bias that perpetuates again and again in the media. I hope for that future.

[silentfcknhill]

FAVORITE SHOWS IN POSTERS

Well, we’re back for another installment of this tagged meme, this time for TV shows! I also stole this from/was indirectly tagged by @jcmorrigan. My taste in shows also differs a bit from my taste in movies, as I tend to like a lot of comedy shows with not as many horror ones. I’m not into shows as much as movies overall, but there are some that I am very passionate about so I picked twenty again. So, here we go for part 2, in order:

1. Avatar: The Last Airbender/The Legend Of Korra (2005-2014)

I'm including these as one show since they take place in the same universe and tell a continuation of the same overall plot. Altogether this is probably the best piece of media to ever exist, including movies. It has so many great characters and villains especially and some of the most epic sequences, charming humor and heartwarming moments ever. I've never met a person who didn't like these shows, even people who normally don't like cartoons. My dad, who is biased against animation? He loved it. My mother? She loved it, watched it with her multiple times. My grandmother? Loved it. My ex-boyfriend? Loved it. My best friend? Loved it. I dare anyone not to, and I'm so glad it's making a resurgence since it's on Netflix for a new generation to enjoy.

2. Black Butler (2008-2014)

I never was big into anime growing up and only really started watching anime when I was like 16 and above, but this is one of the exceptions because holy shit is it ever dark and epic. I'm not sure I'd really recommend it for kids, it's more of a teens and young adults kind of anime and that's probably why it's so good, because it isn't afraid to explore dark and mature topics and do it with all of the intensity and gravitas required to do said topics justice. It has lots of great characters, and the story of demons who make deals with children who have a dark side is fun to watch play out.

3. Seinfeld (1989-1998)

My dad was a huge fan of this show so I watched it growing up since I was a toddler and it became a classic for me. I've watched thw hole show through at least 8 times, and I'll never stop because it never gets old or boring. It's also my only comfort show when I'm having a panic attack because of one time a few years ago when I was having a drug-induced psychosis episode and watching it calmed me down, so now it's like the opposite of a trigger and whenever I'm having an episode or something I watch it to bring me back to reality. For that reason it's more than a show to me, it's a medical treatment and I'm forever grateful to it.

4. The Good Place (2016-2020)

The big four shows made my Michael Schur all made it on this post (The Good Place, Brooklyn Nine-Nine, The Office and Parks And Recreation), either in the main list of the honorable mentions, but this is my personal favorite of the four. It's so funny, quirky, relatable and basically tailor-made to suit my interests. Not only is it an entertaining and wholesome show, but I think watching it helped me come to terms with a lot of things like mortality, ethics, philosophy, religion and my relationships with other people. It gets  alot of different viewpoints across and if you're a very analytical and philosophical person like me you'll probably enjoy seeing it all play out. Not to mention, every single character is 'favorite character' material. It's rare you find a show with no filler characters in the main cast, but I genuinely can't choose who is best.

5. Brooklyn Nine-Nine (2013-?)

Another of Michael Schur's shows, this one is just barely under The Good Place and to be honest it was tough to pick my favorite between the two because they're both equally funny. I know it's kind of controversial right now because of the whole law enforcement thing, but I actually think they do a good job of handling social issues in the show and remaining respectful of real-life systemic problems. As for the characters, this is another one of those shows where every single character is gold and I think that tends to be a trend among Schur's shows in general. He produces damn good comedy, and damn good characters. I can't wait to see what they bring next.

6. Rick And Morty (2013-?)

This is unfortunately one of those cases of 'great show, horrible fandom' and for that reason I don't get involved in the fandom even though I love the show. It's a shame because it really is a great show, so funny and, again, such good characters. I think it's a lot more accessible than the fandom likes to claim, so I'm hoping more people will give it a chance and not get put off by the intellectual elitism of the fandom because it does have some of the most entertaining and batshit crazy episodes ever, poking fun of some of the staples of science fiction in media while also poking fun of itself the whole time. Unlike the fandom, the show doesn't take itself seriously and that's enjoyable nowadays.

7. Orange Is The New Black (2013-2019)

While this show is a comedy, it is also a lot of other things and it's probably made me ugly-cry just as many times as it's made me laugh. Well, maybe not as often, but those few scenes (if you've watched the show then you know the ones I'm talking about) made me hysterically sob hard enough to be worth like fifty minor sads. But I didn't even mind because the show is just that good, and it makes you /feel/ something in a real way. Probably because of just how real it gets in terms of telling stories that happen all the time in the real world, sometimes with inevitably tragic endings. But these things do happen every day, and it's important to shine a light on that. It's not just representation for LGBTQ+ but also for POC, the neurodiverse, the poor, and many more. Give it a watch to broaden your perspective!

8. Big Mouth (2017-?)

This is probably the grossest show I've ever seen but by god is it ever funny. Maybe it's because I have an immature sense of humor or something, but I love this show. It definitely won't be everyone's cup of tea and I don't recommend you watch this show with anyone else around because it will get awkward. I think part of its appeal to me is that everyone I talk to who likes it considers it so relatable to their lives growing up but for someone like me who grew up on the autism and asexual spectrum and who was physically an early-bloomer by years, nothing about this show is relatable to me in any way so it makes it all the more crazy and bizarre watching how the people around me must have experienced things. Did y'all really have these experiences with puberty in middle school???

9. Dexter (2006-2013)

I recently heard that this show is coming back for a reboot soon and I'm so excited because this is my absolute favorite drama/thriller show, as evidenced by the fact that it's the highest one on the list so far that isn't a comedy. I love the idea of having a protagonist who is sort of a villain (or at least morally dubious), and the idea of a serial killer who only kills bad people is particularly satisfying for some reason. Maybe because he's the vigilante we all deserve and want in this unjust and evil world of modern times? Idk but the very premise of this show set it up for big things and aside from the ending I think it delivered consistently.

10. Once Upon A Time (2011-2018)

This show took us on some journeys, and you can't deny that. Sure, maybe it didn't always finish what it started and didn't always end in the most satisfying way, but part of its charm is that you didn't care because the experience was just so much fun. They took characters and stories that have been told to death and somehow managed to put a unique and unexpected twist on them, and that alone is admirable. Good twists, good villains, and pretty much every cliffhanger known to man will keep you hooked on binge-watching every episode.

11. RuPaul's Drag Race (2009-?)

A bit different than the other entries on my list in that it's not fiction but a reality competition show, but I couldn't leave Drag Race out because it's just so fucking iconic and perfect. Even when you disagree with the judges or can't stand a certain contestant you'll still be having a good time. It's got the personalities you love to love, the ones you love to hate, and the comedy that's completely meme-able. I mean just how much has this show contributed to pop culture and the internet? More than most of us, henny. I've watched every single season, even the international ones and all of the spinoffs. This show will probably be on for another thirty years when Ru is throwing shade from a hospital bed and I'll still be watching.

12. House (2004-2012)

Some people hate on this show, and I don't get it. I love House. Yes, he's an ass. That's the point. He's supposed to be unlikeable, and that's why I like him. Maybe because I always love the rude, sarcastic, misanthropic jerkass-genius characters for some reason. And I also love procedural shows, so it's a win-win. I also work in the healthcare field so it appeals to me for that reason too, because obviously the whole premise is outlandish which is what makes it funny. Of course it's not realistic for a hospital, so just enjoy the absurdity and don't get too hung up on the details of medical accuracy and professional ethics and you'll be fine.

13. The Office (2005-2013)

The third of Michael Schur's show and the last one that made the main list (sorry Parks And Rec, I love you too but there was just so many good shows to choose from and I saw you last so the nostalgia isn't as strong!) I don't think I need to hype this show up any, it's already a classic and you can't even turn around online without getting hit in the face by a dozen Office memes. You'll have to pry this show and it's relatable characters (especially Michael Scott) from my cold, dead hands.

14. All Hail King Julien/The Penguins Of Madagascar (2008-2017)

Like Avatar/Korra, I also consider this as one show for the sake of this list because it also takes place in the same universe (Madagascar, specifically) and I just couldn't choose one over the other because they're both so perfect. They're funny and I love all the characters (it cut out the weaker links of the Madagascar film series and just focuses on expanding the standout side-characters like King Julien and the penguins). It also delved into some lore, particularly the first show, and even though I didn't also agree with the directions it took (you may have seen me get salty about the ending because I cared too much), I can't deny how much I love it.

15. Bones (2005-2017)

One of the other scarce non-comedy shows on this list, it still has it's funny moments. It's also, like House, another procedural show that involves some medical stuff, but this time on a more scientific and forensic level which is even more interesting. It's nice to see a lead female with Asperger's, too. There's a lot of cop/law enforcement shows where they try to solve crimes, but this one is the best, and I'm saying that as a fan of CSI as well. Don't fight me on this, I'm right. Oh yes, it's corny, it's campy, it's cheesy, but I love every minute of it. Don't watch if you have a weak stomach though.

16. The Simpsons (1989-?)

We all grew up with this show, don't lie. It's been around longer than most people on tumblr have even been alive. Should it have ended seasons ago? Hell yes. But that doesn't take away what the first like 20 or so seasons gave us (there's a lot of argument about when the show jumped the shark, for me it wasn't until much later than the popular consensus). The characters are amazing, but the secret to the show's longevity is that they always return to status quo and there's comfort and nostalgia in that. Bart will still be in 4th grade when you're out there pushing 90. This show is persistent. This show is eternal. This show will outlive us all.

17. Ash Vs. Evil Dead (2015-2018)

Sorely underrated. This show is hilarious, gruesome and campy as hell and I love it. I don't think you necessarily have to watch the Evil Dead movies beforehand in order to get the plot of the show, although it would probably help. In my opinion this show ended way too soon and I'm hoping someday we'll get a comeback because Ash is the reluctant, self-absorbed hero we all need and it's 2020 so at this point there really might actually be a demon-zombie apocalypse and who's gonna save us then if not for the impulsive womanizer with a chainsaw for a hand?

18. Malcolm In The Middle (2000-2006)

Another show I grew up with, I don't think it gets as much credit as it deserves. It has some damn funny episodes and great characters, and it did a lot of the popular sitcom tropes before they were 'cool'. Some other great sitcoms, The Middle in particular, took a lot of influence from this show and it helped pave the way for the future of sitcoms at a time when they were about to make a comeback. If you want a good show about the real experiences of growing up, this is a much more accurate representation of the highs and lows of being an awkward tween from a dysfunctional home.

19. A Series Of Unfortunate Events (2017-2019)

Unlike most people I actually liked the movie version from the early 2000's, and I read the books growing up so I was excited when I saw there was a live action television adaptation of it on Netflix because I felt like they cancelled the movie franchise too soon. I was interested to see how new actors would handle the roles, and I was not disappointed. I wouldn't say I liked either portrayal of the characters better or worse, they both added their own twist to it and this show is a great and loyal adaptation to the books, probably because the author was so heavily involved. He knew just when to stick to the books and when to improve upon what he had done with the benefit of hindsight. This show is basically the books, but remastered.

20. Winx Club (2004-?)

Sort of an odd one out on this list, but I really love this show even as an adult and it may surprise you to learn it is still going on and the most recent season came out last year. They take big breaks sometimes in between seasons, but it's still going strong and in multiple countries. The only thing I don't like about watching this show is all the different and inconsistent dubs since the original show is Italian and each dub only goes for a couple seasons so by the time you get used to one set of voices/names for the characters oyu have to abruptly switch to another, but it's still worth it for the beautiful animation and cool characters (especially the villains!)

Honorable Mentions: 

13 Reasons Why, America's Next Top Model, American Horror Story, Arrested Development, Bates Motel, Battlestar Galactica, Black Mirror, Care Bears, Chernobyl, Courage The Cowardly Dog, Criminal, CSI, Duck Dodgers, Goosebumps, Kenny Vs. Spenny, Kim Possible, Kingdom Hospital, Lazytown, Lost, Making A Murderer, Mayday, Mindhunter, Modern Family, Monster High, Obsession: Dark Desires, Parks And Recreation, Prison Break, Project Runway, Queer As Folk, Queer Eye, Salem, Schitt's Creek, SCTV, Spongebob Squarepants, The Emperor's New School, The Good Doctor, The Haunting Of Hill House/Bly Manor, The Middle, The Pretender, The Walking Dead, The X-Files, Through The Wormhole, Unbreakable Kimmy Schmidt, Unsolved Mysteries, Yugioh

Tagging: @bullet-farmer​ and anyone else who wants to!

[shortnotsweet]

Bakudeku: A Non-Comprehensive Dissection of the Exploitation of Working Bodies, the Murder of Annoying Children, and a Rivals-to-Lovers Complex

I. Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

II. Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

III. How to Kill Middle Schoolers, and Why We Should

IV. Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

V. Give it to Me Straight. It’s Homophobic.

VI. Love in Perspective, from the East v. West

VII. Stuck in the Sludge, the Past, and Season One

Disclaimer

It needs to be said that there is definitely a place for disagreement, discourse, debate, and analysis: that is a sign of an active fandom that’s heavily invested, and not inherently a bad thing at all. Considering the amount of source material we do have (from the manga, to the anime, to the movies, to the light novels, to the official art), there are going to be warring interpretations, and that’s inevitable.

I started watching and reading MHA pretty recently, and just got into the fandom. I was weary for a reason, and honestly, based on what I’ve seen, I’m still weary now. I’ve seen a lot of anti posts, and these are basically my thoughts. This entire thing is in no way comprehensive, and it’s my own opinion, so take it with a grain of salt. If I wanted to be thorough about this, I would’ve included manga panels, excerpts from the light novel, shots from the anime, links to other posts/essays/metas that have inspired this, etc. but I’m tired and not about that life right now, so, this is what it is. This is poorly organized, but maybe I’ll return to fix it.

Let’s begin.

Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

There are a lot of different reasons, that can be trivial as you like, to ship or not to ship two (or more) characters. It could be based purely off of character design, proximity, aversion to another ship, or hypotheticals. And I do think that it’s totally valid if someone dislikes the ship or can’t get on board with his character because to them, it does come across as abuse, and the implications make them uncomfortable or, or it just feels unhealthy. If that is your takeaway, and you are going to stick to your guns, the more power to you.

But Bakudeku’s relationship has canonically progressed to the point where it’s not the emotionally (or physically) abusive clusterfuck some people portray it to be, and it’s cheap to assume that it would be, based off of their characterizations as middle schoolers. Izuku intentionally opens the story as a naive little kid who views the lens of the Hero society through rose colored glasses and arguably wants nothing more than assimilation into that society; Bakugou is a privileged little snot who embodies the worst and most hypocritical beliefs of this system. Both of them are intentionally proven wrong. Both are brainwashed, as many little children are, by the propaganda and societal norms that they are exposed to. Both of their arcs include unlearning crucial aspects of the Hero ideology in order to become true heroes.

I will personally never simp for Bakugou because for the longest time, I couldn't help but think of him as a little kid on the playground screaming at the top of his lungs because someone else is on the swingset. He’s red in the face, there are probably veins popping out of his neck, he’s losing it. It’s easy to see why people would prefer Tododeku to Bakudeku.

Even now, seeing him differently, I still personally wouldn’t date Bakugou, especially if I had other options. Why? I probably wouldn’t want to date any of the guys who bullied me, especially because I think that schoolyard bullying, even in middle school, affected me largely in a negative way and created a lot of complexes I’m still trying to work through. I haven’t built a better relationship with them, and I’m not obligated to. Still, I associate them with the kind of soft trauma that they inflicted upon me, and while to them it was probably impersonal, to me, it was an intimate sort of attack that still affects me. That being said, that is me. Those are my personal experiences, and while they could undoubtedly influence how I interpret relationships, I do not want to project and hinder my own interpretation of Deku.

The reality is that Deku himself has an innate understanding of Bakugou that no one else does; I mention later that he seems to understand his language, implicitly, and I do stand by that. He understands what it is he’s actually trying to say, often why he’s saying it, and while others may see him as wimpy or unable to stand up for himself, that’s simply not true. Part of Deku’s characterization is that he is uncommonly observant and empathetic; I’m not denying that Bakugou caused harm or inflicted damage, but infantilizing Deku and preaching about trauma that’s not backed by canon and then assuming random people online excuse abuse is just...the leap of leaps, and an actual toxic thing to do. I’ve read fan works where Bakugou is a bully, and that’s all, and has caused an intimate degree of emotional, mental, and physical insecurity from their middle school years that prevents their relationship from changing, and that’s for the better. I’m not going to argue and say that it’s not an interesting take, or not valid, or has no basis, because it does. Its basis is the character that Bakugou was in middle school, and the person he was when he entered UA.

Not only is Bakugou — the current Bakugou, the one who has accumulated memories and experiences and development — not the same person he was at the beginning of the story, but Deku is not the same person, either. Maybe who they are fundamentally, at their core, stays the same, but at the beginning and end of any story, or even their arcs within the story, the point is that characters will undergo change, and that the reader will gain perspective.

“You wanna be a hero so bad? I’ve got a time-saving idea for you. If you think you’ll have a quirk in your next life...go take a swan dive off the roof!”

Yes. That is a horrible thing to tell someone, even if you are a child, even if you don’t understand the implications, even if you don’t mean what it is you are saying. Had someone told me that in middle school, especially given our history and the context of our interactions, I don’t know if I would ever have forgiven them.

Here’s the thing: I’m not Deku. Neither is anyone reading this. Deku is a fictional character, and everyone we know about him is extrapolated from source material, and his response to this event follows:

“Idiot! If I really jumped, you’d be charged with bullying me into suicide! Think before you speak!”

I think it’s unfair to apply our own projections as a universal rather than an interpersonal interpretation; that’s not to say that the interpretation of Bakudeku being abusive or having unbalanced power dynamics isn’t valid, or unfounded, but rather it’s not a universal interpretation, and it’s not canon. Deku is much more of a verbal thinker; in comparison, Bakugou is a visual one, at least in the format of the manga, and as such, we get various panels demonstrating his guilt, and how deep it runs. His dialogue and rapport with Deku has undeniably shifted, and it’s very clear that the way they treat each other has changed from when they were younger. Part of Bakugou’s growth is him gaining self awareness, and eventually, the strength to wield that. He knows what a fucked up little kid he was, and he carries the weight of that.

“At that moment, there were no thoughts in my head. My body just moved on its own.”

There’s a part of me that really, really disliked Bakugou going into it, partially because of what I’d seen and what I’d heard from a limited, outside perspective. I felt like Bakugou embodied the toxic masculinity (and to an extent, I still believe that) and if he won in some way, that felt like the patriarchy winning, so I couldn't help but want to muzzle and leash him before releasing him into the wild.

The reality, however, of his character in canon is that it isn’t very accurate to assume that he would be an abusive partner in the future, or that Midoryia has not forgiven him to some extent already, that the two do not care about each other or are singularly important, that they respect each other, or that the narrative has forgotten any of this.

Don’t mistake me for a Bakugou simp or apologist. I’m not, but while I definitely could also see Tododeku (and I have a soft spot for them, too, their dynamic is totally different and unique, and Todoroki is arguably treated as the tritagonist) and I’m ambivalent about Izuocha (which is written as cannoncially romantic) I do believe that canonically, Bakugou and Deku are framed as soulmates/character foils, Sasuke + Naruto, Kageyama + Hinata style. Their relationship is arguably the focus of the series. That’s not to undermine the importance or impact of Deku’s relationships with other characters, and theirs with him, but in terms of which one takes priority, and which one this all hinges on?

The manga is about a lot of things, yes, but if it were to be distilled into one relationship, buckle up, because it’s the Bakudeku show.

Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

One of the ways in which the biopolitical prioritization of Quirks is exemplified within Hero society is through Quirk marriages. Endeavor partially rationalizes the abuse of his family through the creation of a child with the perfect quirk, a child who can be molded into the perfect Hero. People with powerful, or useful abilities, are ranked high on the hierarchy of power and privilege, and with a powerful ability, the more opportunities and avenues for success are available to them.

For the most part, Bakugou is a super spoiled, privileged little rich kid who is born talented but is enabled for his aggressive behavior and, as a child, cannot move past his many internalized complexes, treats his peers like shit, and gets away with it because the hero society he lives in either has this “boys will be boys” mentality, or it’s an example of the way that power, or Power, is systematically prioritized in this society. The hero system enables and fosters abusers, people who want power and publicity, and people who are genetically predisposed to have advantages over others. There are plenty of good people who believe in and participate in this system, who want to be good, and who do good, but that doesn’t change the way that the hero society is structured, the ethical ambiguity of the Hero Commission, and the way that Heroes are but pawns, idols with machine guns, used to sell merch to the public, to install faith in the government, or the current status quo, and reinforce capitalist propaganda. Even All Might, the epitome of everything a Hero should be, is drained over the years, and exists as a concept or idea, when in reality he is a hollow shell with an entire person inside, struggling to survive. Hero society is functionally dependent on illusion.

In Marxist terms: There is no truth, there is only power.

Although Bakugou does change, and I think that while he regrets his actions, what is long overdue is him verbally expressing his remorse, both to himself and Deku. One might argue that he’s tried to do it in ways that are compatible with his limited emotional range of expression, and Deku seems to understand this language implicitly.

I am of the opinion that the narrative is building up to a verbal acknowledgement, confrontation, and subsequent apology that only speaks what has gone unspoken.

That being said, Bakugou is a great example of the way that figures of authority (parents, teachers, adults) and institutions both in the real world and this fictional universe reward violent behavior while also leaving mental and emotional health — both his own and of the people Bakugou hurts — unchecked, and part of the way he lashes out at others is because he was never taught otherwise.

And by that, I’m referring to the ways that are to me, genuinely disturbing. For example, yelling at his friends is chill. But telling someone to kill themselves, even casually and without intent and then misinterpreting everything they do as a ploy to make you feel weak because you're projecting? And having no teachers stop and intervene, either because they are afraid of you or because they value the weight that your Quirk can benefit society over the safety of children? That, to me, is both real and disturbing.

Not only that, but his parents (at least, Mitsuki), respond to his outbursts with more outbursts, and while this is likely the culture of their home and I hesitate to call it abusive, I do think that it contributed to the way that he approaches things. Bakugou as a character is very complex, but I think that he is primarily an example of the way that the Hero System fails people.

I don’t think we can write off the things he’s done, especially using the line of reasoning that “He didn’t mean it that way”, because in real life, children who hurt others rarely mean it like that either, but that doesn’t change the effect it has on the people who are victimized, but to be absolutely fair, I don’t think that the majority of Bakudeku shippers, at least now, do use that line of reasoning. Most of them seem to have a handle on exactly how fucked up the Hero society is, and exactly why it fucks up the people embedded within that society.

The characters are positioned in this way for a reason, and the discoveries made and the development that these characters undergo are meant to reveal more about the fictional world — and, perhaps, our world — as the narrative progresses.

The world of the Hero society is dependent, to some degree, on biopolitics. I don’t think we have enough evidence to suggest that people with Quirks or Quirkless people place enough identity or placement within society to become equivalent to marginalized groups, exactly, but we can draw parallels to the way that Deku and by extent Quirkless people are viewed as weak, a deviation, or disabled in some way. Deviants, or non-productive bodies, are shunned for their inability to perform ideal labor. While it is suggested to Deku that he could become a police officer or pursue some other occupation to help people, he believes that he can do the most positive good as a Hero. In order to be a Hero, however, in the sense of a career, one needs to have Power.

Deviation from the norm will be punished or policed unless it is exploitable; in order to become integrated into society, a deviant must undergo a process of normalization and become a working, exploitable body. It is only through gaining power from All Might that Deku is allowed to assimilate from the margins and into the upper ranks of society; the manga and the anime give the reader enough perspective, context, and examples to allow us to critique and deconstruct the society that is solely reliant on power.

Through his societal privileges, interpersonal biases, internalized complexes, and his subsequent unlearning of these ideologies, Bakugou provides examples of the way that the system simultaneously fails and indoctrinates those who are targeted, neglected, enabled by, believe in, and participate within the system.

Bakudeku are two sides of the same coin. We are shown visually that the crucial turning point and fracture in their relationship is when Bakugou refuses to take Deku’s outstretched hand; the idea of Deku offering him help messes with his adolescent perspective in that Power creates a hierarchy that must be obeyed, and to be helped is to be weak is to be made a loser.

Largely, their character flaws in terms of understanding the hero society are defined and entangled within the concept of power. Bakugou has power, or privilege, but does not have the moral character to use it as a hero, and believes that Power, or winning, is the only way in which to view life. Izuku has a much better grasp on the way in which heroes wield power (their ideologies can, at first, be differentiated as winning vs. saving), and is a worthy successor because of this understanding, and of circumstance. However, in order to become a Hero, our hero must first gain the Power that he lacks, and learn to wield it.

As the characters change, they bridge the gaps of their character deficiencies, and are brought closer together through character parallelism.

Two sides of the same coin, an outstretched hand.

They are better together.

How to Kill Middle Schoolers, and Why We Should

I think it’s fitting that in the manga, a critical part of Bakugou’s arc explicitly alludes to killing the middle school version of himself in order to progress into a young adult. In the alternative covers Horikoshi released, one of them was a close up of Bakugou in his middle school uniform, being stabbed/impaled, with blood rolling out of his mouth. Clearly this references the scene in which he sacrifices himself to save Deku, on a near-instinctual level.

To me, this only cements Horikoshi’s intent that middle school Bakugou must be debunked, killed, discarded, or destroyed in order for Bakugou the hero to emerge, which is why people who do actually excuse his actions or believe that those actions define him into young adulthood don’t really understand the necessity for change, because they seem to imply that he doesn’t need/cannot reach further growth, and there doesn’t need to be a separation between the Bakugou who is, at heart, volatile and repressed the angry, and the Bakugou who sacrifices himself, a hero who saves people.

Plot twist: there does need to be a difference. Further plot twist: there is a difference.

In sacrificing himself for Deku, Bakugou himself doesn't die, but the injury is fatal in the sense that it could've killed him physically and yet symbolizes the selfish, childish part of him that refused to accept Deku, himself, and the inevitability of change. In killing those selfish remnants, he could actually become the kind of hero that we the reader understand to be the true kind.

That’s why I think that a lot of the people who stress his actions as a child without acknowledging the ways he has changed, grown, and tried to fix what he has broken don’t really get it, because it was always part of his character arc to change and purposely become something different and better. If the effects of his worst and his most childish self stick with you more, and linger despite that, that’s okay. But distilling his character down to the wrong elements doesn’t get you the bare essentials; what it gets you is a skewed and shallow version of a person. If you’re okay with that version, that is also fine.

But you can’t condemn others who aren’t fine with that incomplete version, and to become enraged that others do not see him as you do is childish.

Bakugou’s change and the emphasis on that change is canon.

Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

In real life, the idea that “oh, he must bully you because he likes you” is often used as a way to brush aside or to excuse the action of bullying itself, as if a ‘secret crush’ somehow negates the effects of bullying on the victim or the inability of the bully to properly process and manifest their emotions in certain ways. It doesn’t. It often enables young boys to hurt others, and provides figures of authority to overlook the real source of schoolyard bullying or peer review. The “secret crush”, in real life, is used to undermine abuse, justify toxic masculinity, and is essentially used as a non-solution solution.

A common accusation is that Bakudeku shippers jump on the pairing because they romanticize pairing a bully and a victim together, or believe that the only way for Bakugou to atone for his past would be to date Midoryia in the future. This may be true for some people, in which case, that’s their own preference, but based on my experience and what I’ve witnessed, that’s not the case for most.

The difference being is that as these are characters, we as readers or viewers are meant to analyze them. Not to justify them, or to excuse their actions, but we are given the advantage of the outsider perspective to piece their characters together in context, understand why they are how they are, and witness them change; maybe I just haven’t been exposed to enough of the fandom, but no one (I’ve witnessed) treats the idea that “maybe Bakugou has feelings he can’t process or understand and so they manifest in aggressive and unchecked ways'' as a solution to his inability to communicate or process in a healthy way, rather it is just part of the explanation of his character, something is needs to — and is — working through. The solution to his middle school self is not the revelation of a “teehee, secret crush”, but self-reflection, remorse, and actively working to better oneself, which I do believe is canonically reflected, especially as of recently.

In canon, they are written to be partners, better together than apart, and I genuinely believe that one can like the Bakudeku dynamic not by route of romanticization but by observation.

I do think we are meant to see parallels between him and Endeavor; Endeavor is a high profile abuser who embodies the flaws and hypocrisy of the hero system. Bakugou is a schoolyard bully who emulates and internalizes the flaws of this system as a child, likely due to the structure of the society and the way that children will absorb the propaganda they are exposed to; the idea that Quirks, or power, define the inherent value of the individual, their ability to contribute to society, and subsequently their fundamental human worth. The difference between them is the fact that Endeavor is the literal adult who is fully and knowingly active within a toxic, corrupt system who forces his family to undergo a terrifying amount of trauma and abuse while facing little to no consequences because he knows that his status and the values of their society will protect him from those consequences. In other words, Endeavor is the threat of what Bakugou could have, and would have, become without intervention or genuine change.

Comparisons between characters, as parallels or foils, are tricky in that they imply but cannot confirm sameness. Having parallels with someone does not make them the same, by the way, but can serve to illustrate contrasts, or warnings. Harry Potter, for example, is meant to have obvious parallels with Tom Riddle, with similar abilities, and tragic upbringings. That doesn’t mean Harry grows up to become Lord Voldemort, but rather he helps lead a cross-generational movement to overthrow the facist regime. Harry is offered love, compassion, and friends, and does not embrace the darkness within or around him. As far as moldy old snake men are concerned, they do not deserve a redemption arc because they do not wish for one, and the truest of change only occurs when you actively try to change.

To be frank, either way, Bakugou was probably going to become a good Hero, in the sense that Endeavor is a ‘good’ Hero. Hero capitalized, as in a pro Hero, in the sense that it is a career, an occupation, and a status. Because of his strong Quirk, determination, skill, and work ethic, Bakugou would have made a good Hero. Due to his lack of character, however, he was not on the path to become a hero; defender of the weak, someone who saves people to save people, who is willing to make sacrifices detrimental to themselves, who saves people out of love.

It is necessary for him to undergo both a redemption arc and a symbolic death and rebirth in order for him to follow the path of a hero, having been inspired and prompted by Deku.

I personally don’t really like Endeavor’s little redemption arc, not because I don’t believe that people can change or that they shouldn't at least try to atone for the atrocities they have committed, but because within any narrative, a good redemption arc is important if it matters; what also matters is the context of that arc, and whether or not it was needed. For example, in ATLA, Zuko’s redemption arc is widely regarded as one of the best arcs in television history, something incredible. And it is. That shit fucks. In a good way.

It was confirmed that Azula was also going to get a redemption arc, had Volume 4 gone on as planned, and it was tentatively approached in the comics, which are considered canon. She is an undeniably bad person (who is willing to kill, threaten, exploit, and colonize), but she is also a child, and as viewers, we witness and recognize the factors that contributed to her (debatable) sociopathy, and the way that the system she was raised in failed her. Her family failed her; even Uncle Iroh, the wise mentor who helps guide Zuko to see the light, is willing to give up on her immediately, saying that she’s “crazy” and needs to be “put down”. Yes, it’s comedic, and yes, it’s pragmatic, but Azula is fourteen years old. Her mother is banished, her father is a psychopath, and her older brother, from her perspective, betrayed and abandoned her. She doesn’t have the emotional support that Zuko does; she exploits and controls her friends because it’s all she’s been taught to do; she says herself, her “own mother thought [she] was a monster; she was right, of course, but it still [hurts]”. A parent who does not believe in you, or a parent that uses you and will hurt you, is a genuine indicator of trauma.

The writers understood that both Zuko and Azula deserved redemption arcs. One was arguably further gone than the other, but that doesn’t change the fact that they are both children, products of their environment, who have the time, motive, and reason to change.

In contrast, you know who wouldn’t have deserved a redemption arc? Ozai. That simply would not have been interesting, wouldn’t have served the narrative well, and honestly, is not needed, thematically or otherwise. Am I comparing Ozai to Endeavor? Basically, yes. Fuck those guys. I don’t see a point in Endeavor’s little “I want to be a good dad now” arc, and I think that we don’t need to sympathize with characters in order to understand them or be interested in them. I want Touya/Dabi to expose his abuse, for his career to crumble, and then for him to die.

If they are not challenging the system that we the viewer are meant to question, and there is no thematic relevance to their redemption, is it even needed?

On that note, am I saying that Bakugou is the equivalent to Zuko? No, lmao. Definitely not. They are different characters with different progressions and different pressures. What I am saying is that good redemption arcs shouldn’t be handed out like candy to babies; it is the quality, rather than the quantity, that makes a redemption arc good. In terms of the commentary of the narrative, who needs a redemption arc, who is deserving, and who does it make sense to give one to?

In this case, Bakugou checks those boxes. It was always in the cards for him to change, and he has. In fact, he’s still changing.

Give it to Me Straight. It’s Homophobic.

There does seem to be an urge to obsessively gender either Bakugou or Deku, in making Deku the ultra-feminine, stereotypically hyper-sexualized “woman” of the relationship, with Bakugou becoming similarly sexualized but depicted as the hyper-masculine bodice ripper. On some level, that feels vaguely homophobic if not straight up misogynistic, in that in a gay relationship there’s an urge to compel them to conform under heteronormative stereotypes in order to be interpreted as real or functional. On one hand, I will say that in a lot of cases it feels like more of an expression of a kink, or fetishization and subsequent expression of internalized misogyny, at least, rather than a genuine exploration of the complexity and power imbalances of gender dynamics, expression, and boundaries.

That being said, I don’t think that that problematic aspect of shipping is unique to Bakudeku, or even to the fandom in general. We’ve all read fan work or see fanart of most gay ships in a similiar manner, and I think it’s a broader issue to be addressed than blaming it on a singular ship and calling it a day.

One interpretation of Bakugou’s character is his repression and the way his character functions under toxic masculinity, in a society’s egregious disregard for mental and emotional health (much like in the real world), the horrifying ways in which rage is rationalized or excused due to the concept of masculinity, and the way that characteristics that are associated with femininity — intellect, empathy, anxiety, kindness, hesitation, softness — are seen as stereotypically “weak”, and in men, traditionally emasculating. In terms of the way that the fictional universe is largely about societal priority and power dynamics between individuals and the way that extends to institutions, it’s not a total stretch to guess that gender as a construct is a relevant topic to expand on or at least keep in mind for comparison.

I think that the way in which characters are gendered and the extent to which that is a result of invasive heteronormativity and fetishization is a really important conversation to have, but using it as a case-by-case evolution of a ship used to condemn people isn’t conductive, and at that point, it’s treated as less of a real concern but an issue narrowly weaponised.

Love in Perspective, from the East v. West

Another thing I think could be elaborated on and written about in great detail is the way that the Eastern part of the fandom and the Western part of the fandom have such different perspectives on Bakudeku in particular. I am not going to go in depth with this, and there are many other people who could go into specifics, but just as an overview:

The manga and the anime are created for and targeted at a certain audience; our take on it will differ based on cultural norms, decisions in translation, understanding of the genre, and our own region-specific socialization. This includes the way in which we interpret certain relationships, the way they resonate with us, and what we do and do not find to be acceptable. Of course, this is not a case-by-case basis, and I’m sure there are plenty of people who hold differing beliefs within one area, but speaking generally, there is a reason that Bakudeku is not regarded as nearly as problematic in the East.

Had this been written by a Western creator, marketed primarily to and within the West (for reference, while I am Chinese, but I have lived in the USA for most of my life, so my own perspective is undoubtedly westernized), I would’ve immediately jumped to make comparisons between the Hero System and the American police system, in that a corrupt, or bastardized system is made no less corrupt for the people who do legitimately want to do good and help people, when that system disproportionately values and targets others while relying on propaganda that society must be reliant on that system in order to create safe communities when in reality it perpetuates just as many issues as it appears to solve, not to mention the way it attracts and rewards violent and power-hungry people who are enabled to abuse their power. I think comparisons can still be made, but in terms of analysis, it should be kept in mind that the police system in other parts of the world do not have the same history, place, and context as it does in America, and the police system in Japan, for example, probably wasn’t the basis for the Hero System.

As much as I do believe in the Death of the Author in most cases, the intent of the author does matter when it comes to content like this, if merely on the basis that it provides context that we may be missing as foreign viewers.

As far as the intent of the author goes, Bakugou is on a route of redemption.

He deserves it. It is unavoidable. That, of course, may depend on where you’re reading this.

Stuck in the Sludge, the Past, and Season One

If there’s one thing, to me, that epitomizes middle school Bakugou, it’s him being trapped in a sludge monster, rescued by his Quirkless childhood friend, and unable to believe his eyes. He clings to the ideology he always has, that Quirkless means weak, that there’s no way that Deku could have grown to be strong, or had the capacity to be strong all along. Bakugou is wrong about this, and continuously proven wrong. It is only when he accepts that he is wrong, and that Deku is someone to follow, that he starts his real path to heroics.

If Bakudeku’s relationship does not appeal to someone for whatever reason, there’s nothing wrong with that. They can write all they want about why they don’t ship it, or why it bothers them, or why they think it’s problematic. If it is legitimately triggering to you, then by all means, avoid it, point it out, etc. but do not undermine the reality of abuse simply to point fingers, just because you don’t like a ship. People who intentionally use the anti tag knowing it’ll show up in the main tag, go after people who are literally minding their own business, and accuse people of supporting abuse are the ones looking for a fight, and they’re annoying as hell because they don’t bring anything to the table. No evidence, no analysis, just repeated projection.

To clarify, I’m referring to a specific kind of shipper, not someone who just doesn’t like a ship, but who is so aggressive about it for absolutely no reason. There are plenty of very lovely people in this fandom, who mind their own business, multipship, or just don’t care.

Calling shippers dumb or braindead or toxic (to clarify, this isn’t targeting any one person I’ve seen, but a collective) based on projections and generalizations that come entirely from your own impression of the ship rather than observation is...really biased to me, and comes across as uneducated and trigger happy, rather than constructive or helpful in any way.

I’m not saying someone has to ship anything, or like it, in order to be a ‘good’ participant. But inserting derogatory material into a main tag, and dropping buzzwords with the same tired backing behind it without seeming to understand the implications of those words or acknowledging the development, pacing, and intentional change to the characters within the plot is just...I don’t know, it comes across as redundant, to me at least, and very childish. Aggressive. Toxic. Problematic. Maybe the real toxic shippers were the ones who bitched and moaned along the way. They’re like little kids, stuck in the past, unable to visualize or recognize change, and I think that’s a real shame because it’s preventing them from appreciating the story or its characters as it is, in canon.

But that’s okay, really. To each their own. Interpretations will vary, preferences differ, perspectives are not uniform. There is no one truth. There are five seasons of the show, a feature film, and like, thirty volumes as of this year.

All I’m saying is that if you want to stay stuck in the first season of each character, then that’s what you’re going to get. That’s up to you.

This may be edited or revised.

[ordinaryschmuck]

What I Thought About "Yesterday's Lie" from The Owl House

Salutations, random people on the internet who absolutely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons!

Here it is! The midseason finale of The Owl House Season Two! An episode featuring Luz going back to the human realm, is hyped up to heaven about how painful it'll be for the audience, and features more anxiety by how Creepy Luz is a thing. And BOOOOOOOOY howdy were fans not ready for this. I'm sure as hell not ready for when I wrote this intro at *checks time* thirty minutes before watching the official premier. Yup, the words you're reading right now are from me in the past, when everything was still pure and simple. Whereas future me is still probably destroyed by the events that transpired. Isn't that right, future me?

Future Me: Actually, it wasn’t that bad. The ending hurt, sure, but other than that, it wasn’t too painful.

Wow, that is some neat input! At least, I think it was. I wouldn't know because I literally wrote that after watching the episode. With the words you're currently reading being written at *checks time* twenty-six minutes before the premier...this whole intro is confusing, isn't it, future me?

Future Me: Sure is.

Yeah, it's definitely confusing. In any case, let's dive into this spoiler-filled review as we find out together just how painful this episode was! Take it away, future me!

Future Me: Will do! Major spoilers ahead, folks!

Now, let’s review, shall we?

WHAT I LIKED

Luz’s Room: We only see it for a short time, but everything about it just screams Luz. The pile of weird-looking stuffed animals, the witch hat in the center of the floor, and the fact that she has bunk beds, a single child's dream (Or so I've heard). It's a small thing, but I love it.

Vee: Here she is! The character previously dubbed Creepy Luz who now turns out to be yet another new addition to the ever-growing list of characters that we, as a fandom, would give our lives for. Because holy s**t was Vee the best type of expectation subversion. Showing us all the ominous ways of how she basically took Luz's place made fans assume that Vee was an evil doppelganger. Turns out, she was just a tortured soul that was desperate to live a new and better life and lucked out in finding Luz's. What Vee does is...questionable at best, but seeing what she went through with the experiments Belos pulled on her, you understand why she would do it. And I personally love it's that same background information that makes Vee resentful of Luz of all people. Luz's life is a relative dream come true, and running away from that would be insane to someone who spent most of their existence through imprisonment and experimentation. It's an intriguing point of view, even though it's admittingly flawed given how it's mostly Camila that seemingly made Luz's life bearable. But the flaws don't matter. What matters is that you can see where Vee is coming from, and to me, personally, I think she's understandable enough to make me root for her to have some kind of happy ending. Whether as Luz or as herself, I'm hopeful to see Vee get some semblance of peace.

Camila: *Round of applause* Don't mind me! Just taking the time to love how all them sons of b**hes who thought Camila was a bad mom are now heavily invalidated. 'Cause, guess what? Camila is a fantastic mother, both to her daughter and her daughter's doppelganger! Allow me to walk you through the highlights:

How Camila looks like she’s not okay with the fact that "Luz" is clearing out her weird stuff, seemingly acting too different to the Luz she knows. Added to the fact that Camila doesn't like it.

How Camila drove Luz to camp whether than letting her take the bus

The fact that Camila takes that box of junk back in, not willing to part with the tin foil sculpture Luz made.

The way she was willing to play along with the game she thought Luz was doing, supporting her daughter's creative mind that Camila admits to being glad to see.

And, best of all, the willingness Camila had to help this poor creature, despite the lies it lived.

It's that last part I really want to touch upon, though. Because an action like that shows just how much Luz's heart comes from Camila. The kindness and generosity of helping this poor creature, who she has every right to run out on, proves how Luz learned to be everything she is today through Camila's own loving heart. Vee was scared and hurt, and the second Camila saw that she was then more than willing to help because of it. It's something that Luz would do, and it proves that even though Camila didn't exactly get everything right, she's still a great mom where it counts.

“A new life”: A perfect line.

Initially, it makes audiences think that it has everything to do with replacing Luz. It's only through future context that we know it's about escaping the s**t show Vee once lived through that it's clear she's talking about starting over. It hits us with intrigue on the first viewing, only to hit harder with the feels during a second. Really well-done.

Luz in the Mirror: A well-done surprise that makes fans curious about how this even happen in the first place. Kudos to you, writers.

The New Portal: I don't mind that they found a way to build this off-screen. Showing Luz and the gang slowly building a new portal would have been a little too tedious to watch, and it's so much better to just start this episode out with it. Besides, maybe we'll get the slow and steadier version now that we've seen how quickly building one might not have been the best way to go, given how fast that thing fell apart.

Luz Between Dimensions: I have no clue what the hell that place she was in is called, but it's awesome! The overall design of the realm is the correct type of unsettling, like it's oozing with mystery, but it's somewhere that you probably don't want to be in for too long. Whoever designed it deserves all of the credit because I don't want to even think about all the hard work that went into making this look as well-made as it was.

Luz Resisting to See Amity: What? Luz and Amity are adorable, and seeing Luz's immediate thought about seeing Amity makes my shipping heart scream with glee. Don't judge me!

Hiding Luz’s Dad’s Face: Well, that was a fun story while it lasted.

So, it turns out that Luz's dad really was a part of Luz's and Camila's life at some point, but not anymore. As for why remains to be seen, as we don't really know yet if we'll see him make an appearance. I'd say that the odds are high that he will, given how much of a point this episode made about keeping his face hidden. Shows don't usually do that unless the goal is to hype up some official reveal, and I can't wait to see what comes of it.

Luz Telling Herself to Count to Five: Hey, more evidence for how I relate to Luz! I know how it feels to be all panicky about a specific situation, and I only got better when I took the time to calm down for a bit. Sometimes, I even tried the "count to x" method that Luz used...it never worked, primarily because it made me feel worse when people told me to do it, but I still tried it! Plus, there's also some narrative foreshadowing when after Luz says five, the realm shows her Vee, or Number V, which is a pretty cool detail you'll notice on a rewatch.

Luz Helping Vee: I gave Camila praise for helping Vee in the end, but that doesn't abstain Luz from her own set of recognition. The second that Luz realized that Vee wasn't really a threat and is far from evil, our favorite human does what she can to help and even makes a deal where they're both happy. Because, of course, Luz is that perfect of a protagonist who is more than willing to help others in need. And it's why we love her so.

Looking for Magic that Eda Left Behind: A pretty cool idea that gives Luz and Vee a chance to bond and giving us an insight into Eda's past antics and misadventures in the human realm. Not much I can add to it, though.

Gravesfield: It's surprisingly not as jarring as I thought it would be to spend an episode in the human realm. I thought for sure, after all that time in the Boiling Isles, there would be something off about walking around a normal environment for a change. Turns out, it's almost easy to get used to. Or, for me, it is.

But I will say that there's this neat use of colors when comparing Gravesfield with the Boiling Isles. In Gravesfield, the coloring looks dulled down and standard, which is a stark contrast to the bright vibrancy of everything we've seen in the Boiling Isles. It's a subtle way of showing how things are different, aside from the major discrepancies we could come to expect. And I think that's why I appreciate it much more.

Eda’s Called Herself Marylynn in the Human Realm: Hang on...hang on...do you mean to tell me that the crack theory about Eda being Stan's ex-wife is actually true?

...

...What even is this show?!

Vee Making Friends with Camp Members: This shows the most apparent difference between Luz and Vee. Where we see Luz is already fearing the many ways that could go wrong with interacting with teens, Vee revealed that she adapted to her situation and had a chance to make friends. The implications of this are worth discussing another time, but for now, I'll say that it's pretty intriguing that we gain this much insight into both Luz and Vee through such a small thing.

Belos Wanting to Learn How Basilisks can Drain Magic: ...Didn't Raine say that Belos was taking away magic? If so, I think we can figure out how he's doing it. The question now is: Why?

Jacob (The Curator Guy): This guy was a riot. At first, Jacob seemed like a threat with the way he trapped Vee and was apparently stocking her, but the second he goes off about his conspiracy theories, it becomes clear what type of character he is. And was it a blast seeing how much of a crackpot this man is. It wasn't cool seeing him wanting to dissect the precious angel that is Vee, but I still chuckle about things like his "Flat Eather's Certificate." So while he's not that much of a threat, he's still fun to watch.

The Owl Beast was in the Human Realm: ...How did that happen? When did it happen? And how the hell did Eda get out of a situation like that?! Who knows, but it's still a shocking piece of news to learn.

Luz Telling Camila the Truth: Hey, she faced her fear after all! Although, the results aren't as pleasant as when Amity faced her fear two weeks ago.

Camila is a Veterinarian: ...One insignificant reveal...managed to destroy so many fanfics. I mean, we probably shouldn't have just assumed Camila was a nurse...but what the f**k else were we supposed to think?! Sorry for seeing the scrubs, and the first thing that came to my mind was "nurse" and not "vet."

By the way, that had to have been intentional, right? There's no way that Dana Terrace didn't think we'd assume Camila was a nurse. She'd had to have put off a reveal like that just to trip up her fans. And if that's the case, then that is a major d**k move...but that's why I mildly respect it.

Two Human Brothers went to the Demon Realm: Turns out we don't have to be in the Boiling Isles to learn more about it. Because now we have more information about how two humans were taken to the Isles with the help of a witch, thus setting up a grander reveal if it turns out that one of the humans was Philip and the witch was Belos. Because if that's true...then there's more of a history between those two than we thought.

Jacob has a Training Wand: This helps me believe that it's highly likely for Jacob to make a return and to have a power boost for when he does. After all, focussing all that attention on the training wand is way too convenient for it not to come up again in the future. Meaning we're most likely going to get more pain from Jacob if he shows up again.

Camila Beats the Crap out of Jacob for Vee: ...Writers, don't make me choose between Camila and Eda on who's the better cartoon mom. I know Eda's technically not a mom...BUT I STILL DON'T WANT TO CHOOSE DAMNIT!

Also, the sandal...just...

Why the f**k does Camila have a sandal in her purse? I don't know. Is it still funny that she does? Most certainly.

Camila and Luz’s Talk in the Rain: Ooooooooh, I was not ready for this...

I wasn't ready for the crying.

I wasn't ready for the hurt in Camila's eyes when she found out Luz chose to stay in the Boiling Isles.

I wasn't ready for Camila asking if Luz hates being with her that much.

I wasn't ready for Luz profusely stating how it was never Camila's fault.

I was not ready for Camila to tell Luz that she'll try to do better.

And I definitely was not ready for Luz to barely have enough time to promise that she'll come back.

This episode wasn't the twenty-two minutes of nonstop angst that I thought it was going to be...but this short scene more than make up for it.

Luz Tries to Stay Strong: Yet another thing she unwittingly learned from Camila. Camila tried to keep a brave face when Vee was with her and Luz, most likely not wanting to tear either of them down in the process. Luz does the same thing here as she avoids talking about the details of what went down in her sort-of journey back home. And seeing her clearly fake smile slowly droop into an uncertain frown, it uh...it definitely tore me up inside.

WHAT I DISLIKED

I want to say it's perfect, but there's one major issue that really bogs this episode down.

Continuity Error in How Vee Replaced Luz: Having Vee take Luz's place the same day Luz appeared in the Isles is a smart idea on paper...if it wasn't for the fact that it's impossible.

Because Eda closed the portal door the second that she saw Luz, meaning that there's no way for Vee to go to the human realm. It's a major plothole that makes no sense, and it might just be the first time ever that this series wasn't so closely knit with its story. Which ends up taking a dive in quality in the process.

IN CONCLUSION

I'd say that "Yesterday's Lie" is an A-. Everything about Luz, Vee, and Camila is incredible, combined into a story that ends in tragedy and uncertainty for the future. That plothole may drag things down a bit, but everything else is handled so well that I'm not lying when I say it's easy to forgive and forget.

(And that's ten episodes in a row without a single stinker. HOW THE F**K DOES THIS SEASON KEEP WINNING?!)

[dangerouscommiesubversive]

but it is sunlight

Fandom: Kamen Rider Agito, Kamen Rider Kabuto, Kamen Rider Gaim, Kamen Rider Ghost Characters: Tsugami Shouichi, Hikawa Makoto, Tendou Souji, Kagami Arata, Kazuraba Kouta, Kureshima Takatora, Tenkuuji Takeru, Fukami Makoto, Alain Song: "Sunlight," Hozier (playlist here) Warning: Mildly NSFW--not especially explicit, but people do have sex in this story

a buried and a burning flame – i

A shared day off is rare, but it does happen sometimes, and today the weather is so warm and perfect that Makoto is content to sit on the step drinking a lemonade and watching Shouichi garden.

Their garden space here isn’t as big as the one Shouichi got used to at Professor Misugi’s house, but it’s been expanded upwards with poles and frames and other contraptions that Makoto isn’t quite clear on. Really, they’re lucky to have a plot at all—the restaurant has its own rooftop space, so it’s not like Shouichi’s hurting for plant contact, but he needs it for himself as well. Makoto’s not sure he’ll ever understand the way Shouichi craves the presence of growing things. But then, he’s just happy to see Shouichi enjoying himself.

He glances around the garden briefly as Shouichi’s murmuring over a cucumber plant and frowns. “Aren’t sunflowers always supposed to face the sun?”

“Generally, sure.” Shouichi smiles but doesn’t look up from his work. “Why?”

“Well, if they don’t then doesn’t that mean they might be sick? The sun’s south of us right now, but your flowers are facing west.”

“Our.”

“Mm?”

“It’s your garden too.”

“Well, sure, but I mean it’s really—”

“Anyway, don’t worry, if they were sick I’d know. They’re probably just a little slow today.”

Makoto’s dubious, but he nods, and Shouichi beams at him for a moment and then goes back to fussing with the cucumbers. Once he finishes with them, he does something with a tomato plant nearby, and then hurries over to a small patch of green onions on the other side of the garden.

The faces of the sunflowers move to follow him as he walks. Makoto almost misses it, catches their motion out of the corner of his eye as he, too, is turning, and then freezes as they continue to shift. “Do—did you just see that?”

Shouichi frowns. “See what?”

“Ah…no, never mind.” Makoto settles forward, elbows on his knees, watching in soft fascination as Shouichi continues to work. “It’s not that important, I probably imagined it.”

---

the icarus to your certainty – i

Tendou doesn’t make demands most of the time, but he doesn’t make suggestions either. He makes statements and then continues on in the calm assumption that they’re true.

When he gets back from his trip abroad, for example, the first conversation Arata has with him ends with, “We’ll see you for dinner at six.” It’s not an invitation, or a request, or a question. It’s just a statement of fact, its truth etched into the fabric of the universe, and so Arata gets to the house at six precisely.

There are other statements that follow, of course. Like, “I’ll see you at the same time tomorrow,” and, “Other people address me by surname, not you,” and, “It’s late, you’ll stay the night.” The thing is, Arata wants to bristle at this casual certainty, but he can’t manage it, because so far Tendou—Souji—hasn’t said anything incorrect. When he makes these statements, Arata wants them to be true, and so they becometrue by default. He shows up at the same time the next day. He says, “Souji,” instead of, “Tendou,” and is shaken by the faint, surprised smile he gets in response. He stays the night.

Tonight Souji’s making some kind of crab risotto thing, and Arata is helping, which is to say making a salad. This is already strange, since it used to be that he was barely even allowed in the kitchen. Hiyori, visiting for the evening, is sitting on the couch with Juka while Juka talks about one of her classes at Jounan University. It’s very domestic.

He finishes slicing cucumbers and is reaching for the lettuce when Souji turns to him holding a small spoon and says, “Taste this.”

On automatic, and because his hands are busy, Arata just leans forward and eats the spoonful of risotto, letting it spread out creamily over his tongue. “Mm.”

Souji is looking at him expectantly. “What do you think?”

“I think—wait, you’re actually asking me for my opinion?”

“Shouldn’t I?”

“You just…don’t usually ask for opinions.”

“Not from other people, no, but other people aren’t you.”

Arata laughs in warm surprise. “Really? What makes me so different?”

He’s not really expecting an answer, but Souji looks at him for a long moment and then says, “If all of humanity were alchemically distilled into one specimen exhibiting only its finest qualities, that specimen would be you.”

Arata stares at him. “I. You. Are…is this a quotation, are you quoting something?”

Another one of the faint, surprised smiles he’s gotten to like seeing. “No. But perhaps someday, someone else will quote me, and rest assured, the recipient of the quotation will not deserve it nearly as much as you.” And, before Arata can really process that, “I would appreciate your opinion on the risotto now.”

“I…it’s really delicious, but. Maybe it could use a pinch more salt?”

Souji nods firmly. “I’d suspected as much. Thank you.”

He returns to his cooking, reaching for one of the little pots of salt next to the stove, and leaves Arata to cut up lettuce and try to figure out what just happened.

---

i had been lost to you – i

Kouta’s visits are infrequent, inconsistent, and never announced. The most warning Takatora ever gets is a sudden, powerful waft of flowers and fruit, moments before a zipper opens in the air in front of him. He’s gotten used to it, as much as one can get used to something like that.

(Kouta always comes to him. His house has more privacy than most other spots Kouta knows in Zawame, and anyway, according to him, “You’re always easy for me to find.”

Sometimes those visits are for “work,” as Kouta calls it, and he stays only for a brief moment before rushing off to whatever world-ending crisis has caught his attention. More often, though, the reason is nothing more than, “Things are aligned correctly right now, and I missed Zawame.”

He’s sitting in the park now, on a bench under a camellia tree. A casual observer wouldn’t look at him and see a god, just a smiling young man in a plaid shirt and dark jeans, shoes kicked off so that he can curl his bare toes in the grass. Maybe he’s waiting to meet a girlfriend, or a boyfriend; maybe he’s just enjoying the good weather. As Takatora watches, though, a squirrel runs down the trunk of the camellia tree and leaps onto Kouta’s shoulder, and he turns and beams at it, apparently listening intently to its chattering. A jay is perched on his knee. Two stray cats are sprawled on the grass flanking him like indolent sentries, and a dog with a collar, probably lost, is curled up against his hip on the bench.

He lifts a hand, cupped, and Takatora knows without being able to see it that his palm is filling with seeds, manifesting as if from his skin. He’s done it before. The squirrel runs downs his arm and begins to stuff itself, the jay hopping from his knee to his fingertips to do the same. With his other hand he reaches up absently to catch a gleaming red apple that drops down from the camellia tree and begins to eat. Only the plants nearby lean away from him, which seems strange until Takatora realizes that they’re not really leaning, they’re growing, extending outward from his presence like an aura, the grass increasingly tall around his ankles.

How strange to see him at peace. And what an astonishing thing, that he should turn his face even for a moment from the new world he guides and his cosmically-designated beloved to walk once more in the city that treated him so poorly.

(She doesn’t visit. She can’t set foot outside of her hallowed forest now. But Takatora did get to speak to her, once, and he knelt and begged her forgiveness for all that he allowed to happen and received in return a kiss so gentle and yet searing in its benediction that even now he can feel it on his skin, and sometimes has to look in the mirror to see if she left a mark on his forehead.)

“Hey!” Kouta is waving to him with the hand holding the apple core. “Takatora! Are you done with your meeting thing? Come on over, I want to hear everything that’s happened since the last time I was here.”

Takatora blinks and nods, shocked out of his reverie, and heads over to the camellia tree. The stray cats scatter as he approaches, but none of the other animals move, so after barely a moment’s hesitation he sits down in the grass at Kouta’s feet, unmindful of his suit, and says, “Well, reconstruction work is nearly finished, we’ve only got two or three more buildings left to repair. Did I tell you about the dance classes at the new community center?”

“The ones that Zack and Peko are running? I think you mentioned them a little last time, did those finally start?”

Camellias bloom out of season over their heads. “Yes, only a few weeks ago. There may be a few other Beat Riders assisting as well, possibly by running additional courses, apparently enrollment was well past what anyone had anticipated.” Takatora leans against Kouta’s shin as the grass slowly creeps up past his knees, comforted by his radiant warmth. “And Mitsuzane’s continuing to enjoy university, he’s going to be working for one of his professors next semester as a teaching assistant…”

---

love and its decisive pain – i

Being around Takeru is a strange experience now, because by simply existing he exerts a spiritual pressure unlike anything else Alain’s ever encountered. The pressure isn’t negative, but it is constant, the weight of a higher reality radiating from his skin. Or, not a higherreality—Alain isn’t sure what it is, but Takeru’s certainly of the human world.

Alain isn’t sure if people who aren’t from the Ganma World even notice it. Certainly he’s seen Javert twitch minutely when handing Takeru something, he’s seen how Igor goes tense around him, even Alia’s been known to flinch away from the intensity of his proximity. Are they unusually sensitive, or are the people of the human world just numb to it?

Perhaps it’s nothing new, and he’s just always been like that and that’s why people don’t notice. Makoto would know—he’s of the Ganma World now, even if he came to it late. “Has Takeru always had such…presence?”

Makoto glances at him, and then over at Takeru, who’s crouching to offer a rice ball to a child sniffling on the temple steps. The child takes it, hand brushing Takeru’s, and relaxes in the same way that Igor might tense at the same contact, perceptibly basking in that unseen but powerfully felt aura.

“No,” Makoto says. “No, this is new. He wasn’t like this before. Or at least he wasn’t like this when we were young.”

Somehow this answer isn’t reassuring at all. “I see. That’s…it’s a lot.”

“It is, isn’t it.”

That’s the point at which Takeru hears them and looks up, face transformed by delight at the sight of them. “Makoto! Alain! When did you get here?” Behind him, Narita comes forward to walk the sniffling child over to a quieter corner, asking her as they go whether she knows either of her parents’ phone numbers. Takeru waves goodbye to her, beaming, and then hurries across the room to crash into Makoto’s arms, and Alain can see Makoto being overtaken by that benevolent pressure. “You didn’t tell me you were coming! Nothing’s going on, right? Everything’s ok? Who’s taking care of things in the Ganma World?”

“Everything’s fine,” Makoto says into Takeru’s hair. “Alia’s got everything under control.”

“This is a social call,” Alain adds, and is favored with an embrace of his own, knees almost buckling under the warmth of Takeru’s presence. “We just missed you.”

“I missed you both too. I hope you’ll be here for a couple of days, at least?” The weight of his joyful expectation is so much that Alain can only nod. “Wonderful! Here, come on, you’re both probably hungry, let’s go get takoyaki.”

He’s human, Alain realizes as Takeru’s fingers wrap around his and he feels that shiver run through him again. That’s all it is, and also everything that it is. More than anyone else in this realm, he is human.

What an extraordinary thing.

“I’d like that,” Alain says out loud, and Takeru is already grabbing Makoto’s hand as well. “It’s been a while since we shared a meal.”

“It has, hasn’t it? Let’s go, you two can tell me all the news while we’re eating.”

---

a buried and a burning flame – ii

For the most part Shouichi doesn’t initiate. It’s not that he’s not enthusiastic about sex, he’s just an awful tease. Little gestures, bumps and brushes, obvious double entendre that he then winkingly denies; he’d rather drive Makoto to distraction and pretend innocence until Makoto finally loses patience and backs him up against the nearest wall. He even admitted to it once, in an unguarded moment of drowsiness. “I like when you do that, it’s fun. And it’s not like I can just ask you to.”

“You could, though,” Makoto had said, but Shouichi had already drifted off.

They’ve been together all day, but Makoto can barely remember any of it clearly except Shouichi. Everything else fades into the background when faced with the vividness of his smile.

Makoto’s shirt is somewhere back in the living room, he thinks maybe on the couch. They’ve been trying to get Shouichi’s shirt off, but that’s been a tougher prospect, because it’s a pullover. Finally, though, it comes off over his head and lands on the floor, and Makoto presses him to the wall again. And now, even more vivid than his smile is the feeling of his skin, burn-hot against Makoto’s lips and hands and chest, his fingers like a brand curling around the back of Makoto’s neck as Makoto kisses his throat.

They barely make it to the bedroom.

The heat of him is extraordinary, feverish, it would be frightening if Makoto wasn’t used to it. He is, though, they’ve been together for years now, so instead his own thoughts can melt away in the face of Shouichi and his pleasure, the taste of him, the sound of his breathless cries, Shouichi arching up against him. Sure, he gets off somewhere in there too, but the important thing is Shouichi, climaxing underneath him with a gasp of, “Makoto,” and a kiss that Makoto would be willing to end the world for.

Afterwards, they lie wrapped around each other in a state of abstracted bliss until Shouichi mumbles something about being thirsty, at which point Makoto extricates himself despite the attendant sleepy protests and heads to the kitchen with a blanket around his waist to get drinks. Passing the bathroom on the way back, he pauses, frowning, at the sliver of his reflection in the bathroom mirror.

It hadn’t been sunny enough today to get a real sunburn, but there’s a sunburn on the back of his neck nevertheless, bright red although not painful. He sets down one of the glasses, reaches up and covers it almost perfectly.

When he realizes what it is—although Shouichi’s palm is slightly broader than his, Shouichi’s fingers slightly shorter—he blushes and picks up the glass again, heading for the bedroom, hoping that his hair is long enough that no one at work asks about the handprint burned into his skin.

---

the icarus to your certainty – ii

It’s not always so precipitous.

Normally they have to be quiet, because normally there’s at least one other person in the house. And in any case, Souji dislikes rush—he’ll approach anything and everything with a plan in mind, sex included.

Tonight, though, after dinner finished, Juka distributed a round of cheek kisses and then gathered up her bag and headed out, to meet up with a university friend she’s doing a project with. Hiyori left shortly after that. (She rarely stays the night anyway, she doesn’t like to leave her parakeet alone.) They’re alone in the house unless the Zecters are around somewhere, and they mostly keep to themselves, they’re hardly company in the same way.

But.

Precipitous.

They do dishes together, in comfortable silence, and once that’s done and his washing gloves are off Souji turns to make one of those true statements. Except that Arata decides he doesn’t feel like hearing one right now, so before Souji’s even gotten through one word Arata takes a step forward and kisses him, bracketing him against the edge of the counter with both arms. Souji makes one of those little surprised noises and drapes his arms over Arata’s shoulders and pulls him closer, and a couple of minutes later Arata’s hands shift down to lift and Souji’s legs wrap around his waist, and.

It’s good that they have the house to themselves.

They can’t stay at the kitchen counter, because it’s a bad height and also that’s not sanitary, and the dinner table won’t support their weight, which is a lesson they learned the hard way. The couch is an option, though, and it’s not easy to get over there with another person wrapped around him, but it is doable. He sits, or more lands, with a thump, Souji in his lap, Souji’s hands on the sides of his face tilting his chin up, and for some while lets himself be overwhelmed by having all of Souji’s considerable attention focused on him.

A pause for breath, for the removal of at least some clothing (and if Souji fumbles Arata’s shirt buttons, Arata’s going to save the memory for himself and certainly never mention it), for—“Are you all right?”

For Souji looking down at him, dizzy-eyed, and saying, slowly, “Your depths are such that I think I could drown in you.”

Arata reaches up, takes hold of his wrists, thumbs rubbing gently across the pulse points. “I mean, I can’t get poetic about it like you can,” more quietly than warranted given that they’re alone, “but you’re so much that sometimes I feel I could burn up, so that seems like a fair trade.”

He’s expecting that surprised look, but it doesn’t come, because what he gets instead is a kiss that would definitely have him on his ass in seconds if he wasn’t already sitting down. “More than fair.”

---

i had been lost to you – ii

Even before his apotheosis Kouta was a man built for pleasure. It must have been a glorious accident of his birth, Takatora thinks, that on his mouth smiles are so natural, that his body responds to any rhythm with grace, that he laughs so easily. Takatora has lived his entire life on the far other end of that spectrum—at best, he might call himself austere—but he can’t bring himself to be jealous of such an infectious and in-born joy. He can only hope to increase it, in whatever way he can.

So he kneels.

It isn’t worship, because Kouta will not accept his worship. Or anyone else’s, for that matter, he may be a god but he refuses to be treated like one. But love, as a great man once said, is a sacrament best taken kneeling, and while there are many points Kouta will argue, Takatora’s esteem and affection for him are not one of them.

Really, though, Kouta isn’t saying anything especially coherent right now.

His unnecessary but habitual breathing is coming short, and his hair flickers from deep brown to unearthly gold as his concentration disintegrates. If his eyes weren’t squeezed shut, they, too, would be flickering. His fingers, curled on the edge of the bed, have flowers blooming between them. And Takatora, the indirect cause of this riotous growth and rendered speechless for more immediately physical reasons, continues until his lips are numb and Kouta is pulling him up and flattening him to the bed with a kiss.

“You don’t have to stop me, you know I wouldn’t mind if you—”

“No,” and a kiss, “no, we don’t know if it could—” and another kiss, “so no, even though you know I, you know—Takatora, I—” and the dissolution of coherence once again, now for both of them, as Takatora dizzily allows himself to be subsumed by Kouta’s passion and enthusiasm.

The first few times he was able to visit, afterglow involved actual glowing on Kouta’s part, which was the cause of some mutual hysteria—Takatora doesn’t want to call it giggling, but that’s really the accurate term. The glow’s under control now, and Kouta lies against him, asleep, and does not look more divine than any other beautiful man in repose.

There are still flowers blooming on the edge of the bed, red and orange against the plain bedspread. They’ll be scolded away later, but for the moment they are bright and strong and vivid. Takatora, drowsy himself, drifts off gazing at them, Kouta’s arms tight around his waist.

---

love and its decisive pain – ii

They are devoted partners, and thus Takeru’s anger is their anger, Takeru’s sorrow is their sorrow, Takeru’s joy is their joy, and, most crucially in this moment, with the dawn not arrived and the day yet to start and make them all busy, Takeru’s pleasure is their pleasure. And because he is who he is, because he feels everything with such strength and fervency that it radiates from him like sunlight, it is such pleasure. On his back, hands above his head, eyes bound, he has given himself over to their loving mercy and yet the weight of his existence is still enough to envelope them both.

Alain leans down to kiss the smiling mouth below the blindfold and say, softly, “Is there something you want?”

“Isn’t the point of this that you two are making the decisions?” Takeru sounds like he might laugh.

Alain glances over Takeru’s chest at Makoto, who is already looking over at him, and who raises an eyebrow before saying, “Is that a serious question or are you just being difficult?”

It’s definitely suppressed laughter. “A little of both, really. I want you to do what you want. I trust you.”

So they do what they want, which, gloriously weighed down by Takeru’s unconditional trust, is what he wants too. And what they want is to kiss, to touch, to take their pleasure in ways that render him arch-backed and breathless and crying out as they take their turns on him. They take their pleasure until he’s coming in an unexpected avalanche of laughter which, like all avalanches, overtakes them as well.

Dawn is breaking, light spilling in through the open window for Takeru to flinch against as they uncover his eyes. He buries his face against Makoto’s chest as soon as his arms are free and he can move, mumbling, “It’s too bright, I’m going back to sleep, you both have to keep me company since you’re the ones who wore me out.”

“Right,” Makoto says drily, wrapping an arm around his shoulders as Alain is draping himself over Takeru’s back, “humans need sleep, I forget that sometimes.”

He can feel Takeru’s smile like a separate presence in the room, even though he can’t see it. “Oh, like you’re so inhuman.”

Alain presses his face to the back of Takeru’s neck and finds that, at least for the moment, the pressure of his reality is not so much a weight as it is an embrace, enfolding the three of them as they lie together drowsing. “It’s not that we are less, perhaps.” A yawn against Takeru’s warm skin, occasioning a ticklish wriggle. “It’s just that you’re so much.”