#without an actual understanding of what it is that the audience is asking for

[cityofmeliora]

the Terzo autism post ♾️

this is kind of an analysis post and kind of a headcanon post.

Terzo reads as autistic to me, especially during his first two concerts when he was speaking without a script and trying to figure things out.

Terzo has that "trying new things is scary and i need to feel like i'm getting a good grade at social interactions and everything has to be done correctly or i'm going to explode" flavor of autism.

[AFTER PERFORMING PRIME MOVER] PAPA EMERITUS III: How am I doing so far? I've been studying these moves so you would feel comfortable. Are you comfortable? Linköping, Sweden (June 3, 2015)

Terzo says he studied the choreography for 'Prime Mover' so the audience would feel comfortable. he's trying to do what people expect, and he keeps checking if he's doing alright and asking the audience if they like what he's doing.

[BEFORE PERFORMING ABSOLUTION] PAPA EMERITUS III: So, we're gonna finish this off with something as weird as a new song. What that delighting, or did you not like that? Yes. Good, good. Linköping, Sweden (June 3, 2015)

PAPA EMERITUS III: So, I know it might seem a little confusing –it's even a little confusing to me, sometimes– y'know, playing new songs for people who've never heard these songs. But I tell you what– we have a really good ending song that you will understand why it is an ending song when you hear it. But now it might seem a bit strange, huh? Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

Terzo feels weird about performing new music because it's new and the audience doesn't know what to expect and neither does he. he keeps trying to assure the audience that it'll be okay. but i'm pretty sure he was the only person worried about it. he was about to release a new album, so it completely made sense that he would be performing new songs. he just hates not knowing what to expect, and it doesn't occur to him that not everyone thinks like him.

and then this clip... i think it speaks for itself, but let's talk about it anyway. (i included the audio because i really want people to hear him speaking here.)

PAPA EMERITUS III: Okay! We are now officially wrapping– with a song. It's not a rap song, though. [STUTTERS FOR SEVERAL SECONDS] I've heard from my brother that you are somewhat of a singing crowd. So you like singing, eh? That is fantastic because that is exactly what we're gonna do right now, and if you had said no, that would have been… weird. So thank you for not being weird and weirding me out. I'm weird enough as it is. Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

like where do i even start with this. him thinking he needs to clarify he's not going to be rapping. the stuttering. the fact that he listens to what Secondo tells him so he knows what to expect. him saying "[...] if you had said no, that would have been... weird. So thank you for not being weird and weirding me out. I'm weird enough as it is."

he feels like a weirdo and he just wants things to be normal so bad. 😭

he also gets really irritated when people are incorrect / do things incorrectly. he has the literal / rigid thinking patterns characteristic of autistic people

PAPA EMERITUS III: Well, it's getting late. AUDIENCE: NOOO! PAPA EMERITUS III: Yes! It's not a matter of opinion. It is getting late. Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

he tells the audience it is objectively true that it is getting late.

then there's the whole bit where he wants people to clap along to the music but he hates it if people clap wrong or don't clap with the correct rhythm.

and the bit where he asks the audience to say "Meliora" and emphasizes the correct pronunciation versus the incorrect pronunciation.

Terzo strikes me as someone who is constantly trying to perform a very intentionally constructed social personality, not only as an entertainer but as a person. and while he's naturally charismatic and charming, it's actually quite difficult for him to perform this public personality because he's constantly concerned with getting a good grade in social interactions and things being done correctly.

and there are all the quotes about Terzo being a recluse who only interacts with others as much as is strictly necessary. this is definitely clinical depression, but i think his autism is also a factor.

he got comfortable once he settled into a routine and created a script that he could repeat, though. after that, he was really on autopilot during his concerts. which is also so so autistic of him <3

[aihoshiino]

chapter 166 thoughts

As of chapter 166, Oshi no Ko has finished a roughly four-and-a-half year run started back in 2020. While there's some speculation about an epilogue or some extra content in volume 16 when it drops, this is where the main story ends. And you know what that means!!!

OSHI NO KO HAS OFFICIALLY ENDED WITHOUT ADDRESSING OR ACKNOWLEDGING THE FACT THAT RUBY KISSED HER BROTHER IN CHAPTER 143

please understand that this is FUCKING BOGUS

I'll probably do a longer post on this subject specifically, but my main critique of 143 when the chapter dropped was that while I liked the individual beats in it and I was really glad to see Akasaka finally addressing this tension bubbling underneath Aqua and Ruby's relationship, the immediate swerve away from showing us the aftermath of that kiss felt to me like an admission that the story was going to needlessly draw this out even more. Now that the story has ended and we can see that moment had literally no impact on the plot or even the character dynamics, I'd like to revise that statement - it feels like an admission of compromise. It feels like crumbs thrown to AquRuby fans to tempt them to keep reading and to stir up the waters of the ship wars, so people would keep reading and stay invested in the manga right to the very end. But most of all, it feels deeply disrespectful to both Aqua and Ruby as characters. Rather than exploring their feelings and giving both of them interiority and complexity in relation to incest or even just fucking acknowledging that the kiss had happened and letting their dynamic evolve, the series just memory holes the entire event and asks that you do too. Rather than letting Ruby have any development whatsoever as pertains to that relationship or, god forbid, let a female character move on romantically from the male lead, the series ends with her feelings so up in the air that I literally could not tell you what she thinks of Aqua by the time he dies.

ANYWAY… FINAL CHAPTER. BREATHES OUT VERY HARD.

I really can't believe it's taken us until the final chapter to actually deal with Ruby's grief over Aqua lol. We got a snippet of it last chapter but it was so brief that it really just felt like a tease. I also just think it's kind of bizarre that we're spending this little time on Ruby having feelings about Aqua's death to the extent that I have no idea how or when she found out about it.

It's also kind of hard to feel particularly strongly about Ruby's grief when the chapter doesn't really bother to explore it all that much. It's just a montage of Ruby quite literally Screaming, Crying and Throwing Up while Akane dispassionately narrates it all. The art also doesn't really help in terms of connecting with the emotions at play - I usually really like Mengo's expression work and the way she depicts extreme emotions but this all just felt like of… I don't know how else to put it. Goofy??? Is that an insane thing to say about Ruby grieving her brother???

Idk, something about both the panelling and just the extreme on-the-noseness of Ruby, again, literally Screaming, Crying Throwing Up while she's wearing a Burning cosplay Just In Case You, The Audience, Didn't Get It only for her to abruptly be done crying with no exploration or insight as to what's going on in her head that allows her to move forward.

Honestly, this is kind of the issue with everyone in the cast. The resolution is just sort of "Aqua died and we were sad about it but then we stopped being sad". I know what the story is trying to go for here - it's trying to express that even when you're in pain, life goes on and so you have to find a way to go on with it. But the result is that we spend all this time oogling at their pain without spending equivalent or even meaningful time on their recovery process.

It feels both excessive and undercooked at the same time and I'm left with the same icky, voyeuristic feeling I got from Aqua's funeral last chapter. This should be the point in the story at which we empathize with Ruby the most, but she remains a frustratingly distant figure right to the final pages. Part of this is an unfortunate consequence of Akane's narration directing these final chapters meaning that we're hearing about Ruby from an outsider's perspective and thus don't really see what's going on in her head… but if I can be frank, this has been an issue of Aka's with Ruby in particular basically nonstop since chapter 123.

As others & myself have noted, despite the absolutely catastrophic downward spiral Ruby is in at that point, Aqua revealing himself as Gorou basically flips it all off like a switch. There's some mild lipservice paid to the idea that Ruby is just using her dependency on Gorou to prop herself up and it's pointed out that the issues that contributed to her breakdown haven't actually been resolved - but none of these issues are ever even acknowledged again, let alone resolved. So, functionally, that reveal does fix all Ruby's problems in the space of a single chapter and the result is, again, that we spend multiple chapters gourging on depictions of Ruby's absolute rock bottom only for her to ping back to normal like a lightswitch. As such, the depictions of her pain feel less like explorations of Ruby's interiority and more like voyeuristic oogling at Ruby's misery and trauma and the effect is that the resolution to it all is both unsatisfying and a little gross. The result is that it feels like Akasaka is just indulgently mining the imagery of cute girls suffering because it causes simple thoughts neuron activation but doesn't respect these girls enough as characters to build them back up.

It doesn't help that this is basically the in-universe excuse for Ruby's career further skyrocketing. Instead of Ruby becoming a star on her own merits as the story keeps insisting she was supposed to, she's artificially buoyed by the public's morbid fascination with her tragedy. If I was feeling charitable towards the story right now, I would say this is an avenue of intentional critique but… well, I don't feel super charitable about the story right now lol

I WILL say that the one part of this chapter I did just uncomplicatedly like was the beat of Mem trying to suspend activities (presumably in the wake of her grief for Aqua) only for Kana to basically immediately explode into her room and help her get back on her feet. It's a beat that would've been much more effective if we'd, you know, seen it, but I otherwise enjoyed it and I thought it was sweet.

But. pbbbbtttt. I guess I can't talk around it any longer… let's get into the Dome concert.

To start things off on the immediately worst note possible, Akane describes Ruby performing at the Dome as being 'everyone's dream', including Aqua's. I'm reminded once again of the strange turn the story took in insisting that um, actually, performing at the Dome was totes Ai's dream all along (even though she literally didn't give a shit even a week before she was due to perform there herself) so Ruby performing there is fulfilling that dream for her!!! and I can't help but wonder if this abrupt shift in focus is an attempt to make readers forget what Ai's actual dream was - to see her beloved children grow up happy and healthy. Hell, it wasn't even really Aqua's dream, until the story suddenly had to try and convince us that his entire purpose for existence was to kill himself so Ruby could be an idol for slightly longer than she would've otherwise. The only people whose dreams she's textually fulfilling are Ichigo and Miyako and Ruby herself, but…

Honestly, is this really Ruby's dream anymore?

Who is Hoshino Ruby? What does she want? Why does she want it? These should be the very least of what we can concretely say about not only a protagonist but a character who has become a central figure of the entire story as Ruby has, but with the way Oshi no Ko has warped and distorted her, I find myself increasingly unsure of what the story wants her to be or how I should answer those questions.What does Ruby feel about Aqua? Was she still in love with him? Had she moved on, romantically? Was she still waiting for a response to her confession? Did she finally realize it was probably kind of shitty to respond to her brother going "lowkey wanna kms" by sticking her tongue down his throat? I Guess We'll Never Know.

This extends to whatever the fuck Ruby's relationship with idols and being an idol is. Almost the entirety of Ruby's time in the story has been spent reiterating over and over that Ruby cannot just be an idol who imitates Ai and that to truly shine, she needs to step out of her mom's shadow and shine in her own way. Ruby even literally tells Kana in no uncertain terms in 137 - "I'll be a star in my own way. I won't be like Mama."

While this has always been the text of the story, as I've pointed out before, the actual art with which Ruby's idolhood depicts her basically just as Ai 2.0. It relies so heavily on mining the imagery of Ai's charisma and personality as an idol and using them as the measure of Ruby's success as an idol that Ruby essentially has no visual or conceptual identity of her own as an idol. She's just Ai, But Arbitrarily Better, For Reasons The Narrative Fails To Actually Establish But Hopes That You Just Accept Anyway. This was always kind of annoying, but now that friction seems to have been resolved by… just making her Ai 2.0, But Arbitrarily Better (etc, etc) in the text as well. The fact that we're given no further insight as to Ruby's feelings and continue to just have Akane Explain Ruby's Character Arc to the camera also doesn't help.

All this combines to make the Dome concert and the final few pages feel exceptionally cold in a way I really don't think was intended by Akasaka. Yes, that splash page was nice and flashy but… I just felt nothing. I have no idea if or why Ruby cares about this. And even though the Dome concert has been hyped up through the entire story as the peak of Ruby's achievements as an idol, I feel no sense of accomplishment in her finally being there - not just because her journey to it was basically sneezed at us across two panels, but because it just feels hollow as a victory lap for Ruby. Again, she feels so distant and abstracted as a character that I can't bring myself to feel very strongly about her good or bad.

I think the perfect encapsulation of this are the final four pages of the story. Ruby's words here are very clearly intended to be a callback to Ai's words to Gorou in chapter one but as @all-of-her-light pointed out in our initial discussions of the chapter, Ruby very much does not have an equivalent to Ai's conclusion that she nevertheless wants and values the opportunity to find personal happiness and fulfillment outside of being an idol. Are we supposed to believe that simply being an idol is all that Ruby needs to achieve a similar degree of happiness and fulfillment? Is there no more to her than that?

I've seen a lot of people interpret this ending as exceptionally bleak and, as usual, gleefully predicting Ruby's immanent suicide because her beloved oniichansensei isn't around but this is indulging in, if you'll allow me to be frank, some pretty transparently ship-motivated flanderization. Despite what certain sections of the fandom would like to believe, Aqua and Ruby's lives, past and current, have never revolved around each other to the exclusion of every other relationship in their life. Ruby has a massive support network of people who love and care for her and actively want her to get back on her feet. I can one hundred percent believe that she does not need Aqua in her life to be happy and content.

The issue is that we don't see enough of Ruby to understand that ourselves. Again, she has become such a distant figure with so little insight into what she's thinking and why that this ending is basically a Rorschach test in which you can interpret basically whatever the hell you want or assume because we have so little canon basis to support or debunk our assumptions.

and yes. don't think i didn't see them. it IS both grimly hilarious and weirdly tonally appropriate for this ending that ruby has a bunch of oshi goods of ai and aqua including their fucking autographs set up to say goodbye to every day.

AND…… WE'RE DONE!!! THAT'S OSHI NO KO, BABY!!!! well, technically, there's going to be a 20 page extra chapter in volume 16 but I don't see it being big or substantive enough to meaningfully change my feelings about the ending so… I guess we're leaving it here. Damn. Feels crazy to be done with it.

I'll probably do a bigger post down the line about my thoughts on the ending as a whole but in terms of just How This Chapter Made Me feel, I guess the word is just… meh! It's definitely not an ending I like and I think the execution is sloppy and rushed but I also just don't really have the energy to feel angry about it. Maybe that's sad in its own way but tbh… I still really love Oshi no Ko! I still find it engaging and I find the characters I enjoy rewarding to talk about. I like the artistry of the anime adaptation. I don't blame anybody else for being so turned off by this ending that they're done with the series but for me, I like what I like about OnK too much that this ending could retroactively ruin it for me. Whatever else happens with the OnK franchise, whatever directions the anime and live-action take, this will always be the series that gave me Ai and the Hoshino family and. look at me. look at what she's done to my brain. could I really ask for anything more than that?

That being said, I'm definitely not done with discussing the series! I have fics to write (including a VERY exciting large scale project lined up with some friends), my Ai analysis post to finish and I also want to do a re-read of the series and finish my anime rewatch. I'll be here to discuss Oshi no Ko as long as I have things to say about it and as long as you guys will have me! Despite how the series ended, I've had a genuinely wonderful experience in the fandom and I really don't want to let go of the little community we've built together just because the series is done. I'm Ai's fan for all eternity!!!

[azaharinflames]

I’m loving your theories on the whole BuckTommy (sorry Lou ilu but the name BuckTommy has stuck with me) arc. So I have to ask… why do you think people (read: fandom people) are convinced this is the last season? I really don’t see ABC/Disney undertaking this big of a show (money and following wise) and being like “yeah we’ll put time and effort into this production, but only for one season”

Thank you! Glad you love them, I feel slightly less of a clown when people understand how I think lol. Also - I was rooting for Tevan hard, and even Firefly, but I've accepted Bucktommy and now it has a special place in my heart.

As for your question... I think it all comes to change.

Let me explain. For shows to have a long life, they have to change. They have to evolve. We cannot feel as if we are tuning in to the same thing every week, especially when the same thing has long become boring. I will put Modern Family (my ultimate comfort show) as an example: the whole eleven seasons are of constant change. We are growing with the characters, we are happy, frustrated, sad, whatever, with their actions and choices. And because they are changing, we want to tune in next week to see what will be next.

911 has a severe issue of lack of change. The characters go through these cycles constantly; we said Buck was in a hamster wheel, but the truth is that every single character is in there, too. The writers are somehow unable to find new storylines or conflicts, that aren't what we have seen already, only this time with a new context.

This is partly the reason why so many people, and why a big part of the GA, latched onto Tommy and BuckTommy so quickly - because they were a breath of fresh air, and they felt like the much-needed novelty we were all expecting. If we don't have them, we go to the same repetitive stories - with Buck, but with everyone else, too, to be honest.

And if there is no change... people get bored. There are just so many times you can see Henren on the brink of losing their kids, or Buck trying to find the one (it's stopped being cute, especially when he just had the perfect partner for him walk away), Eddie being unable to move on or forget Shannon (because as much as he's 'better' - has he actually dealt with it?), Madney having either a kid storyline or a Dough-influenced storyline, Bathena having issues with communicating... eight seasons is a long time of this. And unless they change it up, just how much longer can they go? We joke about Grey's sometimes, but the fact is that they are constantly changing.

So. That's partly it.

But (without wanting to make this a whole novel), there were also rumors that some cast was hesitant to continue. Take this with a grain of salt, please, but rumor has it that Peter was kind of ready to walk away a while ago. He even has said in interviews he cannot do this for much longer, as 911 is a very exigent show to shoot. He even wanted Bobby to be killed off at the S7 opening emergency. Angela has also expressed a desire to be on Broadway, so that could also be conflicting. Again, take it with a grain of salt.

And as for ABC - you're right, they bought 911. But with the upcoming spin-off, one can't help but wonder if it is not complimentary but, rather, a substitute. Perhaps they are planning on moving someone from the OG there, who knows. The fact is that they managed to catch the audience's attention with the OG, enough that if they lose it but immediately have a variation of it, they might tune in. And this new show would be cheaper than OG is right now because let me tell you - it ain't cheap, as far as I am aware.

If you want my personal opinion on this - I am 50-50. I think it would be a very weird final season if this was the last, but I wouldn't be that surprised if we find out it is. I can see them going for a ninth season, but I cannot see them going further than a tenth, and that is being really generous. If they prove me wrong and are willing to adapt to change, I will happily eat my words.

PS: I do think if this is the last season, or even if we have it in the next couple of years, they could bring Tommy back (if they haven't yet), as a sort of rushed HEA. Kind of playing with the whole 'right person, wrong time', just bringing it to the right time finally.

Thanks for the ask <3

[hereforthepsycheassessment]

I’m watching the interview that Bill Hader did with Variety about reshooting Hank’s death, and I really appreciate his commitment to not sacrificing the structure and coherence of the show for the sake of fan service. Like while I do find it fun when showrunners occasionally give fans the stuff they want to see, I like it even more when the showrunners put the integrity of the show first and have faith in the fact that their audience will still enjoy it regardless.

[meloartist]

Yeah, I also want to see 2 season, especially Destiny and my favorite Delirium, but I'm also curius who will play Remiel and Duma.

[i think this ask was pre-s2 announcement bc 2022 but YEAH]

i'm a HUUUUUUUUUGE duma stan you dont even KNOW

[blue-thief]

REYLO /lh

🫵🫵🫵

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

[cosmicsnufkin]

.

[airenyah]

i completely understand the ohm obsession and i cannot thank you enough for all your insights on acting (his and also in general) too! i LOVE reading what you have to say and learning from you at the same time! watching series (i also just watched the latest 10yt ep) feels like an even more involved experience now because i can actively analyse the acting (i keep coming back to your post to see how ohm does such and such) too! thank you x1000000 and please know that i am consensually kissing your ginormous brain <3

anon, ahhhhhhhhhhhhhh thank you so much for your lovely message, it delights me greatly!!!!!!!!!! I read your ask earlier and I was sitting in my bed at the time and once I’d finished reading I kind of just fell forward, burying my head into my blanket and squealing like a little child for like a minute, that’s how happy your words made me 💕

I’m so glad to hear that I managed to explain things clearly enough that others (in this case you specifically) can get something out of it!! honestly, I’ve been so shy when it comes to talking about acting here on tumblr because I feel like I can’t express what I mean very well. And the problem is what I’ve mentioned so far really is just a quick overview, there are many concepts I definitely forgot about (obviously I don’t have a list in my head, I just notice things as I’m watching) and those that I did talk about, well, I really didn’t go into a lot of detail there, it was more of a quick summary (there is SO. MUCH. You really can’t sum up 3 years of drama school into one single tumblr post hahaha)

and also, unfortunately I can’t just go and analyze a clip second by second while you listen. I mean okay yeah, in some cases and for some specific concepts gifs will do the trick (like in my bbs ep 3 sniffing scene analysis) but with a lot of things it’s just easier when you have the entire clip with sound and all, where you can also jump back and forth and then maybe go find another example for comparison to make things a little clearer

because often a performing concept or performing technique will be easier to understand when you’ve seen someone do it “wrong”. I’m saying “wrong” here in quotation marks because I’m only putting it that way for the sake of simplicity. There isn’t really a right or wrong here, it’s usually much more about “if you perform it this way then you’ll likely have this effect on the audience, if you perform it that way then you’ll likely have that effect on the audience. Which one do you wanna achieve as an actor?” Though, one can definitely say that performing a certain way will touch the audience more or they will have an easier time following the story and the emotions compared to performing it a different way. Again, it’s a lot like food: put sugar in one recipe and it’ll taste amazing and people can’t stop eating, put sugar in another and people will refuse to eat it because it tastes so bad to them, put sugar in yet another recipe and it might be perfectly edible but would probably be a whole lot more enjoyable without the sugar

what I mean by that is: it might come to situations where I’ll be like “this actor has this aggressive undertone 90% of the time and we’re half-way through the drama and it’s starting to annoy me and make me dislike the character and the relationship” or “this actor has no thoughts behind their actions and so watching them just bores me” (yes these are real-life opinions that I’ve recently had. No I will not be revealing said dramas publicly, but if anyone reading this is curious then feel free to come into my dms and I might spill the tea)

comparing various scenes of an actors using a technique well with actors using that technique not so well really helps with learning how to analyze acting because you’ll see the different effects it’ll have on you as a viewer when someone uses a technique well vs someone who’s bad at it

I do have some “bad” examples that I could tell you about and fun fact: that even includes แค่เพื่อนครับเพื่อน BAD BUDDY SERIES (my most beloved <3). but as I’ve said before, I just don’t feel comfortable sharing the negativity publicly, because I don’t wanna hurt anyone’s feelings. And I don’t like getting into arguments, especially public ones, so I don’t want to get any stupid comments on my posts or in my ask box. However, if you’re curious my dearest anon, you’re very welcome to come right into my dms for some deeper discussion on that. And you don’t have to be nervous about revealing your identity, because sharing my observations with you in even more detail would definitely bring me great joy💕 (this goes for anyone reading this, btw, feel free to slide into my dms fsjksd)

in fact, I wish I could do this one acting analysis project with you that I did with my friend!! quick backstory: back in november 2021 I watched this old korean drama and I ended up getting super obsessed with it because I realized there were remakes from other countries which I then also ended up watching and comparing all these version was a suuuuper eye opening experience for me when it comes to “well used technique” vs “badly used technique” (I learned A LOT from this when in regard to acting) And then half-way through the semester something came up in the uni course my friend and I attend together and I ended up mentioning some acting concept and realized that said kdrama & remakes were a perfect example of that and I wanted to show her

And this turned into this month long project throughout november 2022, in which I selected a sequence that had the exact same plot and context in both versions and I showed them to her in several rounds and let her do the analyzing first without me telling her a thing. So the first time around she got absolutely zero info from me, she knew absolutely nothing about the plot, or the characters or anything. I turned off the subtitles as well as the sound and let take a look at ONLY the visuals. For the 2nd round the only thing she got in addition was the sound but I still didn’t tell her anything about the plot or the characters. In the 3rd round I finally told her about the plot and had her watch everything with the context in mind. And only in the final round did I turn on the subtitles. After every round we spent at least an hour discussing everything that she saw or noticed or how she felt watching it but I didn’t tell her any of my own thoughts. I wanted her to make up her own mind first and discover things for herself. It was a quite interesting project, both for me and for her! And yeah, I wish I could do this with you because I’m sure it would be eye-opening for you! (you don’t happen to live in austria, do you? 😂 well, maybe we could figure out a remote solution with screensharing or something...)

also thank you for calling my brain ginormous 🥰 i'll accept the compliment, but let me tell you, it really isn't that big yet!! i wish you could hear what my fave monologue teacher and my camera acting teacher always had to say in class!!! and also, you should really hear what my mom has to say on performing, i feel like such a baby next to her. seriously, the THINGS she SEES?????

story time (sorry i know this is super long already): we were watching the eclipse together, right, and at some point after weeks, towards the end of the series when akkayan start dating, we were just watching this episode, right? and suddenly my mom goes: *pointing at khaotung* "he seems tense, his inner balance seems off"

and i'm just sitting there like "???????? what are you talking about???? they're literally just lying down in bed, HOW can you tell???????"

she tried to explain it to me but i was just left super confused. i think it was an episode later (or maybe the same episode but some scenes later?? i don't remember) there was another scene where they were standing upright and my mom hit pause and went "here, do you see how [insert explanation]" and i was like "oh. okay yeah. yeah that makes sense. i think i know what you mean". and then during the finale (i think?) there was another moment where i even noticed something before my mom said it and then she pointed it out and i was like "yeah i caught that too!!!!"

i also showed her the only friends trailer and there's this one shot where khaotung is sitting on the bed with book, right? and my mom paused the video and went "huh? that's funny. half of his body looks tense while the other half looks completely relaxed" (half meaning left/right, not upper half and lower half). again i was just sitting there like "HOW?????? HOW DO YOU EVEN SEE THIS?????"

(admittedly, my mother works in the medical field and she's close to finishing a 2(?) year training program as a massage therapist, so i guess she'd know about tense bodies from having first hand experience hahaha)

well, i'll stop it here bc i'm sure this is already over 1000 words long again oops. if you've made it all the way down here, then i really appreciated that and give you forehead kiss (if you like that, of course. if not then i'll give you a hug or a highfive or a wave or whatever else you're comfortable with). then again, you've also read my 3.7k analysis on ohm's acting so…

[bettsfic]

one of the best decisions i've ever made was to stop arguing.

i'd always been an arguer. i was defensive about everything and mindlessly contrary. it wasn't all my fault; i was (and still am) talked down to and patronized a lot, and when you live your life that way, you become kind of a raw nerve and dedicate a lot of energy to trying to prove yourself. someone even told me once, "it's just fun messing with you. you get so upset."

at 23, i was working in an environment where about a half dozen middle aged conservative men were always telling me what to do and explaining things to me. i either argued with them when they said heinous things or stewed about it for hours or even days. and so my new year's resolution one year was simply: no arguing.

it felt a little like defeat at first, like i was no longer standing up for what i believed in, even though no matter how right i was or how much proof i had for my claims, no one had ever been swayed by anything i told them. part of that was because they had no respect for me and didn't take me seriously; the other part was the simple truth that arguments are almost never productive. when someone says something and you immediately reply with, "you're wrong and here's why," a wall goes up and nothing can go over it.

i couldn't just let these men talk at me though, so i started asking questions. not leading questions, not with an intention to prove a point or walk them into a corner. i genuinely wanted to understand how they came to shape the opinions they held. i realized that understanding and agreeing are two different things, and just because i seek to understand doesn't mean i condone.

a truly fascinating thing happened: these men walked into corners all by themselves. it turns out nobody had ever actually tasked them with speaking their opinions aloud to a neutral audience. no one had ever been sincerely curious about them and their views. sure, their loved ones probably asked, "how are you doing?" all the time as a show of affection, but that's much different than, "what do you think?"

knowing what i know now, i think that's true of everyone. how many people ask you for your opinion and listen to what you have to say without speaking their opinion back to you? without judging you? how many people actively and intentionally try to understand you?

it's been over ten years since my resolution and i think i can count the arguments i've gotten into on one hand. one finger, even. it's amazing what happens when someone tries to rile you up, pick a fight with you, and your only response is, "can you elaborate on that?"

you can work someone into a very open and vulnerable state when you ask questions. they eventually run out of their usual talking points and move into the personal. when i do this, it's not like therapy; i'm not trying to help anyone. and it's not like teaching; i'm not trying to educate anyone. i just want to understand how people reach the conclusions they've come to. even after all these years of asking questions and not arguing, it still amazes me how few people in this world feel understood, and how easy it is to get them to open up when you say, "i want to know what you think."

[3hks]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[miraculouslbcnreactions]

About the "kwamis as mentors" angle: Interesting to read and analyse, yet I can't help but feel they were not necessarily meant to be seen as mentors. At least to me, they seemed to be kind of whacky mascot characters who are tied to the lore, who have a personality to crack a joke or point something out or cause a little situation or be cute, but nothing more.

They are rather naive magical entities chained to jewelry (a fact they don't seem to mind that much or think about at all except for Plagg) and all that talk about "being around for 5000 years" and having seen many holders before is just there to make them seem more wise than they actually act like. From what I've seen on the show I would even assume there's a threshold to how much they can even mature emotionally and understand humans. Sometimes Tikki and Plagg even come off as indifferent and egoistical towards their holders (like an example you gave with Tikki, or Plagg's fixation on cheese over Adrien at times).

So...sorry if I missed it, but why do you view them as mentor characters? You made an interesting post about rom-com vs magical girl and the magical girl part is exactly why I always viewed them just as critters to appeal to kids, but nothing more. I can see that the show's writing is so inconsistent that sometimes they are portrayed as wise but more often then not they are just background noise to get a little interaction on screen so that the characters are not talking to themselves about miraculous stuff or to point something out for the audience.

The show's writing is pretty weird, so there are elements that are hard to get a clear read on. The Kwamis are one such element. When they're one-on-one with their chosen, they often feel like mentors to me. When they're all together, they almost always read like "critters to appeal to kids" (mostly because there are too many of them to let them have individual personalities when they're all together). So while I think that they're supposed to be mentors, it's not like that's the only canon-accurate read.

To dig into what I mean by the one-on-one writing, let's look at this exchange from Feast:

Master Fu: See, Wayzz? If Marinette had kept her Miraculous, the sentimonster would have swallowed her right up. Wayzz: Or she would have transformed into Ladybug and fought it. Master Fu: Sometimes fighting is futile, Wayzz.

And then later on we get this:

Wayzz: Master, look! Ladybug and Cat Noir, despite their ridiculous costumes, they haven't let you down! Wang Fu: That's impossible! They don't have their Miraculous! Wayzz: Master, it's obvious it's them—who else would do something so crazy? Cat Noir (Adrien): Hey, have a taste of this! Some exploding banana split from Bananoir! Ladybug (Marinette): Much tastier than any Miraculous! Wayzz: Look, Master, there's no use in running! Your disciples never give up the fight, no matter what! With or without their Miraculous, they are Ladybug and Cat Noir!

That's some pretty active mentoring right there.

Wayzz is probably the character that feels the most like a mentor to me. When he's with Fu, he feels like Fu's partner or adviser, which is why I think that the Kwami's aren't supposed to just be cute critters. They're regular ol' Jimmy Crickets meant to act as a conscience that the characters can talk to since this is visual media and you want a way for the characters to talk through their thoughts instead of having them do it all internally.

I also present this exchange from Desperada as evidence:

Adrien: Plagg, Ladybug needs me. She needs "Adrien"! Plagg: If you asked me, this whole idea is worse than cheese in a can. Adrien: She thinks I'm the perfect guy for this mission. Plagg: You can't be Cat Noir and another superhero at the same time! Which means that you're not the perfect guy for this mission. Adrien: The Lucky Charm told her I am. Plagg: That's not how it works. Why am I bothering? You're not even listening.

We then get Plagg reiterating that this is a bad idea through multiple loops, ending with this:

Plagg: Ah! At last, you've come to your senses. Adrien: I'm not sure Ladybug will have very fond memories of her experience with "Adrien Agreste". Plagg: Then make up for it as Cat Noir.

See? I told you Plagg can be a good mentor when he wants to! Tikki, take notes!

I'd even call this bit from Sapitos some quality subtle mentoring from Trixx:

Alya: Oh please, Ladybug! We'd make a great team! I could help Cat Noir and you every day! Ladybug:(her earrings ring) I'm about to transform back! Hurry! Alya: Please? Ladybug: I have to go! I'm trusting you! (opens a nearby door and goes inside, so she can detransform) Trixx: You're absolutely right, Alya. I'm sure the three of you would make quite the team! You have all the makings of a true superhero. You're strong, brave; but most of all, you're trustworthy.

Way to both build Alya up and reminder her of her duty, Trixx. Gold star. Quality mentorship!

So are the Kwamis supposed to be mentors? Who knows! I just see them fill the role often enough to feel comfortable judging them through that lens.

Miraculous also isn't the only magical girl team show to make the cute critters into mentors. That's a pretty standard path even though it's also common to see the critters used to sell merch/appeal to kids and nothing more. In terms of classic magical girl team shows, I'd say that the Kwamis are written way more like Luna and Artemis from Sailor Moon than Mini Mew from Tokyo Mew Mew.

[linkspooky]

SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

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

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

BROKEN THEMES = BROKEN STORY

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

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

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

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

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

With Great Power… You know the rest. 

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

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

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

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

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

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

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

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

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

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

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

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

"Can I save the villain?"

"Should I save the villain?"

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

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

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

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

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

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

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

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

Edo: Can you even fathom that, Judai?

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

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

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

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

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

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

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

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

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

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

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

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

Should I save the villain?

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

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

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

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

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

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

Should I save the villain?

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

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

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

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

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

Was there ever someone you couldn’t save?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The story of how Deku became the worst hero.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Can Shigaraki be Saved?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

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

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

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

[kookiewithluv]

..★.──MASTERLIST──.★..

• TITLE: ASHES OF A PROMISE

• PAIRING: Lycan king!Jungkook x Werewolf!Reader

• GENRE: Paranormal Romance, Dark Fantasy, Smut, Slow burn, Fluff (?), Tragic Romance, werewolf au, Royal au

• RATING: 18+

• WORD COUNT: Ongoing

• TRIGGER WARNING: This story contains explicit and graphic sexual content, with themes of intense physical desire, possessive (dom-sub) dynamics, and primal, instinct-driven encounters. It also explores deep emotional conflict, grief, loss, and difficult decisions surrounding love and sacrifice. This story includes mature content not suitable for all audiences. Reader discretion is strongly advised.

• SUMMARY: You were a hopeless romantic, dreaming of a mate who would love you as fiercely as you loved him. But when you finally meet your mate, you discover he’s no ordinary wolf — he’s the Lycan king, the alpha of all alphas. Worse, he neither wants you nor is willing to reject you, leaving you trapped in a loveless bond in his kingdom. As queen to a king who resents you, the mate bond grows stronger, making you more vulnerable with each passing day. Now, you must break through the walls around his heart and make him love you, because staying in this bond without love is unbearable, yet leaving isn’t an option he’ll allow.

• a/n: This story is entirely a work of fiction and is the sole property of @kookiewithluv . The characters, events, and scenarios depicted are products of the imagination and are not intended to represent or reflect real-life situations, nor do I wish for anything portrayed here to occur in reality. I kindly ask that my work not be copied, translated, or reposted as your own on this or any other platform, including YouTube. Please respect the effort and originality behind this piece. Thank you for your understanding and support.

✿ PROLOGUE: bound by fate forsaken by love

Your alpha is pushing you to accept his mating proposal and drags you to the royal gathering hosted by the Lycan king. But once you’re there, you discover that the Lycan king is actually your true mate.

✿ CHAPTER 1: the mate's lament

Even though the Lycan king, Jungkook, saved you from your alpha, he made it clear he didn’t want you around. Still, you had to stick close to him and follow all the rules he was throwing at you.

✿ CHAPTER 2: (coming soon)

OTHERS

moodboard

a/n: Let me know what you think in any way you like—comments, messages, carrier pigeons, whatever! I'd love to hear! If you want to be tagged for future chapters, just send me an ask also character asks and drabble requests are open, so hit me up with your wildest ideas.

[brokenmenswhore]

Hi! Are you planning on writing a part 2 to Lessons? It was too good 🥵

lessons | aegon ii targaryen

part 2

pairing: aegon targaryen x fem!reader

summary: in search on the streets of silk for your husband, you find his brother in a compromising position

warnings: this is almost pure smut (MDNI 18+)

a/n: just wanted to say i’ve been treated to kindly and accepted into this community so wonderfully and so fast. you’ve all restored my faith in humanity. happy to have a place to be horny and angsty and feral without judgement :)

part 1

────── ☾ ──────

Aemond was not in attendance for breakfast. You apologized to Alicent, lying that you had forgotten he had told you he was traveling to Harrenhall first thing.

The truth was, you and Aegon returned to the Red Keep immediately after your rendezvous in the Street of Silk, and you had completely forgotten about Aemond until you arrived to breakfast and were asked about his absence.

“Not to worry,” Alicent smiled, “that boy is impossible, is he not?”

You laughed in response, “that he is.”

Breakfast was pleasant, apart from the constant staring from Aegon. You could tell he was still worked up, and coming back to the Red Keep meant he had to attend to his duties as King, which meant he had to wait.

And Aegon did not like waiting.

About mid-day, you were in the library with your handmaiden, when a member of the King’s Guard came to fetch you.

“His Grace has requested an audience with you in his chambers, My Lady,” he spoke.

You looked at him, confused. “It is but midday.”

The man in armor sighed. “Yes, My Lady.”

“Should he not be working?” you pressed.

“He says this is work related, My Lady.”

You knew better, but you also knew better than to deny your king.

You were escorted to Aegon’s apartment, not bothering to knock before you pushed the double doors open.

“Aegon, it is the middle of the day,” you said, watching as he turned around at the sound of your voice.

“God, finally, you take fucking forever,” he said, marching up to you and grabbing your waist, pulling your body against his as he enveloped you in a heated kiss.

You giggled, “could this not wait until late?”

Aegon continued to pepper kisses around your face and down your neck. “No,” he whined, “need you now. Waited long enough already.”

“Then why didn’t we just- shit, Aegon did you just bite me?” He just laughed in response and continued bruising your neck. “Why didn’t we just stay out then?”

“And face,” kiss, “the wrath,” kiss, “of my mother? Absolutely not,” kiss, “too risky.”

“‘Tis more risky to be caught by your mother away from the castle than to fornicate with your brother’s wife inside of it?”

Aegon paused for a moment and looked up at you. Suddenly, a hand was around your throat, as Aegon roughly pushed you into a wall.

“You’re mine, you know that? You aren’t his. I don’t care if you’re wed,” he pulled one of your legs up to his waist, granting him access to violently shove a finger inside of you, “I’m the one making you feel like this. In private, you’re mine.”

You cried out at the intrusion of his finger, hips bucking forward as you squirmed.

His hand moved from your throat, only for a brief moment, to slap your cheek.

“Do you understand?”

“Y- yes, My King.”

“Good girl.”

Aegon used both hands to grip under your thighs, lifting you up until your legs were wrapped around him, and carrying you over to the bed, slamming your back down on the side of it.

“Easy, Aeg.”

Aegon let out a growl at the nickname, “you want me to go easy on you? Is that it? You want me to be nice?” he questioned, “or do you want me to fuck you like you so desperately need to be fucked?”

This filthy words took you by surprise, despite your intimate position.

“I, I don’t-“

Aegon’s eyes searched yours for any sense of doubt at your current predicament. “We don’t have to do this, you know.”

“No! I want to, I do, I just- I’ve only actually done this once, and it wasn’t anything like what I saw today.”

Aegon’s cock hardened at your innocence. Even though you were wed to his brother, your body was his, and your pleasure would now be his and his only.

“Tell me if anything hurts,” was all Aegon said before he ripped your clothes off, doing the same for himself, and crawling on top of you.

“Is this what he did, hm? Is this all he taught you?” he asked, jealousy present as he slowly inserted himself into you, bottoming out and watching your face as you adjusted to his size, “did he get to see you like this? All pretty and teary-eyed? Did he make you feel like this?”

“No,” you whimpered.

Aegon began to move slowly, treating you as if you still had your maidenhood, wanting to warm you up before potentially hurting you.

You sighed and moaned lightly, throwing your head back and allowing Aegon to bite at your neck and shoulder again. “Mine.”

You clawed at his back, the feeling becoming too sweet, wanting more but not too sure how to ask for it.

“What is it, angel?” he noticed your frustrations.

“More,” you pleaded.

He smiled, capturing your lips in a kiss and he began to thrust faster and faster into you.

“Tell me how it feels,” he commanded.

“G- good,” you responded, inarticulate as you’d ever been.

“Is this how Aemond makes you feel?” he spat.

“N- no,” you responded, “on-on- shit, only you.”

“Good girl,” he cooed, fucking you hard and fast, splitting you open on his cock.

“Aegon?” you caught his attention.

“Mhm?”

“I still feel like I want more,” you sighed out.

Aegon smiled, pulling out of you completely.

“That’s the opposite of m-“

Without warning, Aegon flipped your body, pulling your waist so your ass was against his hardness. His dominate hand reached over your back to press your head into the mattress as he inserted himself back into you, the new sensation from the position making you grow even wetter.

Aegon snapped his hips harshly, watching your entire body fold in half as you lost any strength that was keeping your upper body from going completely slack against the sheets. You cried out at the pleasure, Aegon’s hand finding its way to your hair, balling your hair into his fist as he tugged.

Your neck swung back, not getting the memo.

“Up,” he demanded, pulling even harder at your hair as you helped push yourself up so your back was flush against Aegon’s chest, his cock hitting another new angle.

One of his hands remained on your waist, holding you close, as the other wrapped around your throat, his lips kissing your shoulder.

“Shit, angel, he doesn’t know what he’s missing.”

“Would you p- shit, would you please s-stop mentioning Aemond?” you asked, “don’t wanna t-hink about him. Only wanna t-hink ab-about you.”

Your words drove Aegon mad, his thrusts becoming even more erratic and harsh. “Is that what you think of when you feel like this, huh? You think about me?”

“Hm,” you hummed in response, having used all your energy to form your last sentence.

“No one else will ever make you feel like this,” he told you, not leaving any room for any question about it.

“Don’- don’t want anyone else,” you whined.

The hand around your throat found its way in between your legs, rubbing circles on your clit as you moaned out in pleasure.

“Filthy whore,” he spat, likening you the girls you had seen earlier that day, “you fucking love this, huh?”

Tears began to spill from your eyes from his words, as well as the feeling of his cock splitting you open and his hand working your clit. It was almost too much, but felt so, so good.

“Yes, M-My King.”

“You like being treated like those girls you saw today? Is that it? Poor baby just wants her king to split her open?”

His words made you moan, adding more to your pleasure.

He continued on, hitting a soft, spongy spot within you that felt like heaven.

A coil began to form inside of you, and Aegon could feel your walls tightening around him.

You pawed at him, unsure of what the feeling was, and nervous it meant something was wrong.

“Sh,” he purred, “it’s supposed to feel like that.”

You trusted him, allowing him to continue as the squeezing around his cock led him to his own high. His thrusts became particularly violent, causing the coil of tension to break within you as his seed spilled into you.

You threw your head back into his shoulder, attempting to catch your breath as Aegon stayed inside of you until his cock began to soften.

When he finally pulled out, you both crashed onto the mattress, his body staying close to yours as you finally calmed your breathing down.

“Did you, did you-“ you started, not sure how to phrase it.

“Don’t worry,” he caught your train of thought, “we’ll just get you some moon tea. You won’t end up with a bastard child.”

He completely forgot that you knew nothing about this stuff that he hadn’t already taught you. “What the hell is moon tea?”

[boyfiejay]

Enhypen : when their S/O has a wardrobe malfunction

☆ Heeseung

He met you a little before your performance, and he definitely did not trust the extra fabric of your skirt. But your stylist reassured him saying that it wasn't long enough for you to trip on it. She definitely jinxed it. When you almost fell down face first that too on the chorus part, Heeseung really couldn't stop his reaction. Everyone and their mothers could tell that he was worried and him disappearing right after the performance told a huge story. The media and fans had a field day with you both.

Would 100% pull you in a hug knowing how sad you must be. Let's you cry on his shoulder, keeps praising you for being so professional, would crack some lame jokes here and there to make you laugh. He peppers your face in kisses. His eyes are shooting daggers at the stylist.

☆ Jay

Would immediately notice something is wrong, even before you. You had worn a tie strap top, and your stylist had thought that it would be a nice idea to let you wear that top without anything underneath it. So it was no wonder that the tie would come lose at some point. He's a relatively calm person but seeing you finally notice the tie coming lose made him want to rip his hair out and run up to the stage to cover you. Thankfully there was a part where you had to step away for the main dancers part, at that moment the leader of your group tied the straps of your top. But Jay could tell you were hyperventilating, thinking that you had ruined the performance.

He would just pull you in a hug and stoke your hair whispering sweet nothings in your ear, it physically hurts him to see you cry but he doesn't stop you. He's honestly just so understanding, but still reassures you. Gives you forehead kisses >_<

☆ Jake

Honestly you both realize it at the same time. It was particularly windy when your group started performing. And you were already stressed because of your lightweight skirt. We all know where this is going, so just when you were stepping away after your part ended the wind made your skirt ride all the way up. Thankfully you were wearing safety shorts and the camera was focused on someone else. But it was still a very traumatizing situation. It genuinely slipped his mind to control his reaction and then he was plastered all over internet along with your performance video. Your fancam was deleted later, and the unfortunate part wasn't in focus in the main performance video.

Immediately attacking you with kisses, pulled you in a bone crushing hug. Honestly he was way more worried and stressed than you were, so I'd say he's the one who needs your reassurance.

☆ Sunghoon

He doesn't realize it until you are holding your pants together. There was a part in the song where you had to kneel down, and your overly tight pants ripped along the side. It was a relatively small rip at first but when you had to do that part again in the second verse, the pants ripped almost all the way. It was extremely noticeable but you still performed as if nothing happened. Actually the only one who controlled his reactions and had some sense. He knows you aren't panicking so he isn't either. A small part of him is actually very mad at the stylist, he remembers you asking them for a different pant but they refused.

He doesn't visit you right away knowing your group would be huddled around you. But when he does visit he pulls you aside and let's you cry on his shoulder. As the oldest of your group you hate to cry infront of others and sunghoon knows that. Wipes your tears and kisses your cheeks.

☆ Sunoo

He is too lost staring at your face to notice what happened. You were wearing a strapless dress and it was a little big on you, there was nothing that was holding your dress together. Yet you performed flawless as ever, until the part where you had to lift you hands up and do a little jump. The whole dress shifted lower and if it wasn't for the palm of your hand you would've definitely flashed the audience your safety bra. Sunoo had the most unfiltered expression ever. Like his hand covering his dropped jaw, dramatically standing and all (thankfully Niki held him down but everyone still saw him almost stand up).

He is asking you questions non stop the moment you meet his eye, he's just worried but all the attention was just making you feel more embarrassed. Pulls you in a hug and rubs your back. Although dramatic he is the sweetest and constantly reassures you.

☆ Jungwon

It was too noticeable to not notice. There was a small zip on the front of your top, and technically speaking it should've been sewn shut just so it doesn't come undone. But that's exactly what happened, the choreo was a bit hard and in all that moving the zipper came undone. You didn't notice it until you feel air on your chest, your cleavage showing a little too much. But you immediately zipped it as soon as you noticed it. Jungwon paled the moment he saw you on screen. As someone who doesn't like showing skin this was a nightmare for you.

You were pulled in a hug as soon as you stepped down from the stage. Jungwon rocked you back and forth noticing you let out some sniffles. Tries to comfort the best he can (he's doing a great job honestly).

☆ Niki

He notices you not keeping up first and then realizes what is going on. You were wearing a bracelet, sometime in the performance it got stuck on the fabric of your skirt. You tried to undo it, but after it wouldn't budge you decided to just rip it but you weren't expecting the fabric of your skirt to rip that much. Honestly the ripped cloth wasn't that noticeable because your skirt was frilled, but it still messed your performance. He tries his best to not give any reaction but he's very proud of you for handling it so professionally. He knows that something so small wouldn't make you upset.

Despite that he visits you to make sure you were ok, just to see you laughing and making jokes with your members about the mishap. He let's it slip that he was worried despite knowing you would tease him for it.

[artbyblastweave]

So with superhero origins, what's basically always been the case is that the writers exploit whichever area of cutting-edge science is currently in the zeitgeist, banking heavily that the audience will be unlikely to understand the actual effective limits of the science under discussion. In the pulp era many of the protocapes are getting whatever "power" they have from souped-up training regimens, healthy living, "Eastern Wisdom," whatever. In the thirties and forties it trends chemical- they're taking "miracle pills" or inhaling weird vapors or whatever, its steroids, they're on steroids, or possibly meth. In the sixties, in the atomic age, its particles, its radiation, its rays. Eventually, you know, it's pretty well understood that radiation can't do that either, so they migrate over to genetic engineering, cybernetics, nanobots. Every cape and their brother was some kind of cyborg or lab experiment in the 90s. These days it's quantum this, string-theory that, dimensional wonkery, cats in boxes. In 20 or 30 years we'll have a better sense of what all of that actually means in practice (likely not much) and then it'll be something else.

I've observed that Dr. Strange and other magical characters are actually basically immune to this treadmill, because they're magic- that's already post-modern and fluid and squishy and immune to the expectation of real-world scientific rigor. They're vulnerable to changing cultural perceptions of magic, the Strange of the 60s isn't interchangeable with the Strange from the 2010s, but it's not as drastic a shift. From the other direction Green Lantern is also kind of resistant to the treadmill because the lantern tech is, and always has been, ludicrously advanced and totally divorced from any real-world techno-logic- It's Clarke's third law shit. Flash was forcibly made immune to the treadmill through the introduction of The Speed Force into the mythos- it's not a chemical accident, it's a higher fundamental power, it's just how this universe is metaphysically structured, now stop asking questions.

In due time I suspect that all superheroic origins will converge on one of these. Unfalsifiable magic, unfalsifiable alien toys, unfalsifiable higher unifying forces. Or else they'll fall into the gaping maw of the secret fourth thing that lurks beneath and intersects with all three of these- that you got powers instead of radiation poisoning from that accident because we're in a story, the thing happened instead of not happening because it was more interesting, because "narrative" is a force as real, if not realer, than gravity. Of course it goes without saying that you need to be really, really good at writing to pull off the secret fourth thing. Start fucking around with the secret fourth thing and the result is either going to be genuinely transcendent metafiction or something so self-absorbed and tautological that it disappears up its own ass.