#and yet at some point in this arc B will also need to have his strength tested without A to see if the redemption stuck

[lilac-5ky]

Roommates from Hell, pt.1 (Toji x Fem!Reader)

Chapter 1: Stolen Fries taste best

(pic from loving yamada at lvl999, adorable manga, recommend)

Chapter 2 | Story Masterlist | Masterlist

Plot: Out of all the women that come and go in Toji's life, you're the only one he calls his friend. But when he suddenly forces his way into your apartment, the feelings you've kept from him are put to the test.

Setting: Pre Hidden Inventory Arc. Toji and reader are both in their late twenties, no Megumi in picture... yet :p

Themes: Cohabitation, Mutual Pining, Friends to Lovers

Warning: Slight sexual content minus the actual smut.

A/N at the bottom

“You’re late. Again.”

The small silver bell at the top of the glass door notified you of a man’s arrival, his heavy steps refusing to wipe themselves upon entry, spreading mud all over the now-blotted checkered tiles of the dimly lit diner. You’d been expecting the owner of those shoes for the past six hours, his untimely arrival coming as a bitter aftertaste to an afternoon full of childish joy and mayhem— popped balloons, colorful confetti, and half-eaten pieces of cakes swept into one big pile at the room’s southernmost corner by yours truly.

“I never said I was coming,” the voice retorted, its defiant sound overshadowed by the gruesome screech of a metallic chair. “Not interested in celebrating some brat’s b-day, ‘specially if it ain’t mine.”

“How many helpless children must have spent their birthdays without their no-good father, I wonder,” you wiped your hands against your cherry-red apron, pushing the broom back into place. “If your goal is to repopulate Japan, I’m certain you’ll succeed.”

Hefty fingers mindlessly combed through a head of obsidian black, little spikes forming and then settling back down. “None, as far as I’m concerned,” sarcasm dripped from his tongue.

“Well, I find that hard to believe,” you mumbled under your breath, circling through the room to ensure everything was dealt with: leftovers in the fridge, gift wrappings in the bin, and the large aforementioned pile of garbage waiting to be scooped up. “You’ve known Kenzo since birth. Even if this ain’t your thing, the least you could’ve done was make an appearance. He kept asking about his favorite uncle all night long.”

“Except I’m not his uncle. Don’t mix me in with your sister’s family, I ride solo.”

Sigh.

“My sister’s family might as well be your family, Toji. You know how much Hinata and her kids adore you.”

“Good for them, I suppose.”

Another sigh.

“Can you at least tell me what was so important for you to not even pick the goddamn phone up?”

As if the device had grown sentient, a generic tune began tooting from the back pocket of his sweatpants, eradicating your final hope that it’d simply run out of battery.

Without budging from his seat, Toji twisted an arm around his back to pull his flip-phone out, the silver-tinted lid slamming shut as soon as he’d peered at the caller’s number, his next immediate move being to drown the sound in a glass of leftover Coke, fizzy bubbles playing the device’s final requiem.

You didn’t need to ask to know it was a woman, and he didn’t need to answer that she, whatever the name of his latest conquest was, happened to also be the reason for his being unfashionably late.

It was always like that. He was always like that. He went out with one girl after the other; from women of extreme beauty and poise to mindless bimbos who couldn’t tell tea leaves and coffee beans apart. He’d spend some cash to butter them up with expensive meals at overpriced restaurants, or VIP entrance at the hottest club, or even pay for the name tag on their designer clothes, but come next morning, he was either caught stealing straight out of their pockets or checking whether the tag was still attached to the dress for him to return it to the store—at which point, the vast majority gave up, except for those few poor souls who earnestly believed they could fix him, though they never would.

If there were two things in this world that remained unfaltering and resolute throughout the eons, then that was the earth’s orbiting the sun, and Zen’in Toji’s being the bastard of a man you knew and loved— special intonation of that last part.

It was quite the oxymoron. To know him as an irredeemable scumbag with no intention of changing, and to love him for all he was; a sentence as contradictory and controversial as the man before you. What was there to love? He never gave two shits about the people around him dying, and if he could encourage or partake in their deaths then he certainly would. He gambled every cent of cash in his hands away, and his every attachment ended with the disposal of his used-up condom. He was vulgar, cynical, and brass, and he possessed a great charisma of making people dislike him at first glance. His only saving grace was his good looks and even those he managed to scrape on a daily basis.

So, really, what was there to love about a man whose place fitted best among the pile of garbage in the corner? What was the point in all that?

He never answered your question, and when you realized he wasn’t planning to, you dragged a second chair to his side, propping your elbows first and then your chin over the vinyl backrest, feet landing at each side. You took in his expression— sour and undeniably agitated, with a frown tugging at the scarred corner of his lower lip, and a glare too icy to be meant for the wall of American-styled neon billboards he mercilessly studied. Something definitely bothered him, and as a huff stiffened his chin, the reason became evident enough for you to point at it.

“Woman or work?” you gestured at the blood that dribbled below his ear and down his neck.

He followed your forefinger with his eyes, thumb scrubbing where the gush began. He seemed oblivious to his injury, though it wasn’t as if his becoming aware changed a thing.

“So it is a woman,” you gladly seized the chance to rub salt into his wound, drawing a frustrated grumble from him.“What did you do this time? Stole her car and crashed it into a tree? Blew all her savings on cockfight betting?”

“Horse races,” he had the nerve to correct.

“Or… did you by any chance bring an uncalled ménage à trois to her bed?”

“What kind of man you take me for?” Toji protested.

“A very, very, veeeery bad man,” you smirked, and he returned it. You knew him like the back of your hand. There was no need to pretend otherwise after well over a decade’s worth of friendship.

“If a very bad man is what I am, then why’d ya let me in?” he asked. “A young unprotected woman all by herself in the middle of the night letting such scum in never ends well. Thought you were smarter than this.”

“If I was smarter, then I wouldn’t be calling you my friend, would I?”

His grimace turned into a full-blown devilish grin, the kind that secretly had your heart buzzing against the frail set of bones of your chest. He always looked so dazzling when he smiled, that sometimes you couldn’t find fault in those women wanting to believe in his pretty lies, because you, too, wanted to. You hoped that whatever the price for those smiles was, you would one day be able to afford it and gain ownership of his heart, no matter how wretched or blackened it was.

“You are a real idiot to mix it up with me,” he conceded. “Though, you are a greater idiot for letting that term define us. I bet your nights serving meals at some kiddie place get rather lonely. But I could help. I could make you feel really good, Y/N. So good that you’d risk some prick getting in, lest he is me.”

His tongue poked out his mouth, giving his bottom lip a brief lick while he peered at you through half-lidded eyes. He had this way of turning things sexual in the blink of an eye, selling himself so well that your refusal to buy seemed commendable— despite the unmistakable affection you held for his face. Little did he know how much you longed to push that chair to the side and rip his cocky expression along his black-sleeved shirt off his body, making it so that neither of you had a place to hide from the other.

Now, that’d feel good.

“My nights are fine as they are, thank you very much,” you countered your instincts much to his disappointment. “And if I ever needed myself a helping hand, know that you’d be the last I’d call!” Not as if you’d pick up, anyway, you mentally added.

His gust of interest fizzled out as soon as it surged, your rejection forcing him to rock back and forth between the chair’s legs. He wasn’t interested in continuing this. It was enough for him to take in the dusty pink shading of your ears and smile to himself, knowing you were still the kind of woman affected by his charms. Yes, that certainly was enough, for now.

“I’ll clean you up,” you declared, getting off your spot in haste and strolling through the bar in search of a clean towel.

Once you found it, you let it soak under the faucet and brought it back to him, rubbing against his skin regardless of his petty attempt at gritting his teeth. You placed one hand on his shoulder and another at his jaw, pushing them apart to no avail. Every muscle in his body was stronger than your entire bodily force combined, and he was awfully willing to flex that difference between you, just as he was at letting you straddle his hips and climb all over his body like some sort of feral monkey in heat.

A string of profanities that ranged from “bastard” to “shit-eating-asshole-shithead” poured out your mouth while Toji smirked, and smiled, and grinned, and didn’t even try to stop you from knocking the two of you onto the ground, palms barely managing to stable your head over his face. Your pleated skirt had risen, or rather flipped, over your panties, revealing the strawberry pattern panties you were wearing to his greedy hands as they hiked up your flesh without an ounce of shame.

“Wh-What are you doing?!”

“What do you think I’m doing?” he cooed, burying his calloused fingers under the elastic waistband of your underwear.

You felt him trace the inward of your thighs in languid strokes, the fabric stretching the further his hand dipped— closer, and closer to your now-pulsing core, but never so close as to make actual contact. His hot breath tingled your lips, smelling of nothing in particular, but a sweaty tang of a woman’s deodorant that still lingered in his clothes. Had he fucked her before making it here, you wondered, heart tightening at the thought.

Your legs wiggled shut, unable to fully repel his hand, and for a brief moment, you considered letting him go through with this— whatever this was. Even if you came to be another conquest won, you didn’t care. All you needed was for him to hush all logic from your brain, and fuck you senselessly against the checkered tile floor of the “kiddie food place” you served meals at.

“Toji…” you begged, uncertain what you were begging him for until you felt the warmth in your thighs subside.

“Makin’ sure to preserve your maiden’s dignity,” he said as he fixed your skirt in place. “Wouldn’t want some perv catching sight of your cute little ass, would we?”

His condescending tone made you want to throw a slap across his face and then yours; for thinking that maybe this wasn’t a mistake, that you could really move past the pretense of friendship and aim at what you really sought. But he’d been right once before. You were stupid, stupider than all those girls combined, considering you knew and still wouldn’t mind being dragged down with him one bit.

“Fucking asshole,” you blurted as you pushed yourself off him, dumping the cloth on his smug face.

Your lip quivered as you stepped onto your feet, unable to quite shake the feeling of incompletion from your core, walls pathetically clenching around nothingness. You refused to look at him, lest you caved in a second time, and thus you paced around the booths, stopping before the one window whose blinds didn’t block the magnificent parking lot view. Only a black SUV was left— most likely his newest rental.

Following a beep, you watched the lights flicker white, his reflection in the window lifting the chair back up. You crossed your arms over your chest and waited, your impatience and frustration churning into a dangerous mix within your guts, as the asshole whose name wasn’t worth saying moved past you and walked straight to the door, not a single word or goodbye said.

“What about your phone?” you asked, at last paying him a look of spite.

“I’ll text ya my new number.”

“We both know you won’t.”

He glanced over his shoulder and showed you his pearly white canines, his expression not polished enough to be called a smile. You rolled your eyes in the opposite direction, spotting his old device blinking a variety of different lights, refusing to die just like its bastard of an owner.

“What should I do with this?”

“How the hell should I know?” Toji shrugged. “Get rid of it, or toss it in some burger. I’m sure no one will be able to tell the difference. Later,” the bell chimed as the door collided with the frame, chiming a second time as his head popped in a moment later. “Loved the raspberries.”

“They were strawberries, you scatterbrained swine,” you cursed, but he’d heard none of it. The car was gone, and so was he, and it was for the best that he didn’t get to witness the strawberry-colored shadow that loomed over both your cheeks.

Fanning some of that heat away, you returned to the table, surprised to find a white envelope with the name Kenzo hastily written on the front. Cash. Lots of cash. Enough cash to keep a low-end apartment afloat for at least a couple of months. An excuse and simultaneously the answer to all your previous questions.

“You fucking bastard,” you hummed, the term switching to one of utter endearment.

When the first instance of a wintry breeze came charging at the semi-exposed features of your face—a scarf’s fluff tucked right below your nose— you knew that walking all the way to the location where the unknown ID claiming to be Zen’in Toji ordered you to meet up was probably a bad idea.

For starters, you’d turn into an icicle long before making it back to your workplace. Not to mention you had no foolproof way of guaranteeing the person you were about to meet wasn’t some random impersonating psychopath. But when you finally spotted the yellow curvy “M” upon the rectangular red sign that spelled the fast food chain’s name, you narrowed down the psychopaths to that one cheapskate you happened to know.

Walking into the nearly vacant dining area —only the first two booths near the door occupying a family of four each— you detected him almost immediately. He was the only one seated in his wing. Head slightly tilted to look past the window, golden highlights showering the curve of a nose as it arched into thin eyebrows, calm eyes glinting with subtle emerald, and fingers that absentmindedly tapped away onto one of the two paper-covered trays. He had the decency to wait for you before getting into his food, though that didn’t stop him from munching on the occasional fry.

You tugged the handbag off your shoulder and slowly approached him, hesitating to enter his field of view, if just for a moment. He seemed so peaceful and serene, that if you had the guts, you’d snap a picture of him right then and there and make it into your phone’s wallpaper. But you didn’t. You’d never be able to explain it to him in a non-humiliating way, should he catch you in the act, and so, you shook the notion off and marched in his direction, his eyes lighting up in recognition.

“What’s the point of calling me out here for lunch if we are gonna have burgers?” you dropped your bag at the far end of the table. “Why not eat at our place?”

“I like the fries here better,” he bit onto one as if to affirm his claim, licking the salty essence off his fingers. “You should be glad I got you some, too,” he nodded toward the closed dome-shaped box that lay in front of you. “Nuggets over burgers, right? Didn’t know what toy ya wanted though. Cashier girl told me bunnies are quite popular with girls your age, so I went with that.”

Ignoring, or rather postponing your answer to his outrageous suggestion, you peered through the contents of your meal’s box, spotting the wrapped-in-plastic purple-colored bunny key chain right at the bottom between the small portion of deluxe potatoes and even smaller portion of chicken nuggets that still steamed hot air. You were surprised he remembered everything about your order, down to your preference for milkshake over other beverages, and perhaps you would have shown your gratitude if it wasn’t for that last comment of his gnawing at your pride.

“How old did you tell the cashier I was, again?” you gritted, trying to suppress the toy’s cuteness within your fist.

“Didn’t. Just said it’s for some kid I know. Probably thought it was for my daughter or something.”

A pair of googly eyes popped out from their sockets, the bunny’s head in serious danger of coming right off.

“Stop acting like an old man,” you muttered in embarrassment. “A nine-month head start in life doesn’t make you old enough to be my father.”

“Still older than you, kid,” said Toji, his fingers latching onto his wrapped-up burger. “Now eat up. Didn’t pay ya lunch for it to go cold.”

Annoyed by his remarks, but oh-so terribly starved, you decided to let things slide, the two of you lunching in a period of temporal truce. He went through his burger in big bites, clearing it out before you even finished your portion of nuggets. You mildly wondered why he’d held off if he was this hungry, but didn’t press on the reason behind his invitation until after his tray was half-emptied.

“So… why’d you wanna meet up? Got something to tell me?”

“Mhm, I actually do. How would you like us to be room—Nah, that doesn’t sound too right,” Toji shook his head off, dusting the excess salt off his fingers. “I decided I’m moving in with you.”

“You, what?!?” You shrieked, eyes wide with shock, resembling those of your newly acquired key chain.

“What I just said. I’m moving in,” he repeated as if you hadn’t heard him the first time around. “Got everything right here. I’ll pop by later so you can show me my room.”

You glanced down at what he tapped as “here”, spotting a large black duffel bag that rested on his feet. He wasn’t joking, you panicked. He was being 100% serious about this. Directing your milkshake to your mouth, you took a nervous sip, nearly choking on the plastic straw between your teeth, while Toji kept staring at you, awaiting no answer in particular. After all, he wasn’t asking. He was proclaiming.

“Why would you want that?” you asked once you regained the ability to think rationally. “Weren’t you the one who said you ride solo?”

“Numerous reasons,” he stated, drawing his forefinger forth as if to recount. “For starters, rental prices going up, gas too. Inflation in the market and all that crap. Your place is also closer to work, and” he leaned closer, “wasn’t your neighborhood the one on the news recently? You know, those serial break-and-enter cases? As far as I’m aware, the culprit’s still running loose, could be a cursed spirit or something. You can’t see ‘em, but I can. I’ll keep ya safe. Wouldn’t you want that? Sounds like a fair deal to me, at least.”

The repetitive pattern of a catchy pop song blasting from the speakers served as a backdrop to your thoughts, eyes flickering between the table and his face. He wasn’t exactly wrong about what he said. The girl next door was the robber’s last victim, and from what you’d gathered, it seemed like the ones targeted were exclusively single women in their twenties. Curse or not, that was the intruder’s type, and you just so happened to tick both of those boxes.

From a standpoint of reason, his suggestion sounded fair alright, but this was Toji we were talking about. The man whose name was your first thought in the morning and the final afterthought in the night. The man you were coincidentally in love with.

Living with him would entail being around him a lot more than you could handle. Waking and sleeping and eating in the same house as him, spending your days off together, bickering about bills, take-out, and the TV remote’s ownership, doing things that only couples got to do, and of course, sharing a bathroom, which on its own meant seeing him parade through the cramped little space of your apartment in nothing but a soggy towel, hair slick and teeth beaming as he’d be asking if you’d like to join him in the shower—

You hit the break on these thoughts and pressed your forehead flat against both palms, feeling the heat exuding through your fingers. You were only able to keep this relationship platonic because of the distance he put between you. If he were to suddenly close it, what would come of you? How on earth would you be able to hold back?

“Don’t you want me?”

“Huh?” you bit at the straw again, snapping it in half.

“I said, you hate the idea of living with me that much?”

Toji certainly didn’t mince his words, but the way he was looking at you, brows furrowing and lips quivering into a frown despite the edge in his tone, almost made it seem as if hearing your rejection out loud would hurt him, and because of that, you had no choice, but to shake your head in denial. You wanted this. More than words could express, you wanted to be with him like that, even if you refrained from disclosing that truth.

You wanted him.

“What about your girlfriends? Wouldn’t they be against you living with some woman?”

“Nah, I’m done with that. Done with all of ‘em.”

“But my apartment is too small. I don’t think it’d suit you—”

“I’ll manage,” he cut you off.

“I don’t even have a second bed-”

“We can always share,” he smirked, letting out a light-hearted chuckle as he watched color paint your cheeks. “Couch is fine, too. So, whaddya say, roomie?”

“…Fine,” you conceded, very well knowing you’d come to regret this decision. “But we need to set some ground rules! No trashing the apartment, no throwing your ‘work tools’ all over the place, no smoking, no drinking, no loud music, and no bringing in random women. No starting fights either! You’ll help around and pay half of what’s needed, so no gambling your money away. Those are my terms.”

“You drive a hard bargain, roomie,” Toji said, balancing his chin atop his elbow. “Fine by me. Told you I’m done with half those things anyway, and I don’t mind helping you with anything. I mean that.”

But I could help. I could make you feel really good, Y/N.

His words from that night still lingered in your mind like an unfulfilled promise, and when he phrased it like that, you couldn’t help but be reminded of how good his hands felt that night, creeping all over your skin as if he owned it— as if he owned you.

“G-good!” you said, picking up a fry off his tray and tossing it in your mouth, lest you said something stupid.

“No one taught you stealing other people’s food is rude?” Toji shot you a glare unequal to your crime.

“It’s not stealing if you are done with it!” you protested. “You haven’t touched your fries in over ten minutes now.”

His tongue clicked against his mouth’s roof, producing a series of “tsk” sounds while he shook his head in disapproval. “Didn’t take ya for such a brat, Y/N. Disrespecting me in my face right after we came to an agreement? That’s some bad business ethics.”

You rolled your eyes at his comment, barely keeping yourself from groaning. “I’m so terribly sorry, sir. I shouldn’t have stolen your esteemed fries, sir. Won’t ever happen again, sir. Please allow me to express my profound remorse, sir.”

Although Toji knew you only addressed him as such to get on his nerves, he was still pleased enough to grace with you an unsuspecting smile, seconds before you shoved a ketchup-covered potato against his mouth, smudging the left corner of his lips in a way akin to that of his right corner scar. He blinked, clouds of fury gathering in the bleakness of his eyes and cheeks puffing up, painting the most adorable expression you’d ever seen him wear.

“So cute,” you gushed, unable to suppress a hearty laughter that agitated him even more, red blooming across his cheeks— most likely by the lack of oxygen, you interpreted.

“Fucking brat,” he hissed, dipping the last of his fries in ketchup and then stuffing your mouth with it before you could even react. “I’ll show ya how it’s done!” he declared, your lips puckering against his fingers, condiment spreading all over like lipstick. His other hand forced your head in place, stilling your chin for him to work on his masterpiece, making a much bigger mess out of you than you had made of him.

“Hmphmmph!” you hummed while Toji laughed, a deep sound that reverberated straight from his guts, his eyes glinting along with his teeth in sheer joy that convinced you to give up so as to not spoil his fun. It was rare to see him genuinely happy.

“That should teach ya to behave,” he spat, smugness in every aspect of his features as he pressed his thumb onto his mouth, cleaning the ketchup off with a lick. “But you did address me properly, so you’ve earned the right to choose. Napkin or my lips? Which one?”

Stupefied as you were, you didn’t understand the full context of his question until you felt the sudden warmth of his mouth flutter over your skin, the tip of his tongue sloppily gathering the leftover ketchup off your right cheek. Your jaw popped open, a small gasp escaping as a result of his action.

“Too slow,” Toji whispered, hooded green eyes peering right into yours. “I’ll ask again. Napkin or my lips? What’s it gonna be, doll?”

“N-n-n-napkin!” you must have stuttered at least a thousand times before forming a comprehensible answer. He was so close that if he tilted his head any closer your lips were sure to touch. “P-please get me a napkin.”

“Please?” he chuckled, acting as if was really going to kiss you and then pulling away. “Be right back.”

Even after Toji let go, you could still feel the weight of his thumb holding you down, your eyes zeroing in on his black sweater as he set off for the other side of the room where the napkin and condiments stand was located. You heard a few whispers coming from beside your table, catching three pairs of eyes shooting daggers right at your back.

“Don’t they have a home?” a woman’s voice echoed first.

“Kids these days…” a man added.

“Honey, don’t look at their sinfulness, it’s the devil’s work.” A second woman concluded.

You were on the verge of experiencing a cardiac arrest, and you were pretty darn sure you would have if Toji hadn’t returned with the napkins in time, his hand snatched by yours as you forcefully dragged him out of the place, spelling frantic apologies at whoever was listening.

Once you’d made it outside, you sighed in relief, winter’s viciousness coming as a much-needed slap across your face. You took in a few breaths, letting go of his hand and padding a few steps away from the store’s windows, afraid you were still the focus of their attention. Toji followed, one hand stuffed inside his jeans pocket, while the other held the duffel bag over his shoulder in a lazy manner.

“Can you give me a lift to work?” you managed to ask, dodging his stare even as he stepped to the front.

“I would, but I can’t. Gave the car away.”

“You did what?”

Nothing about your reaction was funny in any shape or form, but he seemed amused enough to break into a soft chuckle, his eyes, too, softening ever so slightly.

“Planning to walk around town like a bloodsucker?” he asked, bringing a napkin to wipe your lips with greater care than you’d think. “How dirty,” he cooed, gently tapping at the center. “Next time, I won’t ask for permission to kiss you, roomie. Let’s go.”

“W-Where?” your voice came out so frail that you doubted he’d heard your question, his bag bouncing over his taut body with every step he took outside the parking lot.

“You asked for a ride, didn’t ya? Come.”

A/N: Launching a new series because I have so many feelings bottled up that I'm in danger of farting hearts and rainbows and shit. Decided to take the time off and write this fic for myself cause I needed it, but then I thought why not share it with the world? First time writing for Jujutsu Kaisen and Toji in particular, so hopefully it's received well!

#fushiguro toji #zenin toji #toji fushiguro #toji zenin #jujutsu kaisen #jjk #jjk x reader #fushiguro toji x reader #toji fushiguro x reader #toji fanfiction #jjk fanfiction #brainrot is real #toji <3 #toji fluff #jujutsu kaisen toji #toji headcanons #jjk toji #toji scenarios #toji smut #not yet but ugh #toji fic #toji x y/n #toji x you #toji x self insert #jjk headcanons #jjk fanfic #jjk smut #jjk fluff #Toji x reader #jujutsu kaisen x reader

[ladyluscinia]

Ok, I think I might be exiting the "are you fucking kidding me?" period and ready to make a real argument, so lets talk about Three Act Structure!

Is OFMD S2 just the "Darkest Hour"?

A very common explanation I've been seeing for some of the... controversial... aspects of S2 is that it's meant to be that way. That the middle act is where the protagonists hit their lowest point. Where we get the big failure point. Where everything looks kind of shit.

S2 is supposedly just that point. It's The Empire Strikes Back. People have been making that comparison since before the first episodes even dropped, telling everyone to expect something that could be disappointing or unsatisfying - it's just a matter of needing to wait for S3 to pull it all together.

It's not a baseless framework to consider the show through - I'm pretty sure David Jenkins has mentioned it in interviews (or at least mentioned he planned for three acts / seasons) so it's certainly worth asking how he's doing at the 2/3rd mark.

So - quick summary of Three Act Structure:

Act 1 introduces our characters and world. It includes the inciting incident of the story and the first plot point, where a) the protagonist loses the ability to return to their normal life, and b) the story raises whatever dramatic question will drive the entire plot. Act 2 is rising action and usually most of the story. The protagonist tries to fix things and fucks them up worse, in the process learning new skills and character developing to overcome their flaws. Act 3 is the protagonist taking one more shot, but this time they are ready. We get the climax of the story, the dramatic question gets an answer, and then the story closes.

If you want examples, the Star Wars Original Trilogy is a very popular template. And, hell, he said it was a pirate story... the main Pirates of the Caribbean trilogy also does a solid job with their three acts.

Let's compare. (Spoiler: I'm not impressed 🤨)

---

First thing I need to establish... Wait. Two things. First is that Three Act Structure is flexible, so we can't really analyze success or failure by pulling up a list of necessary plot beats that should have been hit in X order. Second is that if you tell me you are writing a romance with a Three Act Structure - where "the relationship is the story" - the first thing I'm going to do is ask you how you are adapting it. Because while there's not necessarily anything preventing you from applying this to a character driven plot, most people are familiar with it as plot structure for externally driven conflict.

Unless there's a reason the status of the main relationship is intrinsically tied up in the current status of the war against the evil empire, a standard Three Act Structure is going to entail either an antagonistic force that absolutely wants your main couple apart being the main relationship obstacle OR the romance aspect being a subplot to the protagonist's narrative adventure. None of those sound like how the show has been described.

So how is OFMD adapting it?

---

Act 1

(Can't figure out how well Act 2 is doing if we don't start at setup.)

Right out the gate, OFMD breaks one of the main "rules" for a story where the Acts are delivered in three parts. Namely the one where the first Act is treated as an acceptable standalone story, with it's own satisfying yet open ended conclusion.

In Star Wars, A New Hope ends with the princess rescued, Luke finding the Force, Han finding his loyalty, and the Death Star destroyed. The Empire isn't defeated, the antagonists still live... the story is not over, but this one movie doesn't feel unfinished.

Similarly, Curse of the Black Pearl gives Jack his ship back, Elizabeth and Will get together, and Norrington has the English Navy let them all off the hook and give Jack and the pirates one day's head start.

OFMD's final beat of S1 being Kraken Arc starting is not that, even if Stede returning to sea is still a pretty hopeful note. Now... I don't necessarily think this was a bad call. At least, not if the story is the relationship. It's easy to close on a happy ending and then fuck it up next movie if the conflict is external and coming for them. Not so much if you're driving the story with your protagonists' flaws, in part because it should be really obvious at the end of setup that your main characters need development and can't run off together right now. I actually like that they were risk-takers and let S1 look at the situation clearly vs doing a fragile happy end, because it takes into account the difference between a character-driven and plot-driven narrative.

I think OFMD's Act 1 actually ends at maybe the Act of Grace? Well, there through the kiss on the beach, counting as our "first plot point" before everything goes wrong, basically.

At that point, they have setup the story and characters. We've been introduced to Edward and Stede's current issues. Signing the Act of Grace does make the intertwined arcs between them real - it's no longer a situation that either one of them could just walk away from like it was in 1x07 - and we narrow in on the (alleged) driving question of the show:

It's not about "Will Stede become a great pirate?" or "Will we develop a better kind of piracy for the crew?" - the show is the relationship and the big question is "What is Stede and Edward's happy ending?"

Act 1 ends on their first solution, being together and making each other happy and admitting it's more than just friendship. Act 2 starts, appropriately, by saying both of them are currently too flawed for that to go anywhere but crashing and burning.

Now... looking back, what does Act 1 do well vs poorly?

I think it's really strong on giving us the foundation for BlackBonnet's characters and flaws. We aren't surprised Stede goes home or Edward goes Kraken (or at least... we weren't supposed to be surprised. There are still a lot of holdouts blaming Izzy for interrupting Edward's "healing" despite how at this point in the story it doesn't make sense for Edward to have the skills to heal... but I digress). The relationship question is compelling at the end of S1, the cliffhanger hooks, and the fandom explosion of fics did not come from nowhere - the audience was invested.

I also think Act 1 does a great job of settling us in the universe. We understand the rules it abides by, from how gay pirates are just a fact of life to how there's no important organs on the left side of the body. Stede has a muppety force field. Rowboats have homing devices, and port is always as close as you want it to be. Scurvy is a joke. The overblown violence of pirate life is mostly a joke, but we are going to take the violence of childhood trauma seriously.

Lucius's fake-out death, while technically part of Act 2, works well because Act 1 did a good job of priming everyone to go "obviously this show wouldn't kill a crew member for shock value, and we're 100% supposed to suspend disbelief about how he could have survived getting flung into the sea in the middle of the night." And we do. And we get rewarded for it.

Regarding antagonists - a big focus of any setup - the show is deliberately weak. The one with the most screentime is Izzy, and he's purposefully ineffective at separating our main couple. Every antagonist is keyed to a particular character, and they function mostly to inform us of that character's flaws and development requirements. The Badmintons tell us about Stede's repression and feelings of inadequacy, and Izzy tells us about Edward's directionless discontent and tendency to avoid his problems. Effectively - the show is taking the stance this will be a character driven narrative where Stede and Edward's flaws are the source of problems and development the solution. No person or empire (or social homophobia) is separating them...

...which leads me to something not present - there nothing really about the struggle of piracy against the Empire. Looking at Curse of the Black Pearl... we see piracy is in danger. The Black Pearl itself is described as the last great pirate threat the British Navy needs to conquer. Hangings are omnipresent - Jack is sentenced to die by one almost as soon as he's introduced to the story, when his only act so far had been to wander around and save Elizabeth from drowning. OFMD tries to invoke this kind of struggle in 2x08, but there's no foundation. Our Navy antagonists are Stede's childhood bullies, and so focused on Stede the crew isn't even in danger when they get caught. The Republic of Pirates is getting jokes about being gentrified, not besieged.

Even the capture of Blackbeard by the Navy is treated as a feather in Wellington's cap but not a huge symbolic blow against piracy... because we just do not have that grand struggle woven into Act 1. You only know the "Golden Age of Piracy" is ending if you google it, or have watched a bunch of pirate shows.

Overall, a solid Act 1, well adapted to the kind of story they've said they were looking to tell - a romance in the (silly-fied) age of piracy, instead of a pirate adventure with a romantic subplot.

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Now, Sidebar - Where is the story going?

The thing about the dramatic question - in OFMD's case: "What is Stede and Edward's happy ending?" - is that a) there's normally more than one question bundled up in that one + sideplots, and b) while you aren't supposed to have the answer yet, you can usually guess what needs to happen to give you the answer.

Back to our examples... Luke's driving question is "Will the Empire be defeated?" Simple. Straightforward. Also: "Will Luke become a Jedi?" The eventual climax of our story from there is pretty obvious... the story is over when Luke wins the war for the Rebellion in a Jedi way. That's the goal that they are working toward.

Pirates of the Caribbean is a bit more complicated. We're juggling more characters and have a less defined heroic journey, but there are driving questions like "Is Jack Sparrow a good man?" and "Is Will Turner a pirate / what does that mean?" and even "Will the British Navy defeat piracy?" They get basic answers in Curse of the Black Pearl, and far more defined ones in At World's End. Still, this is another plot-driven narrative. They've laid the foundations for the Pirates vs Empire struggle, and when that final battle turns into the trilogy climax then you know what's happening.

OFMD is not doing a plot-driven narrative. To judge how they are doing at their goals, we have to ask what they think a happy ending entails in a character sense.

Clearly it's not the classic romantic sideplot, where the climax is the first kiss / acknowledgement of feelings. They've teased a wedding in Word of God comments a lot, so that's probably our better endpoint. Specifically, though, a wedding where both of our protagonists aren't ready to flee from the altar (big ask) and where they've both grown enough that their flaws / mutual tendencies to run away from life problems won't tank the relationship.

In Stede's case it's still massive feelings of inadequacy and being too repressed to talk about his problems. Also he ran away from his family to chase a lifelong dream of being a pirate - "Is Stede going to find fulfillment in being a pirate captain, or will the real answer be love?" Edward meanwhile expresses a desire to quit piracy and retire Blackbeard, but we also find out he's struggling with massive self-loathing and guilt from killing his father - "Is retiring what Edward wants to do, or is he just running away?"

If they are going to get to a satisfying wedding beat at the climax of their story, what character beats do we need to hit in advance?

Off the top of my head - both characters need to self-realize their flaws (a pretty necessary demand of anyone who runs away from problems). They are set up to balance each other well, but also to miscommunicate easily. They have to tell each other about or verbally acknowledge that self-realization so it can be resolved. Stede has to decide how much being a pirate means to him. Edward has to decide if he's retiring and what he wants to do. They both need to show something to do with getting past their childhood traumas given all the flashbacks. Through all this, they also need to hit the normal romance beats that convince the audience they are romantically attracted to each other and like... want to get married.

Oh, and this is more of a genre-specific sideplot, but once they demonstrate a behavior that hurts the people who work for them, they need to then demonstrate later how it won't happen again. Proof of growth, which is kind of important in a comedy where a lot of the humor is based in them being massively self-centered assholes. Stede doesn't earn his acceptance in the community until he kicks Calico Jack off the ship, making up for causing the situation with Nigel in the first episode. A workplace comedy can get a lot of material from the boss as the worker's antagonist, but if you want the bosses to stay sympathetic you have got to throw them some opportunities to earn it.

All that sounds like a lot, but like - the relationship is the story, right? If we spend so much time on establishing flaws big enough to drive a story, we also have to spend time on fixing them. Which is where the turning point hits.

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Act 2: How it Starts

This is where the full story reality-checks your protagonist. Glad you saved your boyfriend and embraced new love in Act 1, but his repressed guilt means he's about to completely ghost you, and your own abandonment issues and self-loathing are about to make his dick move into everyone else's problem.

Again, it's a non-conventional choice OFMD has this start at the very end of S1 rather than with a sudden dark turn in the S2 premiere, but it's still pretty clearly that point in the Three Act Structure.

In Star Wars, The Empire Strikes Back opens with a timeskip to our Rebellion getting absolutely crushed and hiding on a miserable frozen planet. The Empire finds them as the plot is kicking off and they have to desperately flee. They get separated. Han and Leia try to go to an ally for help and end up in Vader's clutches. It's a sharp turn from the victorious note that A New Hope ended on.

Pirates of the Caribbean's Act 2 starts dark. Dead Man's Chest opens with our happy couple Will and Elizabeth getting arrested on their wedding day for the "happy end" escape of the last movie. Jack has not been having success since reclaiming his ship, and we'll soon find out he's being hunted by dark forces. As for the general state of piracy, we get a horrifying prison where pirates are being eaten alive by crows, and a new Lord Beckett making the dying state of piracy even more textual. "Jack Sparrow is a dying breed... The world is shrinking."

The key here is making a point that our heroes aren't ready. This is the struggles part - things they try? Fail. The odds do not look to be in their favor.

Now, OFMD apparently decided to go all-in on flaw exploration, especially with Edward. The first 3 episodes of S2 are brutally efficient in outlining Edward's backslide. In S1 you could see he had issues with guilt and feeling like a bad person. S2 devolves that into a destructive, suicidal spiral where Edward forces his crew into three months of consecutive raids, repeats his shocking act of cruelty with Izzy's toe offscreen (more than once!), escalates it with his leg, and finally they state directly that Edward hates himself for killing his dad so much that he fears he's fundamentally unlovable and better off dead.

Stede's struggles are subtler, but most definitely still there. He's deliberately turning a blind eye to tales of Edward's rampage, half from simply being too self-centered to care about the harms Edward causes others, and half from being unable to face or fathom that he had the ability to hurt Edward that much. Upon reunion he wants to put the whole thing behind them, not addressing why he left in the first place. Very "love magically fixes everything" of him, except Stede is no golden merman.

Interestingly, here, BlackBonnet's relationship dysfunction has very clearly been having a negative impact on the surrounding characters we care about. Make sense, since it's the driving force of the story, but that also adds a lot more relationships we need to make right. Like... Edward is the villain to his crew. The show focuses on their trauma and poisoned relationships with him. And then draws our attention even more to Stede taking his side to overrule their objections to him.

For a story where the conflict and required resolutions are primarily character based, and the setup had already given the main couple a good amount to work with, dedicating a lot of S2 to adding more ground to cover was... a choice. Potentially very compelling on the character end, certainly challenging on the writing end... but not a complete break with the structure.

Bold, but not damning.

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Act 2: How it Ends

Now it is true that Act 2 tends to end on a loss. Luke is defeated by Vader and loses his hand, and Han has been sent away in carbonite. Jack Sparrow for all his efforts cannot escape his fate, and he and the Pearl are dragged to the locker.

But the loss is not the point. The loss is incidental to the point.

Act 2 is about struggles and failure, but it's also about lessons learned. There's a change that occurs, and our cast - defeated but not broken - enters the final act with the essential skills, motivation, knowledge, etc. that they lacked in the beginning.

Luke Skywalker could not have defeated the Empire in Return of the Jedi until he'd learned the truth about his father and resisted the Dark Side in The Empire Strikes Back. (Ok, confession, I'm using Star Wars as an example because literally everyone is doing so, but frankly it's a better example of formulaic Three Act Structure repeating within each movie because on a trilogy level - relevant to this comparison - it is a super basic hero's journey in a very recognized outfit and as such the Act 2 relevance is also... super basic "the hero tries to fight the antagonist too early" beat where he learns humility. Not really a lot going on. So, for the better example...)

Dead Man's Chest has a downer ending with the closing moment of the survivors regaining hope and a plan against an enemy now on the verge of total victory - a classic Act 2. But in that first loss against Davy Jones we get Will's personal motivation and oath to stab the heart, Jack finally overcoming not knowing what he wanted and returning to save them from the Kraken (being a good man), Elizabeth betraying Jack (being a pirate), Barbossa's return, and Norrington's choice to bargain for his prior life back. The mission to retrieve Jack from the World's End is the final movie's plot, but things are already on track to turn the tables back around as we enter the finale.

Now, relevant sidenote - one major difference between Three Act Structure within a single work vs across three parts is that Act 2 continues into Part 3, and only tips over into Act 3 about midway through. This is because obviously your final movie or season cannot just be the climax. That's why both movie examples start with a rescue mission. They have to still be missing something so they can get the plot of their third part accelerating while they go get whatever that something is.

But if you wait until the 3rd movie / season to get the development going at all - you're fucked.

Jack's decision in the climax of At World's End to make Elizabeth into the Pirate King goes back to the development we saw in the Pearl vs Kraken fight in Dead Man's Chest. So does Elizabeth's leadership arc. Will's whole arc about becoming Captain of the Dutchman gets built upon in the third movie, but it starts in the second. Not just as an idle thought - he's actively pursuing it. Already consciously weighing saving his father vs getting back to Elizabeth as soon as he makes the oath. Everyone is moving forward in Act 2. Their remaining development might stumble for drama, or they might be a bit reluctant, but I know that they know better than to let it stick, because they already faced their true crisis points.

I'm not sure we can say the same about OFMD.

S2 does a good job of adding problems, yeah, but there's not really any movement on fixing them. Our main couple stagnates in some ways, and regresses in others.

Stede opened Act 2 by running away in the middle of the night back to his wife without telling Edward anything. We know he did it because of feeling guilty and his core childhood trauma of his dad calling him a weak and inadequate failure. Now in S1 he actually speedruns a realization of his shitty behavior with Mary, but what about S2? Well...

He continues to not talk to Edward about... pretty much anything. My guy practiced love confessions galore but Edward only finds out about going back to his wife via Anne, and it gets brushed aside with a love confession. He seems to think Edward wants him to be a dashing pirate, or maybe he just thinks he should be a dashing pirate. Idk, it doesn't get examined. Regarding his captaincy, they give him an episode plot about Izzy teaching him to respect the crew's beliefs, but this is sideplot to a larger arc of him completely overruling their traumas and concerns (and shushing their objections) to keep his boyfriend on the ship so. That.

Stede kills a man for reasons related to his issues, shoves that down inside and has sex with Edward instead of acknowledging any bad feelings. At least this time Edward was there and knows it happened? Neither Chauncey's death nor his dad have been mentioned to anyone. He gets a day of piracy fame that goes to his head, gets dumped, and ends on a complete beat down by Zheng where he learns... idk. Being a boor is bad? He's still wildly callous to her in the finale, and spends the whole time seeking validation of his pirate skills. He reunites with Edward, kisses, and quotes Han Solo.

Where S1 ended on a great fuckery, his S2 naval uniform plan after they regroup is ill defined except to call it a suicide mission - and we don't get to see what it would have been because it devolves into a very straightforward fight and flee. And gets Izzy killed. Quick cut funeral (no acknowledgement of his S2 bonding with Izzy), quick cut to wedding (foreshadowing), quick cut to... innkeeper retirement? Unclear when or even if BlackBonnet discussed Stede's whole driving dream to be a pirate and live a life at sea, but I guess that got a big priority downgrade. Despite the fact he was literally looking to Zheng for pirate-based compliments in the post-funeral scene.

I guess he's borderline-delusionally dogged in his pursuit of love now - so unlikely to bolt again - but he's also got at least a decade of experience mentally checking out in a state of repression when he's unhappy. And he's stopped being as supportive and caring toward the crew in that dogged pursuit, while arguably demonstrating a loss in leadership skills, so, um, good thing someone else is in charge?

And if Stede is a mess, Edward's arc is so much worse.

As established, they devote the Kraken to making Edward worse. He literally wants to kill himself and destroy everyone around him in the process because Stede left, and this is fixed by... Stede coming back. That's it. The crew tries to murder him and then exiles him from the ship (and Izzy takes the lead on both, indicating exactly how isolated Edward has become), but it's resolved in half a day by Stede just forcing them to put up with his boyfriend again. Like they think he murdered Buttons and still have to move him back in???

The show consistently depicts Kraken Era as a transgression against the crew, but they also avoid showing Edward acting with genuine contrition. He admits he historically doesn't apologize for anything, and then mostly still doesn't. It's a joke that he's approaching probation as a performance (CEO apology), and then the only person he genuinely talks to is Fang - the one guy cool with him - and the only person who gets a basic "sorry" is Izzy - the guy he really needs to be talking to. Edward's primary trauma is guilt, but apparently he only feels it abstractly after all that? He's only concerned with fixing things with Stede, despite Stede being about the only person around who hurt him instead of the reverse.

Speaking of primary traumas, Edward hating himself doesn't really go anywhere after the beat of self-realization. Apparently Stede still loving him is enough of a bandaid to end the suicide chasing, but he doesn't like. Acknowledge that. Edward is maybe sorta trying to go slow so he doesn't hang all his self-worth on Stede again (you can speculate), but they a) absolutely fail to go slow, and b) he doesn't make any attempt to develop himself or another support structure. Just basically... "let's be friends a bit before hooking back up." And then we get the whiplash that is Blackbeard and/or retirement.

Kraken Era is Blackbeard but way worse, like no one who has known Blackbeard has ever seen him. In the Gravy Basket Edward claims he might like being an innkeeper, before destroying his own fantasy by having the spectre of Hornigold confront him over killing his dad. The BlackBonnet to Anne & Mary parallel says running away to China / retiring makes you want to kill each other - burn it all down and go back to piracy. Stede rightfully points out prior retirement plans were whims. Edward gets sick of the penance sack after a day and puts his leathers back on to go try "poison into positivity". But also claims to be an innkeeper (look - two whole mentions!) when trying not to send children to be pirates after teaching them important knife skills.

Killing Ned Low is a serious, bad thing that prompts ill-advised sex and then going hardcore into retirement mode - leathers overboard, talk about mermaid fantasy, get retirement blessings from Izzy, end up dumping Stede for a fishing job instead of talking about how he's enjoying piracy. The fishing job, however, is also a bad thing and a stupid decision because Edward is a lazy freeloader fantasizing about being a better person. We have an uncomfortable, extended scene of "Pop-Pop" weirdly echoing his abusive dad and then sending Edward to go do what he's good at - disassociate, brutally murder two guys, fish up the leathers, rise as the Kraken from the sea. He continues with comically efficient murder but also he's reading Stede's love letters and seeking to reunite with him so... wait, is this a good thing? Post makeout / mass slaughter he's trading compliments on his kills with Zheng so. Yeah. Looks like it. Murder is fine.

Wait, no, skip ahead and Izzy is dying and Edward suddenly cares a whole lot as Izzy makes his death scene about freeing Edward from Blackbeard. Now being a pirate was "encouraging the darkness" because Izzy - a guy who had little to no influence over Edward's behavior - just couldn't let Blackbeard go. Murder is bad again, and he is freed. Minus the little detail that the murder he explicitly hates himself over was not related to Blackbeard or piracy whatsoever, so presumably haunts "just Ed" still. Anyway he's retiring to run an inn with Stede now, as the "loving family" Izzy comforted him with in his dying moments sails away from the couple that can best be described as the antagonists of their S2 arc. Also Edward implicitly wants to get married. It's been 3 days since making out was "too fast". He's still wearing the leathers.

So most of the way through Act 2 and Edward's barely on speaking terms with anyone but Stede, who he has once again hung his entire life on really fast? Crushing guilt leads to self-hatred leads to mass murder and suicide, but only if he's upset so just avoid that. He's still regularly idealizing Stede as a non-fucked up golden mermaid person (that maybe he personally ruined a bit) because he barely knows the guy. His only progress on his future is "pirate" crossed out / rewritten / crossed out again a few times, "fisherman" crossed out, and "innkeeper ?"

Just.

Where is the forward movement?

It's not just that the inn will undoubtedly fall apart - it's that the inn will fall apart for the near-exact same reasons that China was going to at the beginning of Act 2, and I can't point to anything they've learned in the time since that will help them. I guess Stede realized he loved Edward enough to chase after him, but that was in S1! They should be further than this by now. You can't cram another crisis backslide, all the Act 2 development, and the full Act 3 climax into one season. Certainly not without it feeling like the characters magically fix themselves.

If they just fail and keep blindly stumbling into the same issues because they don't change their behavior, then Act 2 doesn't work. You're just repeating the turning point between Act 1 & Act 2 on a loop.

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Where Did They Fuck Up?

Actually... lets start on what they did right.

The one consistent aspect of S2 that I praised and still think was done well in a vacuum (despite being mostly left out of the finale) was the crew's union-building arc.

With only 8 episodes and more to do in them than S1, side characters were going to get pinched even if the main plot was absolutely flawless. That was unavoidable. With budget cuts / scheduling issues, we regularly have crew members simply vanish offscreen outside of one scene, meaning cohesive arcs for your faves was not likely. Not to say they couldn't have done better - my benefit of the doubt for the TealOranges breakup and Oluwande x Zheng dried up about when I realized he was literally just her Stede stand-in for the parallel - but something like Jim's revenge plot from S1 was realistically not on the table without, like, turning half the crew into seagulls to afford it.

The union building works around this constraint really well. They turn "the crew" into the side arc, and then weave Izzy's beats in so that they aren't just about Izzy. The breakup boat crew working together to comfort each other and protect him turns them into a unit, and Stede's crew taking it upon themselves to address the trauma vibes while the captains aren't in the way solidifies it across all our side characters. The crew goes to war with Stede's cursed coat and wins, they Calypso their boss to throw a party, and they capitalize on a chance to make bank with an efficiency Stede could only dream of.

We don't get specific arcs, but Frenchie, Jim, and Oluwande are defaulted to as leaders in just about every situation, and Roach is constantly shown sharing his inventions with different characters. Individuals can dip in and out without feeling like the sideplots stutter. Any sense of community in S2 is coming from this arc - even if there are cracks at the points where it joins to other storylines (Stede and Edward, Zheng, etc.)

So why does it work? Well, because it's a workplace comedy, and you can tell they are familiar with working on those. They know where the beats are. They know where to find the humor. They know how to build off of S1 because they made sure the bones were already there - an eclectic group of individuals that start as just coworkers, but bond over time in the face of their struggle against an inept boss who they grow to care for and support while maintaining an increasingly friendly antagonism because, you know, inept boss.

OFMD does its best work in S2 when it's being true to its original concept... and its worst work when it seemingly loses confidence in its own premise.

"The show is the relationship," right? It's a romance set in a workplace comedy. The setup of Act 1 was all about creating a character-driven narrative. So given that... where the hell are we getting the dying of piracy and a war against the English Navy?

That's not a character-driven romcom backdrop, it's an action-adventure plot from Pirates of the Caribbean or Black Sails. It's plot-driven, creating an antagonistic force that results in your characters' problems. Once the story is about the fight against the Empire, the dramatic question becomes the same as those adventure stories - "Will the British Navy defeat piracy, and will our protagonists come out the other side of the battle?"

Forget the wedding. The wedding is no longer the climax of the story, its back to the happy ending flash our romantic subplot gets after winning this fight.

Except, of course, trying to pivot your story to a contradictory dramatic question near the end of Act 2 can be nothing short of a disaster, because either you were writing the wrong story until now, or you've completely lost the plot of the real one. I shouldn't even be trying to figure out if they are doing this, because it should be so obvious that they wouldn't.

And yet.

What do the Zheng and Ricky plots add to the story if not this? Neither of these characters have anything emotionally to contribute to Stede and Edward - they truly are plot elements. It's a hard break from the S1 antagonist model, but it also takes up a lot of valuable screentime. This was considered important, but still Zheng's personality and motivation only gets explored so far as it's an Edward-Stede-Izzy parallel with Oluwande and Auntie, and they only need the parallel for Izzy's genre-jumping death scene. Which follows a thematically out-of-left-field speech about how piracy is about belonging to something good (workable) and how Ricky could never destroy their spirits (um...?). And then David Jenkins is pointing to it and saying things about "the symbolic death of piracy" and speculating S3 might be about the crew getting "payback"??? An idea floated by Zheng right before our temporary retirement, btw.

Fuck, the final episode of S2 didn't have time for our main couple to talk to each other because it was so busy dealing with the mass explosion of Zheng's fleet and Ricky's victory gloat. We get lethal violence associated with traumatic flashbacks until they need to cut down enemy mooks like it's nothing, at which point we get jokes with Zheng. The Republic of Pirates is destroyed outright, and it feels like they only did it because they got insecure about their "pirate story" not having the right kind of stakes. Don't even get me started on killing a major character because "Piracy’s a dangerous occupation, and some characters should die," as if suspending disbelief on this aspect makes the story somehow lesser, instead of just being a fairly standard genre convention in comedy. Nobody complains about Kermit the Frog having an improbably good survival record.

Did someone tell them that the heroes have to lose a battle near the end of Act 2, so they scrambled to give them one?

Just... compare the wholly plot-driven struggle in 2x08 to Stede and Edward's character-focused storylines in 1x10 and tell me how 2x08 is providing anything nearly as valuable to the story. Because I can't fucking find it.

At best they wasted a bunch of time on a poorly integrated adventure plot as, like, Zheng's backstory or something, and just fucked it up horribly by trying to "step up" the kind of plot they did for Jim. In which case the whole thing will be awkwardly dropped but damage is done. Otherwise, they actually thought they could just casually add a subplot like this because they've done something wildly stupid like think "pirate" is a genre on the same level as "workplace comedy" and can just trample in-universe coherency while you draw on other media to shore up their unsupported beats.

Bringing us to the most infuriating bit...

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"...end the second season in a kinder spot."

If this was the goal, the entire season was written to work actively against it in way that is baffling and incompetent.

The really ironic thing is that the reason that the Act 2 part typically gets a downer ending is because of the evil empire that OFMD did not have to deal with until they pointlessly added it. A plot-driven story has an antagonistic force - a villain - that the heroes need to defeat. Something external working against them. The story ends when they beat the thing, and it's not much of a climax if they do most of the defeating before you get there. Ergo, they have to be outmatched up to the climax. Ergo, the second part cannot end on them feeling pretty comfortable and confident going into the third.

The same rules do not apply in the same way to a character-driven arc.

We already established Edward and Stede declaring their love is not the end of the story. Nor, necessarily, is both of them confidently entering a relationship. Even once they've developed a bunch they will have to show that development by running into the kinds of problems that would have broken them up before and resolving them better.

David Jenkins keeps talking about this idea that S2 is getting a hopeful open ending and S3 will get into potential problems, and like... I don't see any reason why they couldn't have done that successfully. They didn't, but they could've.

If S2 grew them enough as characters and then had them agree to try again in the last minute of the finale, they absolutely could have had a kind and hopeful ending where you were confident they could do it. And then a potential S3 can show that. It's a bit rockier than they were counting on, but they have learned enough lessons to not break up. And then the overall plot can build to proposal (start of Act 3) and wedding (the romantic climax). It doesn't have to be a blow out fight to be emotionally cathartic.

(Hell, the main rockier bit that they overcome in the S3 Act 2 portions could be marriage baggage. I'm sure they both have some. It would work.)

In the same way focusing on our character's long term flaws and character-driven conflict makes an Act 1 "happy ending" more difficult, I suspect it makes an Act 2 "happy ending" easier.

Instead they wrote an Act 2 that failed to convincingly start development and got confused on its direction, and then presented a rushed finale ending in a copy of the predictable disaster from S1 as though it's a good thing. They yanked the story at least temporarily into an awkward place where a romcom is trying to sell me on a bunch of serious drama / adventure beats that it has not put the work into, and inviting comparisons to better versions of those same beats in other, more suited media that make it look worse. The need to portray everyone as reaching happy closure overrules sitting with a major character death and using it for any narrative significance, while still letting it overshadow those happy endings because a romcom just sloppily killed a major character with a wound they've literally looked into the camera and said was harmless.

If I'm being entirely honest, Dead Man's Chest ends effectively at Jack Sparrow's funeral and then cuts to the British Navy obtaining a weapon of mass destruction, and it still feels kinder and more hopeful just because I leave with more faith the characters are actively capable of and working toward solving their problems.

OFMD S2, in contrast, has half-convinced me our main couple would live in a mutually obsessed, miscommunication-ridden horror story until they die.

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Additional Reading

Normally I link stuff like this in the post, but that requires more excitement than I'm feeling right now. Here's my alternative:

Where I thought they were going with Edward - really outlines the mountain of character development they still have unaddressed

Where I thought they were going with Izzy - touches on a lot of themes that might be dead in the water & also context that's still probably relevant to why Izzy got a lot of focus in S2

My scattershot 2x08 reactions

An ask where I sketched out the bones of this argument, and another where I was mostly venting about the fandom response

This one, this other one, and this last one (read the link in op's post too) about genre shifts and failure to pull them off

The trauma goes in the box but it never opens back up - the whole point of Act 2 is that they needed to start opening shit like that - and also they focus so much on needed character growth and so little on following through

They can't even carry through on character growth that we got last season???

Why Izzy's death feels like Bury Your Gays ran smack into shitty writing

EDIT: Oh and this post is REALLY good for outlining the lack of change in way less words than I did

#our flag means death #ofmd #ofmd s2 #ofmd s2 spoilers #ofmd meta #three act structure #character arcs #blackbonnet #genre #blackbeard ofmd #stede bonnet ofmd #my meta #ladyluscinia #ofmd critical

[burst-of-iridescent]

atla live action thoughts: episodes 3 & 4

SPOILERS AHEAD

tw: opinions

things i liked:

jet, you beautiful, beautiful man. had me twirling my hair and kicking my feet fr i NEED this show to get a season 2 just so i can see more of him in the ba sing se arc please netflix

but looks aside, sebastian amoruso DELIVERED on the performance. the softness, the vulnerability, the charm, the intelligence, yet also the ruthlessness beneath it all? KILLED IT.

the moment between him and katara where he tells her to remember her mother as she was alive and not just her death was absolutely lovely. “remember the sunrise” made me very emotional

on that note, can’t believe jetara fake marriage is canon now lmao

i am SO here for desi omashu. i love the vibe and aesthetic of the city and again the visuals are STUNNING. live action repping the south asians better than the original ever did i’ll be honest

shameless fan service but “MY CABBAGES” being so fucking dramatic had me dying

of all the things i expected from the atla live action, secret tunnel and omashu being lesbians wasn’t even on the list but i’m not mad. hilarious that they turned the cave of two lovers into the cave of two platonic siblings though

jet, omashu and northern air temple arcs actually meshed together better than i thought. the NAT episode never sat well with me in the original so i’m glad they moved them to omashu instead.

the freedom fighters were RIGHT OUT OF THE ANIMATION. casting directors absolutely killed

love that they showed resistance movements within the fire nation and azula being part of rooting them out. it’s a nice nod to the deserter, since i’m guessing they’re not including that episode

really glad to see that the atla live action is following the tradition of having weirdly unnecessary zutara crumbs in every iteration of the story because what in the om shanti om was that zutara scarf moment. 10/10 no notes

having one of the earthbenders transporting iroh be angry over losing a loved one because of iroh’s siege of ba sing se was a really great change. i’ve always thought the original glossed over the true extent of the damage iroh did, so having him come face to face with what he’d done in the past was a great way to add some complexity

“how dare you beat up that child!” everyone go home seeing zuko being beat up by a random old lady is the highlight of this series. really love that they were just running around throwing things at each other that was major book 1 zuko/aang fight energy lmao

SECRET TUNNELLLLLLLL

leaves from the vine instrumental was 100% to inflict emotional damage and it fucking worked. the scene between zuko and iroh at lu ten’s funeral was so beautiful & then to have it flipped around at the end when iroh says “everything i need is on this boat”… fuck you for this netflix i didn’t need these tears today

things i disliked/am conflicted about:

not a fan of what they’re doing with katara’s character. they’re toning down a lot of her rage and fierceness, and boiling her down to “trauma over mother’s death.” in the original katara didn’t freeze jet and splash water at him because he tried to fight her, she did it because she was hurt and pissed off! there’s no way animated katara would’ve just run away from jet without sending a water whip at his face first. i’m concerned for how the pakku fight is gonna go tbh

bumi my guy, what did they do to you 💀 this series seems hellbent on having everyone remind aang that he ran away which doesn’t work when a) you already changed aang actively running away to him just going off for a break and b) you’ve made that point! the original omashu episode was about bumi teaching aang to look at the world differently, here it just weirdly feels as though he’s punishing aang by venting all his anger and despair on him?? that’s NOT what animated bumi was like & they didn’t even have the two of them go sliding down the delivery system in the flashbacks so adding it in at the end felt very out of nowhere. they didn’t even genuinely seem to be FRIENDS

having aang immediately figure out it was bumi was… sigh. can we please not do the thing where characters already know everything it’s giving me trauma flashbacks to the percy jackson show

jet’s plan feels more reasonable here than it did in the original. i get they’re trying to show that he didn’t care about the collateral damage to innocent people and that’s bad, but idk him wiping out an entire town unilaterally felt more extreme than a few bombings.

heavily dislike what they’ve done with zhao. i know they’re trying to show him clawing his way to power but that’s more of a long feng move than a ZHAO move. it’s important that zhao always holds more power than zuko and that he has an overinflated sense of ego from the start for him to fulfil his narrative purpose of serving as a warning to zuko of what he might become.

i like seeing mailee but why are they in this show? it feels as though they’re cardboard cutouts there for fan service instead of being actual characters

overall i liked these episodes better than the previous two & i do enjoy how action-packed and visually pleasing the show has been so far.

overall rating: 8/10 for episode 3, 7/10 for episode 4

#atla live action #zutara #i put these two episodes together since they felt like a two parter #also yes i gave into the urge to binge

[oneatlatime]

Let's look back at my season 2 predictions!

When I got to the halfway point of season 2, I made a post detailing my predictions for where the rest of the season was going. They were delightfully subjective and conformed more to my hopes than to any legitimate foreshadowing.

I made 9 predictions (one per main character), and then I predicted three ways that the finale could go. I went into some detail in some of my predictions, so I'd recommend checking out the linked post. Keep in mind that I made these predictions before the Ba Sing Se arc started, and it shows.

For Azula, I predicted that she would be the finale's big bad, that she would be defeated, and that the Fire Lord would be introduced as next season's big bad. I'm giving myself one third of a point for this one. Azula was indeed the big bad.

For Toph, I predicted that she would get a subplot that revolved around either something she excelled at being challenged by an external force like those wrestling idiots, or something that she needed to work on that tied into her noble background. Once again giving myself a third of a point, because those wrestling idiots were involved and she did meet an obstacle that she beat by inventing metalbending. I correctly predicted the pieces involved but I got them in completely the wrong configuration.

For Appa, I predicted that he would come back after having many adventures and running into other sky bison. (What's the plural of sky bison? Devastated to say that I've never had to use it) I was right that Appa came back; I was wrong that he ran into remnants of sky bison(s?), but he did end up running into remnants of the Air Nomads, and dreaming about other sky bison(s?), so I'm giving myself three quarters of a point.

For Zuko, I predicted that he would be coaxed/dragged into being decent via a swordbending girlfriend, and that he would be redeemed by the end of Season 2. Hilariously, my prediction smashed Jin and Jet together, which breaks my brain a little. Also, he did the polar opposite of being redeemed by the end of the season. I'm going to give myself a quarter point, for getting the sword bit and the girl bit.

I predicted that Sokka would split from the rest of the Gaang and go on a multi-episode Appa hunting arc that focused heavily on his ties to his family. I was 100% wrong with this one. No point for me. Which is too bad, because I really liked the idea I came up with.

I predicted that Momo would do aerial reconnaissance for the Appa hunt with Sokka. I'm giving myself a full point for this one, because what was he doing in the Tale of Momo? Flying around looking for Appa. Admittedly Sokka wasn't there, but whatever, I need this point.

For Katara, I predicted some sort of moral crisis. Something to add some nuance to her world view. A good yet unapologetically patriotic firebender, or a downright evil waterbender. I was completely wrong on this one too, unless you count being talked into listening to Jet. No points for me.

I predicted that Aang would have to do some type of Avataring that involved delegating tasks to his friends, or putting his status as avatar first, probably due to unrest in the spirit world. This was by far my most broad prediction ("hey maybe the avatar will have to avatar it up" is a very safe statement), so no points for that. I was wrong about spirit world involvement, although I was right that his Avatar duties would conflict with his personal convictions. I'll give myself one quarter point.

For Iroh, I predicted that he would call on old resources to get himself and Zuko into a better situation. I got this one almost completely right, except two bits: I thought he would use blackmail or intimidation, when he actually used something more like the power of friendship, and I also thought that particular plot point would last longer than a single B-plot in a single episode. But what the hell, I'm giving myself the point.

All three of my predictions for how the finale was going to go were incorrect. There was no strike against the Fire Nation, there was no immediate dismissal of the eclipse as a possible time of attack, and there was no relegation of the eclipse to a single episode plot point. No point for me.

So, out of a grand total of 12 predictions, I scored:

3.91!

Ouch.

I'm going to be generous and round it up to 4, which is a third correct. Still ouch. I am less reliable than a coin toss.

But! I actually had a lot of fun both coming up with predictions and reviewing them. So I'm still counting this exercise as a win.

#atla #avatar: the last airbender #avatar the last airbender #if any of you play cards with me #bet against me

[akria23]

Sharing my Investigation charts before Ep6 comes out. (Images best seen on desktop rather than mobile)

The first page is relationship lines & the mystery arc notes for the each group. The rest are my suspect theories.

These charts will likely drastically change as we go along.

NUTH: Is the obvious choice because he's the character the writers are pointing all the obvious clues and behavioral tendencies at. It makes it feel too easy. Granted - I know it feels too early to reveal the killer (if there is one) at this point but it’s not unheard of for a writer to reveal the killer early if there’s another aspect they want the audience to focus on (the kdrama Beyond Evil is a great example of this). He could be a lower level lackey (secondary) in the killing or he could actually be an all out red herring.

PROM: I look at Prom through 2 separate theories - the one where he’s on a revenge arc & this one where he’s the killer. The thing about Prom is he’s incredibly sus, there’s so much mystery around him, he’s so measured in how he speaks, what he holds back & he always feels like he’s in the know ahead of Nont.

Even if he’s not the killer it feels like he’s hiding something of great importance or has his own motives going on. The way he interacts with Nont comes off as if he knew about him before he revealed himself. Let’s take the wine for example - when he offers Nont wine in the room he says it’s cause he thought he’d changed enough for wine…but he also offered Nont wine the very first night they got together at Playboyy - and this was intention cause he himself was drinking brown liquor but gave Nont wine rather than beer (which is what Nant) likes. - he’s NEVER offered Nont beer. So it wasn’t due to a shift after Nont started acting differently than Nant around him. He inserted himself into the investigation and then started to lead the investigation from behind by pointing Nont in the direction he thinks he should go.

Where I lose confidence in this theory is in the motive. I doubt he would’ve killed Nant in a possessive rage the way Nuth might have - he’s too calculated & represses his emotions. Even with that bout of jealousy with Nont he didn’t push the issue, instead he revamped excused affection instead. Prom seems to be the type that finds a way to do what he wants no matter what others may have wanted. There’s a possible drug connection- through sell rather than through use. Again there’s the intones of the invisible force, the behind the scenes mover and I could very well see that being Prom. It seems like a lot of guys in Playboyys are on drugs but would Prom really need to push drugs if he’s the Host of the club? His need for it is what I question right now rather than his ability to push it.

There’s always a question for every answer and maybe that’s why I have two separate theories about Prom & don’t feel fully comfortable yet saying which I think is more correct.

NOBODY: There is obviously a possibly that there is no killer, that Nant wasn’t killed by another. There’s the possibility of suicide - Nant had been under a lot of extreme pressure and lack a good support system. Mental disorder (split personality) - this one is rather popular but I have trouble wrapping my brain around the photo of the twins cause it would mean dying his hair, taking a photo and then photoshopping two pics together…just feels like there’d have to be some level consciousness for that. Or Nant could b hiding out, on the run, from a debtor - considering he was supposedly on drugs and had a previous issue (with Soong) it’s possible.

PORSCHE: This is probably my loosest theory built mostly from the bias I have against Porsche. I don’t know what is but I don’t trust him, I don’t like him. But all his violent and brattiness could boil down to an inferiority complex rather than murder and I know that but he still makes the cut cause everything about him rubs me wrong and I wouldn’t mind him be the bad guy (def if it’s in the stead of Prom 😭)

#playboyy the series #Playboyy ep6 #Playboyy #thai bl #thai drama #thai series #thai actors #theories

[bohemian-nights]

I’m not team black or green, and I’m also only watching this show for nettles - but I have to say that the only racist comments I see are coming from team black. They are so racist it’s insane.

1. They treat the velaryons like Rhaenyra & her (white) son’s cheer squad . They can’t fathom the velaryons being their own people with their own thoughts and opinions.

2. Their treatment of vaemond. They justify his murder for daring to speak up against their fav. They gaslight anyone who supports vaemond’s right to be angry that his house is being stolen by a white kid and claim that Luke “legally” isn’t a bastard and that we are misogynistic.

3. Their treatment of laena - they either claim that she was Rhaenyra’s lesbian (?) lover or that daemon never cared about her - they refuse to acknowledge that daemon was happily in love with her.

4. Their treatment of nettles.

I’m so done. I’ve just had a conversation with one of those insane stans, and they said that I’m “playing the victim” for pointing out their racism. I’m so sick and tired of hearing that I’m “playing the victim” or that I’m being “over dramatic” for wanting actual black representation and calling out performative activism.

Team Green has its moments(I don’t love how some of them treat Nettles), but Team Black is indeed objectively worse.

I have yet to see any other sub-fanbase go on rants about how there are too many Black people on the show so it’s fine to cut the only in-canon Black character(Nettles), that they are glad the n-word died(Laena), claim that a Black woman’s Afro-hair is dirty(the leaked photo on the beach), calling people monkeys(again Laena), comparing characters to animals(Laena and Nettles), the legally biracial fiasco, denying that there is racism in the books and that their fave is one of the perpetrators, saying that Daemon sleeping with Black women is a detrimental character trait…It’s a mess.

Honestly, most of the viscerally racist stuff that has been said had been geared toward Nettles or Laena(Vaemond’s a close third) because they are perceived as a threat.

Which shows you how f*cked up these people are. They are legitimately willing to resort to racism to attack fictional characters over a fictional ship.

And the kicker is, they don’t see anything wrong with their behavior because: I’m not racist. I have no problem with good Black people(aka the ones who kiss up to my fave), ignore me saying how a white woman (who I hate cause she's a Green 🥦, but she's still white) with less plot development is somehow more relevant than the girl who shows that you are more than the blood in your veins. That's not relevant. You wouldn't like her if she wasn't Black!

Let's not get into the fact that they only like Baela, Rhaena, Corlys, and Alyn because they haven't/don't do anything. The moment we see them have a personality and it’s not solely about worshipping Missy Anne they'll turn on them.

If the show ends Rhaena’s arc marrying a Hightower they'll call her a whore and a traitor. If Baela calls out Missy Anne for not being motherly towards her and her sister they'll call her ungrateful. When Corlys puts his blood first he’ll be treated just like Ser Vaemond. Alyn will be hated not for saving the psychotic white woman(who arrested his father and tried to arrest his brother) in her hour of need.

If what they said about Rhaena taking Nettles’ place actually happened, do you know how upset they'd actually be with Daemon even putting his actual child first before Miss Maegor? She'd become enemy #1. He is not allowed to love anyone more than her.

They also love to defend their deplorable behavior by saying the characters they are attacking are fictional so it doesn’t matter.

B*tch it’s no longer just fictional when you call someone(even if it’s a fictional character) the n-word.

When you are actively trying to take away what little representation we do have and hurling slurs and stereotypes used against Black people in real life for centuries to attack characters you don’t like, you’ve gone past fiction and gone straight into a Klan rally.

There is loads of evidence of their demented behavior. Anyone with a working brain knows they aren’t right in the head and what they are saying is wrong.

Hell, they themselves know what they are saying is f*cked up, which is why they try to gaslight you into believing they are the innocent victims and you've just lost your mind. When that doesn't work and you provide them with the receipts for their bullcrap it’s crickets cause they’ve gone crying in the corner 🦗

They keep crying and bemoaning about Miss Maegor being called a whore. That isn't exactly nice, but you can't flip things around and make yourself look like the injured party when you are a f*cking racist.

For Christ's sake, these people are just all-around hypocrites. Some of them have called Nettles a whore(the worst is yet to come with her) yet they spaz out when you say Miss Maegor and start yelling about misogyny.

They are the same ones who mocked Laena dying(and her son) yet they cry when you call a dragon baby a lizard.

You can't claim that it's all fiction and then start crying when your fave who is also fictional is “attacked.”

There is a good reason she's being “attacked” considering she's an awful character with next to zero redeeming qualities(which is probably why she's attracted the worst fanbase).

You can't claim misogyny and perpetrate it yourself. You can't claim to not be a racist and then overtalk Black women when they call you out on your behavior and then call them crazy for defending themselves. You can't force Black women to overlook your faves racism for the sisterhood and then spit in our faces when we don't. That's not how this works.

I could go on, but I'm going to stop here cause it's pointless. You just have to laugh and bow out cause talking to them is like talking to a brick wall.

#bnask #bnasks #anti hotd fandom #anti team black #nettles #laena velaryon #they deserve better than this fandom #you guys are the worst #hotd fandom misogynoir

[mha-grievances]

Alright, I’m bored again so I’m going to rank all of the arcs from best to worst:

Great:

1. Hero Killer Arc: This arc and number 2 on this list proves that MHA had such potential. Watching Izuku grow and his efforts/impact on other people being acknowledged was great to see. We’ve got fantastic growth for the three main characters and a very good antagonist(despite some issues I have with Stain’s goal). Best of all, no Katsuki.

2. Shie Hissaki Arc: another great arc with a lot of great fights and characters. Watching Izuku vs Overhaul was thrilling and being introduced to The Big 3 and some cool pro heroes was a treat. There are some issues I have with this arc, such as how Overhaul’s motivations suck (he sees quirks as cooties when he literally has the best quirk in Japan) and that some characters could’ve been developed more (I would’ve loved to see more from the Eight Bullets and Nejire), but it was overall a good experience. And again, no Katsuki.

3. USJ Arc: Other than Katsuki’s dumbass endangering everyone and not getting called out for it, I had a blast with this arc. Solid character interactions all around and a fantastic fight to end it all off.

4. U.A Festival Arc: Gentle was a breath of fresh air in terms of villains and I really enjoyed his fight with Izuku. This would’ve been number 3 if not for the fact Izuku gets yelled at for doing his job and Katsuki gets another point added to him being a Gary Stu by revealing yet another talent he has that he shouldn’t.

Good:

5. Entrance Exam Arc: It was a solid setup for getting to know Izuku, All Might, and the world of MHA. It was one of the few times that the narrative wasn’t sucking on Katsuki’s dick too.

6. Forest Training Arc: The final arc that I’d consider good. We’ve got some solid moments here. Fumikage going berserk, Mezou carrying everyone to safety being introduced to the main LoV members, Izuku vs Muscular, and the character of Kota were nice additions to the series. We even got to see some of 1-B, even if it wasn’t much.

Alright:

7: Meta Liberation Arc: Now we’re in the area where these arcs aren’t bad, but they clearly exist just to set things up. This is an arc that would’ve been fantastic if it wasn’t for the fact it led nowhere. Yes, a good chunk of the LoV received fantastic development but the MLA were so lame, and by that, I mean they’re introduced here only to serve as canon fodder in the next arc.

8. Pro Hero Arc: I don’t really have any complaints about this arc nor do I have anything to say outside the fact Endeavor’s fight with the High End was pretty neat.

9. Hideout Raid Arc: only reason this isn’t in the “good” or “great “ category is cause it was centered around Katsuki. All Might vs AFO was a fantastic conclusion to the first saga of MHA and I liked seeing the rescue squad in action… even though Katsuki made it a pain to be rescued.

10. U.A traitor Arc: I don’t really care about this arc for two reasons, one is that the foreshadowing leading up to this moment sucked and that we never really got to spend enough time with Yuuga to care much about the reveal.

Bad:

11. Endeavor Agency Arc: Now we’re at the part where I dislike all of these arcs. This is an arc that Katsuki ruins due to him being a shitty character. Him yelling at a trauma victim to stop talking about her trauma in her own damn house was obnoxious. Katsuki didn’t need to be in this arc whatsoever. Remove him and this arc would’ve had a much higher rating for actually tackling Endeavor’s character and relationship with his family in a solid manner.

12. Sports Festival Arc: The Sports Festival Arc would’ve been fantastic it is weren’t for certain points. First off, this is where the Katsuki dick sucking really began. Shota acts like a mouthpiece for Katsuki even though the people booing him were right in the fact that he could’ve ended the fight easily. He also wasn’t taking Ochako seriously at all, literally announcing “it’s time to get serious” once her strat failed. He should’ve lost against Shoto too seeing as Shoto’s ice is a direct counter to his quirk. Finally, Katsuki had no right listening in on Shoto and Izuku’s conversation and demanding anything from Shoto, a point that’s never addressed. Secondly, all the Gen Ed kids were assholes for no reason. Who in their right mind sees 1-A going through a traumatic experience as them seeing themselves better than everyone else? Yeah, Katsuki gave off a bad impression but he’s just one guy. Finally, this was the arc that introduced Hitoshi, a failed attempt by Hori at tackling the idea of prejudice. Instead of someone bitter at the world for being screwed by society, we got an entitled bitch.

13. Remedial Course Arc: as much as I love Gang Orca, this arc served no purpose. Katsuki gives off a line that feels undeserved seeing as he’d go off undermining people afterwards but this arc’s biggest flaw was that it really didn’t have to exist.

Crap:

14. Battle Trial Arc: Now we’re in the really bad arcs. The Battle Trial Arc is once again ruined by Katsuki. Despite being told by All Might not to fire that explosion, he still does. Yes, he aimed it in a way that it wouldn’t kill Izuku, but the fact that All Might was worried that it could’ve killed Izuku meant that firing that thing in a narrow hallway could’ve seriously injured him. Katsuki suddenly switching up his fighting style despite having no formal training’s the first instance of his plot armor showing up, with the second being that he wasn’t disqualified. Katsuki being afraid of 1-A’s potential went nowhere cause he ended up winning the Sports Festival and would undermine 1-A constantly. Finally, Izuku telling Katsuki about his “borrowed power” was dumb. Everything else was fine though, but not enough to make up for Katsuki’s flaws.

15. Paranormal Liberation Arc: Would’ve been much higher but there are several glaring flaws. Izuku defending Endeavor’s character was one of those moments where I audibly groaned. Katsuki’s plot armor kicks it up into turbo gear by having him have a quirk awakening, surviving an attack that should’ve destroyed his stomach with zero consequences, and giving him an unearned “my body moved on its own” moment.

16. Quirk Apprehension Exam: This arc introduces Shota… and makes all of his flaws known to the audience. I have several posts going over why he sucks and this is the episode that shows it all off. Only thing keeping this from being ranked lower is cause we were also introduced to 1-A.

Shit:

17. Star and Stripe Arc: We’re close to the bottom of the barrel now. Hori introduces a character he never foreshadowed once despite Star and Stripe being the top pro hero of another country and immediately kills her. It does nothing to the plot either. “Oh but it nerfed Tomura” that’s what Hori tells us. Do we actually see what quirks Tomura lost? In fact, after this, his quirk evolves to counter Eraserhead’s. At best all this arc did was stall for time.

18. Dark Hero Arc: what a waste of potential. This would’ve been ranked lower if it wasn’t for Ochako’s speech, Izuku vs Muscular 2, and Izuku helping that fox lady. What makes it shit though? First off, Izuku suddenly unlocks the rest of his quirks. Secondly, 1-A thinks that the best way to get Izuku back is to show up, beat him up, and then kidnap him back to U.A. Third, the pros were offering Izuku no support. He was hungry, tired, and dirty, yet not once did any of them think “hey, if we’re using him as bait to draw AFO out, maybe we should keep him healthy so he can help us once we ambush AFO”. Fourth, Katsuki’s role in this arc. He demeans Izuku in front of his friends, daring to compare Izuku’s desire to protect everyone to him having an ego, and then gives an absolutely poorly timed and terrible apology. God this arc sucks.

19. Joint Training Arc: Oh look, another Katsuki dick sucking session. Sorry, but 1-B does not redeem how awful this arc is. Katsuki’s praised to the moon and back, insults his classmates and the former OFA users with no repercussions, and earns yet another victory. “But he saved Kyouka” but not out of being a good person. He only wanted the victory. Maybe this could’ve been a good step if Katsuki’s arc wasn’t Hori’s attempt at speedrunning a character arc. Yui getting beat by Ochako so effortlessly will forever bother me as one of Yui’s 5 fans (this girl has a 5/6 A+ skill stat, which is higher than Ochako’s). Also, Hitoshi’s here, but he’s actually tolerable here so I’m not going to rant about him.

Super Shit:

20. Provisional License Arc: This is going to be a short write cause there’s not much to be said. It’s yet another Katsuki dick sucking session where the narrative wanks him off. Then there’s Kacchan vs Deku 2, which if you’ve read any of my blogs, you know that this was once my least favorite moment of the series. If you wanna know why this moment was so crap, I have dozens of posts about why it does. And yes, I said it was once my least favorite moment. What’s to come somehow managed to beat it in terms of sheer crap.

I can’t think of any singular phrase to describe how terrible this arc is:

21. Final War Arc: How ironic that the end of the series is also at the end of this list. Where do I even begin? Well, there’s Miruko being the subject of someone’s gore fetish for the third time, AFO overstaying his welcome, Izuku hardly even doing anything, Tomura getting BS power ups up the wazoo, AFO and Izuku never meeting, the mutant portion being handled poorly, Dabi somehow gaining a power up that ultimately served no purpose, and Ochako and Himiko’s portion also being wrapped up poorly. However, what really makes this arc the bottom of the barrel is the dick sucking. Somehow, Katsuki’s able to last the longest against Tomura. Somehow Katsuki manages to score a hit just because he scared Tomura. Somehow Katsuki managed to survive having his heart, arm, and chest blown out via amateur surgery with absolutely no injuries despite being dead for like 5 min without a damn heart and heart surgery not being an answer for a broken arm. And finally, Katsuki gets yet another quirk power up and is now able to compete with AFO. This is THE arc where it’s clear Hori wanted Katsuki to be the protagonist and god damn I will argue that The Room and My Immortal is better than this clusterfuck of an arc.

#bnha critical #mha critical #anti bakugo #anti bakugou #anti katsuki bakugou #anti bakugou katsuki #anti bakugo katsuki #anti eraserhead #anti aizawa #anti shinso hitoshi #anti hitoshi shinso #eraserhead critical

[itsclydebitches]

The amount of times RWBY wants us to feel scared for the safety of characters while conveniently forgetting Aura exists is staggering. Neo attacks Ruby with the intent to kill but her Aura is still active. James almost shoots Marrow with the intent to kill but his Aura is still active. Watts hacks an Atlesian Knight to run towards Qrow, Robyn and the Ace Ops with the intent to explode but their Auras are still all active. Sure the attacks would hurt like hell but they're not gonna kill, why should I fear for their safety?

If we're being generous (I'm having a good night lol) I suppose we could read moments like James vs. Marrow as shocking not because it would be a one-shot death sentence, but because he's threatening - in general - to take Marrow down. Sort of the equivalent of an IRL person raising their fists. Is that an immediate threat to the person's life? No. Are you making it clear that you're willing to fight over this while also ambiguously leaving it open how far you're willing to take things? Yeah.

You're right though, too often RWBY relies on average action threats (a pistol, an explosion, etc.) to raise the stakes without taking into account that none of that should be very scary to our protagonists. Not until their aura breaks (and we have no sense of when that will happen, despite them all supposedly carrying Scrolls to tell them. Which I get because if RWBY introduced clear thresholds of when aura breaks they'd have to actually abide by that rule). I feel the same way about characters about to fall: Ruby hanging off the airship with Neo, Ruby hanging off the cliff while fighting Cordovin, Ruby and Oscar both going down in an airship. The very first technique we're shown is a landing strategy, so how is falling from a massive height - even while taking into account other factors like, say, snagging the farm boy who never went to Huntsmen school and might need to use you as a personal parachute - meant to be taken as a serious threat?

In this regard the void of Volume 8 is actually a GREAT idea. Suddenly your landing strategy doesn't mean a thing if you have nowhere to land. Suddenly a single hit can be a threat. Not because the hit itself would seriously hurt you, but because it might knock you off the edge. I actually love the concept of Yang falling at the start of that fight, RWBY just did such a horrific job of executing it that there's nothing left for me to enjoy. Why does Yang panic like that when, as established, a single hit from Neo is not going to kill Ruby, or even seriously hurt her? Why is she jumping in front of her sister at all when the entire POINT (supposedly) of her Volume 3+ arc was to learn fight smarter, rather than relying on emotional impulsivity? (I will seriously never be over how that moment is an exact repeat of Yang trying to save Blake and yet the show doesn't seem to realize that.) Why does only Blake have a reaction to Yang "dying"? Why didn't the whole team of talented fighters with various ranged weaponry/magic/speed make a serious attempt to catch her?

All of this isn't even taking into account how Yang, as someone who powers up via taking hits, should consistently be standing her ground like she did against the mech, knowing her aura will not only save her, but give her an advantage. She's the tank. If Yang had gotten in front of Ruby with a confident, calm expression that conveyed her understanding that Neo can't one-shot her aura like Adam once did, taking the hit both to spare Ruby's aura and power her semblance as a strategic decision (give her a smirk and a taunting line like, "Thanks for the boost" before knocking Neo back), then later falls some other way after her team tries and fails to save her... that would have been so much better imo.

Yang's lack of engagement with her semblance has been especially frustrating for me after her line about how Adam "cheats." If Yang thinks it sucks that she has to take a beating to gain an edge... show her actually taking a beating to gain an edge. You know, like the show once did. It would be so badass to watch Yang getting in the way of all the attacks against her team, toeing the line between safety and breaking her own aura, before finally EXPLODING with a massive attack she's been saving up for, making that sacrifice worth it.

(Also potentially devastating if she's taking those hits with turning the tide in mind... but then she falls before she can see her plan through.)

#rwde #rwby #mymetas

[markantonys]

@twicetolivetwicetodie @butterflydm continuing our seanchan discussion on this post over here because i had Many Thoughts and would have flooded the replies!

"And I know there's the argument that readers being appalled at their actions/our heroes doing horrific things is the point cause of war, etc." this is interesting bc yeah, it's something i see said a lot! but for me i think the biggest problem with the books' handling of it is that so many readers AREN'T appalled by the boys' behavior with the seanchan, because the narrative itself doesn't take their actions seriously. the "well it's meant to show how willing people are to turn a blind eye to fascism" interpretation doesn't work because the narrative itself also turns a blind eye starting in COT. butterflydm pointed out in her reread that the "the seanchan make the trains run on time" propaganda started early in the series and was believed by many people in-world, but rj always made sure to include stuff to show the reader that it isn't true (with the most obvious being egwene's suffering in captivity, but also smaller things like allusions to how violent and war-torn the seanchan continent is due to constant civil war and rebellion). but starting in COTish, he stopped doing the latter and so the pro-seanchan propaganda is left unchecked even by the narrative.

the other problem is, "deal with the devil out of desperation" arcs can totally work IF the character is sufficiently trapped out of any other options, but that didn't happen with the boys, so their capitulating to the seanchan felt like a spineless giving in rather than a desperate last resort. i don't LIKE rand sending damane back into seanchan territory or perrin selling 200 people into slavery, but i think both can definitely work as in-character story beats if treated with a bit more finesse than the books did (rand's actions fit his increasing desperation and "ends justify the means" attitude as the last battle gets closer; perrin's desperation to get faile back At Any Cost fits his character, and would fit especially well in show-verse with the laila guilt). in fact, it's an interesting contribution to the series theme of valuing individuals/small picture vs. valuing causes/big picture, where perrin & rand are on opposite ends of that spectrum yet both end up doing bad things, with perrin sacrificing many for the good of a few and rand sacrificing a few for the good of many.

perrin being besties with tylee and shrugging off his war crime & not getting any consequences (from his conscience, other characters, or the narrative) is what broke the arc for me. and i was with rand's arc even longer, all the way up until AMOL when he showed up to ebou dar with all the bargaining power yet completely folded to tuon's demands re: slavery for no reason. so for these two, i think their actions, while awful, could work in the show from both a character and a story perspective (aside from rand's sudden jello spine with tuon, which needs to be cut/changed altogether) as long as the show a) makes it believable that both boys are desperate enough to stoop to this level (perrin especially; making that agreement with tylee should feel to the viewer and to himself, and to his allies and later faile when she finds out, like he's sold his soul to the devil, not like he's having a grand old time with his new bestie Slaver Tylee), b) sticks the landing and doesn't shield either of them from the natural consequences of their actions (again, especially perrin who lacked this more in the books), and c) doesn't let the narrative (and by extent the viewer) buy into the idea that The Seanchan Aren't So Bad/The Seanchan Make Life Better For Everyone (Except Channelers) the way that some of the characters within the narrative do.

now, this is why i keep coming back to mat as the worst offender. i can see in-character reasons for rand and perrin to make some of the decisions they do re: the seanchan, even though i felt that the narrative didn't properly handle the weight of all of those decisions and that other decisions of theirs were jello-spine-induced nonsense. mat, though, ALL of his decisions re: the seanchan are jello-spine-induced nonsense. at the start of COT, mat has spent 9 books wanting to defy fate & make his own choices in life and also risking his life to free slaves, and tuon has been taken away from her power base and is surrounded by westlanders who should be hostile to her. there is NO reason why mat should suddenly be simpering over tuon and bending over backwards to appease her and trying to leash himself to the fate he wanted nothing to do with last week, not by any stretch of the imagination; it defies both his established characterization AND the entire setup of the situation. so mat's behavior re: the seanchan needs to be completely overhauled. torch the entirety of his COT-KOD arc and just start fresh with something completely different.

the problem does seem to be that between WH and COT, rj decided the seanchan stuff was simply too big to resolve in the main series with the last battle approaching (which is understandable, but like........you introduced the seanchan 7 books ago! you had time to deal with them and you squandered it!) and decided to punt it off to outriggers. so, very abruptly in COT, we get mat folding to tuon and the narrative now presenting "the seanchan have their merits actually" at face-value, which is continued in KOD with perrin's alliance with tylee. rj decided he wasn't going to deal with the seanchan in the main series after all, and so the narrative itself stopped taking them seriously as a force of evil and a threat to our heroes and their home.

at least in AMOL we do get egwene & elayne gritting their teeth about allying with the seanchan and hating every moment of it, even if they acknowledge objectively that it must be done for the sake of TLB, which is the attitude ALL our main characters should have (and rand does have it up until Jello Spine Day, which is why the majority of his seanchan arc doesn't bother me the same way perrin's and mat's do). and i think the show can do a MUCH better job on this front since they already know the full story, so they can introduce the seanchan in a way that's consistent with how they plan to ultimately deal with them by the end of the series. and given that what we have so far seems to indicate the show will be going pretty hard on how awful the seanchan are, i think it's safe to say that it does intend to conduct and wrap up their whole arc in a more satisfying way.

some readers often dismiss those of us who don't like the seanchan as The Moral Purity Police incapable of tolerating dark things in fiction, but for me, it's very little to do with morality and everything to do with narrative satisfaction. the story including an evil slaver empire is fine; the story promising in book TWO that this empire would face a huge reckoning and then failing to ever deliver on that promise is unsatisfying. i don't want the seanchan to be defeated by the end because i'm a naive simpleton who needs all my loose ends tied up with a bow and all my evils fully vanquished; i want it because rj literally promised us in book two that it would happen or at least be in motion (a handful of seanchan knowing sul'dam can channel doesn't count as "in motion"). i don't care that tuon is a bad person; i care that she's a flat, static character who undergoes 0 development despite being introduced with a lot of potential for it (what the FUCK is the point of making the heir to the seanchan throne capable of channeling if you're going to do absolutely nothing with it??). i can accept our heroes allying with the seanchan and doing bad things out of wartime desperation; i can't accept story logic and established characterization being violated to make that happen.

#wot #wot book spoilers

[ravenalla]

Please correct me if I’m wrong but from what I know Helluva Boss is written by only three people right? That being Viv, Brandon, and Adam. And while I’m sure ideas are bounced around here and there with the team, the way this season is going is begging for an actual writers room with more experienced people. Not saying those three don’t have any experience, but it’s clear they don’t know how to mesh the comedy and serious moments together well at this point. Part of writing is knowing when you need to omit stuff because it doesn’t fit the tone or story progession that you have established, even if you very badly want to include it. The writing for Helluva Boss in contrast feels they are forgoing any sense of coherence so they can stuff in whatever they like even if it goes against previously established plot points and try desperately to get to you pity these awful characters instead of letting them learn from their mistakes and grow as people naturally. Again, if this had stayed a dark comedy, that would have been passable, but now they are trying to tell a serialized dramatic story with arcs and emotion, and it’s just failing because that is not these writers expertise. This is complete speculation, but I wouldn’t be surprised if Viv’s aversion to any form of criticism is affecting it.

How many times must we see something terrible happen to Stolas because the show wants you to keep crying and pitying over without having these characters actually navigating it themselves? How many times will Blitz acknowledge he’s an awful person but not actively try to change his behavior in anyway and revert to the exact same character the next episode? How many times will Moxxie have to learn confidence because it’s the only arc they can think to do with him while Millie is a walking prop and Loona flip flops between liking her dad and physically abusing him for no reason? To the people who keep saying “just wait the shows not over yet!” we are basically halfway through season 2, there is no damn reason why Millie shouldn’t have had ANYTHING on her own yet or why Blitz and Stolas should be repeating the same “uwu he doesn’t love me” scene over and over again. If you give us what should be moments of character development but never actual show it through their actions or behaviors after the fact, it’s not character development at all, it’s cheap scenes you threw in cause you wanted the guise of something serious without actually taking the screentime to commit to it. And yes, the Stolas Blitzo stuff is probably going to pay off eventually, but it’s annoying for the audience to watch this will they won’t they game in almost every single episode just waiting for when the characters will finally change or have at least SOME type of acknowledgement of all they’ve been through instead of just keeping the status quo of another “Stolas looks sadly at his phone,” “Blitzo doesn’t really care about him until there’s one millisecond showing maybe he does 🥺.” Unless your a hardcore shipper, people won’t stick around with that forever.

The show wants to have world-building, quirky characters who are bad people, tons of villains, funny sex jokes, emotional investment, and a complicated romance, but there’s a reason lots of media fails when it tries to be everything at once. The Stolitz plot behind every episode now is sabotaging parts of the show that promised wacky demon assassin adventures, and the less serious moments like the Loona doctor B plot in turn ruins the atmosphere of the dramatic scenes associated with the Stolitz plot. They wanted to show a serious abusive arranged relationship through Stella, but they also wanted her to have be a campy bad guy so Stolas could have a reason to cheat on her so he wouldn’t look like the bad guy. This leaves us with confusing contradictions like Stella written as being legit mad about him cheating and wanting him dead while hinting at them having at least a positive public image as a family once through the background paintings, to suddenly her not having ever cared about him and seeking him out “cause she likes tormenting him” while she also now didn’t want him killed I guess because she’s opposed to the divorce because the Goetia want them together??, but then wanting him killed AGAIN after even though the Goetia probably always wanted that guy alive and her brother has to come in for no reason to make her look like an absolute dumbass.

Same with Loona. They try to give her development with Blitz, but they never do anything with it and by the next episode she’ll be beating the shit out of him again. “She’s a moody teenager!” She’s a woman in her twenties and I don’t care about her sometimes finding appreciation for her dad when she’ll just kick him in the nuts right after because physical abuse against a spouse is serious but with a daughter it’s funny I guess. And again, the entire argument fans have to justify this constant loop of creating and forgetting about character development is “just wait they probably have a plan.” Nah bro I’m pretty sure they just still wanted to throw edgy dark comedy in there and to do that they had to ignore any positive character changes it seemed like happened until a future episode specifically is written to continue that arc. Also the world building and class system in general is just bad when they actually choose to acknowledge it, which is rarely. It’s still so unclear whether hellhounds are seen as actually sentient autonomous people or pets, and it just makes scenes with Loona super weird sometimes. Same with imps, for an apparent underclass they sure seem to be able to go wherever they want and do whatever they want without too much trouble, and until the latest episode we’ve never seen any imp discrimination be a major factor besides comments from Stolas (which we are now choosing to ignore because Stolas can’t be a bigot that has to learn to be a better person, Stolas is perfect 🙃)

Yikes this got longer than I meant it to but overall Helluva Boss just could really benefit from some more inputs in the writing, not just ideas for story or jokes but someone who actually knows how to properly balance and structure this kind of stuff into an episode. As is it feels very disjointed, especially this season. I don’t think this show would ever be perfectly for me, just because I don’t find the humor at all funny and that’s kind of what makes the show, but at the very least it’d be nice if the actual plots and world these characters navigate was fun to watch, but most of the time it’s just not anymore, because you don’t get to actually see most characters interact or what their relationships are, and if you do they hardly ever change from what they were until suddenly it’s relevant for the plot. Blitz is uncomfortable around Stolas and is tired about being treated like a play thing, wait no now he’s turned on by Stolas’s flirting even though we’ve never seen that before and this is right after they literally had a huge fight, wait nevermind now Blitz doesn’t care again. Moxxie is always weak and sensitive when an episode is about him but suddenly super strong and has no problems killing in any other episode (“We’re not going up there just to massacre we need clients! -S1E3, exactly what he and Millie do to an entire audience of innocent bystanders in the Cherub episode and they don’t care). Stolas is super perverted and sees Blitz as an object, wait nevermind we’re just gonna change his entire fucking backstory so his behavior will look justified even though that man would literally have to be a the dumbest person in Hell to not see Blitz did not care and was actively repulsed by him all throughout season 1, yet continued to act that way to his supposed “first friend” because..he thought it was a sexy game or something they were playing? Even as a retcon for an excuse it’s still bad. Helluva Boss has no rules it sticks to, no jokes or character behaviors it refrains from even if it harms the quality, it’s just a badly written fanfic with pretty animation.

#helluva boss critical #helluva boss criticism #helluva boss critique #long post #rant

[robotlesbianjavert]

What's the problem with Deku's writing?

well for one he's a main character. which is strike one.

technically that's a joke but also not. there's a lot angles i could take in order to complain about deku, so for now i want to take the angle that as a main character, there are things that are going to be taken for granted as endgame for the narrative, but it's so taken for granted that the story forgets about the actual material needed to reach the endgame.

i'm going to use ofmd s2 as an example of this, because it's another thing i like to point at and go :) bad writing. so for that, it's very evident that the writers are aiming for "ed and stede are together and are ready to embark on a new, more mature phase of their life together". you can tell this because the showrunner was constantly talking about it in interviews. and indeed, the season ends with ed and stede parting ways with their crew and pirate life to try their hands as innkeepers.

but to reach that endgame, the series has to a) get stede and ed back together as soon possible, meaning they have to lean heavily on coincidence rather than any real efforts on the part of the characters, b) resolve the very emotionally stark situations the characters had left s1/started s2 in a way that makes the happy innkeeper endgame possible, but this makes the segue from drama to resolution unbelievable because the series can't really dedicate the time to dealing with that fallout before hopping onto the next big issue, which c) means that the ways that the other characters have been hurt as a result ed and stede's relationship drama have their pain sidelined and shrugged off, and in turn d) the focus on ensuring that ed and stede are together and in love means that their relationships with other characters get de-emphasized and feel much less lived, which rebounds and makes ed and stede feel more one-dimensional without the magic that fleshed them out. and most dire of all e) the audience is expected to believe that "sorry i was a dick" "you're not a dick life's a dick" is meant to indicate a development of maturity that means they are able to go off and be innkeepers together. it is NOT there.

essentially, the focus on a specific endgame without care about how that endgame is achieved ends up undercutting the triumph and catharsis of that endgame, rendering it much more hollow. people still enjoyed ofmd s2, and they're allowed to! but they enjoy it because their otp ended the season standing next to each other. three feet part. not for any genuine critical acclaim.

it's a similar issue with deku, especially in this final arc. his obvious endgame is that he'll affirm shigaraki's humanity and pain, "save" him (what that looks like yet, we don't know), and in turn become the greatest hero. we've got all the bones of that - just recently in 411, deku did his whole "you ARE human" declaration. but the lead up to deku and shigaraki's confrontation is thematically shallow and heavily dependent on us knowing that deku is a great kid and a great hero.

deku starts the third act realizing that if he understood the villains that he's faced, things could have turned out differently - the set up is that deku has to understand shigaraki as a person in order to stop him. the lead up to this is. well he asks muscular "what's up with you" one time in the middle of battle. that didn't work out. and then he had his nagant confrontation, where he was more shocked about her killing the former commission president than he was about the commission ordering a lot of evil assassinations. and then never thought about what that meant for society at large. and he was just like "well i know the world has some greys in it now" and that fixed her i guess. overhaul was there and deku made no real effort there to get why he was so frantic about seeing his boss. and then he has that conversation with ochaco where they both go "isn't it crazy that we have empathy for villains".

so basically the most work that he actually put into "understanding villains" was with nagant, who is a completely new character who has the baggage of "hero commission assassin is ANYONE in series gonna talk about that", and the potential she possesses as a shigaraki foil and a stepping stone for deku towards his endgame gets muddled. she's also basically, while a significant confrontation, is one beat of many in the third act.

so the set up for "understanding villains" as a factor in deku's endgame, in seeing villains as human, is pretty weak. and deku was honestly really dependent on getting that build up and using other villains as a learning experience, bc his actual dynamic with shigaraki is sparse. compare it to uraraka and toga - the "understanding" thread fares a lot better there, because uraraka has had specific and charged interactions with toga that deeply affected her and made her think. deku's most constructive interaction with shigaraki was way back at the mall, before the training camp, but that's not enough to carry chemistry through their supposed arc as hero & villain.

but the story already knows that deku, one way or another, is meant to succeed, so it acts like he received the necessary development to be able to understand shigaraki as human in their confrontation.

there's a similar lack of meat for many other aspects of deku's characters - like his relationship with the vestiges, where yoichi could be 2nd and 3rd around on deku's behalf, and his mastering of the new ofa quirks, which we get TOLD has consequences or that he's struggling with, but it's never in a way that actually causes him substantial issues that he must overcome.

but actually, we can move all of that aside and ask one simple question about deku's character: what does he think about the floating death coffin the other heroes built for shigaraki?

deku gets confronted by the vestiges about having to possibly kill shigaraki, and his response to that is "yeah i guess but i gotta try saving him". which is very nice, but it just ends there. deku doesn't have to deal with how everyone else - people who are scared, or have been hurt by shigaraki and the villain's actions - might feel about this initiative. at no point does deku have to stand his ground against the other heroes after shigaraki's head, he doesn't have to convince anyone of his point of view, he doesn't have to look inward and understand why he wants to do this. it's just "well if i can!"

deku doesn't have to have any thoughts about the floating death coffin. he never has to be in scene with it before it started malfunctioning. he doesn't have to have any opinions about its construction, about the heroes deciding to take this path. he doesn't need to have feelings about it, he just has to save shigaraki.

and when that happens, the narrative will celebrate him, and the heroes will be like "wow deku really is the greatest hero, kids these days are so great". they don't need to have thoughts about deku wanting to do this in the first place, because it's going to happen and no one can stop it.

in a similar way that some ofmd fans can walk away happy with season 2 because they don't need anything more than their otp standing together three feet apart, a lot of fans would be happy with deku and shigaraki's likely endgame because what matters is that deku is the hero and that he saves shigaraki. but from where i'm standing, deku has so little substance and build up to this endgame (or at least the build up is THERE, but poorly done) that it's hard for me to be impressed.

also everything @codenamesazanka said here. everything she says i nod and go hell yeah.

#if i wanted to take another angle i would probs compare deku with koichi. but i'd want to reread vigilantes. #bnha bloggin

[stillness-in-green]

On Heteromorphs and Heteromorphobia (Arc XXI-B + Conclusion, Final War-B: The Hospital Attack)

To preface before I start documenting these final four chapters, there’s been a lot said (not least by me) about how wildly out of touch the resolution to this plotline is.  While I didn't set out to rehash all of that again, it turns out I can't actually talk about how the series portrays heteromorphobia without talking about how it resolves it—if I'd wanted to do that, the place to stop would have been with the last post. This whole piece is also destined for AO3 eventually, so it needs to be readable for those who don't follow me on tumblr. Therefore, if you've been following my #heteromorph discrimination plot posts for a while, there are portions of this post that will be pretty familiar territory!

If you're new and want my full breakdowns, you can find them in my Chapter Thoughts posts or in this pair of posts rounding up the asks I’d gotten on the topic.  Here, I will simply say that I don’t think Horikoshi’s fumbling of the plot can be read to mean that all the stuff I’ve documented thus far was just me reaching too hard, reading stuff into the manga where nothing was intended.  While I’m sure some of it is—I definitely went out on a few limbs!—I think the main answer to, “How can heteromorphobia be such a well-thought-out depiction of a logically foreseeable form of discrimination while also having such a terrible resolution?” is, “Because the mainstream opinion about how best to handle discrimination is wildly different in Japan than it is in progressive American circles.”

That doesn’t mean I’m willing to wave the wand of Cultural Differences over this resolution and forgive everything—there were plenty of Japanese fans critiquing it as well![1]—but it does somewhat modulate my feelings about it.  In any case, let’s get to it.

1: Most of what I saw was on Twitter, but there’s a Japanese site called bookmeter that’s kinda goodreads-esque, and which had several critical reviews posted for the volume, including one that felt like every point laid out was something I’d complained about as well.  Super validating, but a shame it was necessary!

(I'll be changing up my formatting just a bit in hopes that I can find a way to present sub-sub-bullet points that tumblr won't choke on in this 13K post. Pray for me.)

Chapter 370: 

O We open with a scene which we’re led to believe is about Spinner but which the end of the chapter will reveal to be about Shouji.  It’s shockingly open about the extent of the discrimination Shouji faced, and there’s worse yet to come, but here we find people throwing stones at him, telling him to die, saying he has dirty blood that will defile the land, that he should stay inside the house, and that no matter how much time passes,[2] they will never accept “his kind.”

2: Viz renders this as “no matter how much society progresses,” but the word jidai means something more like “the times”/”the age,” and the progression term used can mean improvement, but in the circumstances, probably just means forward movement.  I think the intention is more like, “No matter how much the times march on,” if only because it would be very odd for the people yelling this vitriol to frame it as themselves resisting progression.  After all, bigots don’t typically think of themselves as “regressive” compared to everyone else’s progressiveness; they think of themselves as normal or valuing tradition compared to everyone else’s moral laxity/perversity.

So, remember how I talked about the spiritual/religious charge to the language the CRC used to talk about their “sanctuary” and the League/Spinner’s presence in it?  Here’s the full scope of that.  It’s about kegare, a Shinto concept of uncleanliness associated particularly with blood and death, and while that’s normally something that can be purified simply by undergoing the proper ritual cleansings, when something is, in itself, intrinsically unclean, no amount of purification will fix it; you can only keep it sealed away.  Hence the yelling at Shouji not to leave the house.

The spirituality-based discrimination calls to mind the burakumin, originally an outcaste group of people who made their living working with all the aspects of life Shinto considered kegare—butchers, tanners, executioners and the like.   They were made to dress and cut their hair in ways that identified them on sight, barred from entering temples or schools, and lived in their own villages.  The laws mandating much of this were abolished in 1871[3] and urban sprawl gradually rolled over burakumin villages, turning them into slum areas.  While today it’s not uncommon for people to not even know they’re descended from burakumin lineage unless they’re specifically told,[4] more subtle discrimination does endure.  While it’s clearly not the only inspiration, there’s a lot about anti-burakumin bias that’s reflected in heteromorphobia.

3: Albeit not without considerable and violent protests against the liberation of the burakumin/the idea that they were henceforth to be allowed to hold other occupations and become ordinary citizens.  Arson, destruction of villages, attacks and deaths—all things considered, the anti-Kaihourei riots are probably a decent place to look for inspiration on the historical massacres Spinner’s #2 will be talking about shortly.

4: Or find out because someone who knows the significance of those old neighborhoods finds out first and they’re suddenly on the bad end of some discriminatory act or another.

O We find out that the group Spinner’s leading consists of fifteen thousand people, that number split between PLF remnants and ordinary civilians who support the PLF’s cause.  It’s unknown exactly how that split breaks down, but based on how the rest of the attack goes, I think it’s probable that the group is mostly civilians—if it were more PLF, it probably wouldn’t be so wholly defanged by Shouji’s big plea for peace.  So that’s what we might call a “bad look,” that fifteen thousand ordinary civilians feel so incredibly hard done-by that they not only flock to join a known terrorist, but that they do so for the purpose of attacking a hospital.

O They’re opposed by about two hundred police and heroes, the relevant of whom for our purposes are Present Mic, Rock Lock, Officer Gori, Shouji, and Koda.  With the exception of Present Mic, who will in any case be heading inside very shortly, they’re all minorities of some sort, with Rock Lock being very visibly, obviously Black, and the others being heteromorphs.  None of them are immediately thinking about the composition of the crowd, but rather about how difficult the crowd is being to handle.

O Rock Lock yells out that the rioters are too organized to be some random mob, a dismissiveness that gets him shouted at by the Spinner fanboys—tragically their only appearance in all of this!—that, “Folks with human faces just don’t get it!”  I have to assume that putting Rock Lock in this scene is no accident, but rather is there to make the rioters come off as short-sighted, so deep in their own pain that they lash out at someone who, if HeroAca!Japan is anything like present day Japan, almost certainly understands better than they think!

The phrasing, in any case, points towards the dehumanization that heteromorphs, especially animal-associated ones, are subject to.  After all, as Re-Destro might point out, in the post-Advent world, isn’t it the case that any given heteromorphic human’s face, no matter how strange it may be, is de facto a “human face”?  Yet the vitriol from the Spinner fans clearly reflects how internalized it’s become for them, that they don’t look “human,” despite the fact that “looking human” means nothing at all in the time of quirks.

O Koda gets called a traitor by an elderly beaked heteromorph from, apparently, a rural area, underscoring what’s been alluded to a few times prior to this, and which will be laid out explicitly in a few pages, that heteromorphobia is far, far worse in the countryside than it is in the cities.  Mr. Beak assumes—correctly, it seems[5]—that Koda’s a city kid, because why else other than ignorance would a fellow heteromorph stand against them?

5: Koda’s from Iwate Prefecture, which is only above Hokkaido in terms of population density; a bit of research suggests that its largest city, Morioka, is considered to be a mid-sized city.  So that’s definitely the hard upper limit on exactly how “big city” Koda could reasonably be.  That said, Shouji also identifies Koda as someone who grew up in a city, for which I assume he must have at least some basis.

O Spinner’s #2 fulfills the promise of his early shorthanded characterization of being a fiery, well-spoken zealot by standing on top of a building over the mob and exhorting them onward with revolutionary, inflammatory rhetoric.  And boy, does he bring up a lot to talk about!    

Demagoguery for Fun & Profit

O Quirk counselling and quirk education?  Phony nonsense, he says.  That’s a fairly confusing grievance to bring up in this context, so let’s consider what he might have in mind.

• For quirk education, I would contend that BNHA has shown very little of it, in spite of having Academia right there in the title.  The academics in question are about Heroics, after all, not quirks in and of themselves.  Here’s the complete list of what I would say the reader has seen that could be qualified as actual education about quirks:

Aizawa telling the kids(/low tier villains at USJ) some broad generalities, things like a very basic explanation of how quirks work on the genetic level or how they’re classified.  Most of this is delivered in the context of how his quirk works; the only outlier that immediately comes to mind for me is his explanation of how quirks are like muscles, and can be strengthened via training.    

Mirio and Tamaki’s middle school class doing “quirk training,” which is framed as a P.E. class and is specifically aimed at finding ways for each kid to be “useful to society,” not about them learning anything about quirks in a broader sense.    

Endeavor’s recent reference to Nedzu’s alleged “quirk morality education,” about which I have already registered my skepticism.    

The bit in Re-Destro’s monologue to Shigaraki where he mentions he was taught not to judge others by their quirks.  It’s hard to judge how applicable this is to normal society because Re-Destro was raised in a cult, and the book shown during this sequence was released by Curious’s publisher.

So of those options, what is #2 talking about?  I’d say the last one is probably closest to what he means: don’t judge others by their quirks.  But of course, people judge others by their quirks all the time.  Family, classmates, teachers, people in the same neighborhood, heroes and police—we see examples from literally the first page of characters who are being judged by their quirks or lack thereof.  While that judgement doesn’t apply only to heteromorphs, they are, by dint of their visibility, going to face it everywhere they go, regardless of whether any given situation—say, going to the grocery store or on a date—involves quirks or not.  So, whatever lessons people in this society are getting about quirks and judgement, they clearly aren’t absorbing them.

It also bears pointing out, of course, that #2’s personal affiliation is with the Metahuman Liberation Army, and he definitely shows signs—as I’ll get to in a bit—of the quirk supremacism that group is so unanimously painted with in the endgame.  So while the supremacy he’s preaching is about heteromorphs rather than quirks more generally, he could well be saying quirk education is phony because he’s all for judging people on their quirks!  However, his criteria for that judgement differs from both forms of judgement taught by the society he’s railing against—what they practice and what they preach.

• Then there’s quirk counseling, a practice the story most prominently associates with Toga, who’s barely a twitch of the needle away from baseline (though her abuse is not wholly without reference to her appearance, in that her natural smile is repeatedly branded as scary or deviant).  So why bring it up in association with heteromorphs?  My suspicion is that a heteromorph—especially a heteromorph with an animal-associated quirk!—being visibly “different” in some way makes the people around them hyper-sensitive to behavioral “deviations.”

For a start, you see that hyper-sensitivity brought to bear against Toga.  Curious contends that Toga’s sense of “admiration” was a perfectly normal thing, but it was the tie to blood that made it wholly unacceptable.  It’s notable that, before she snapped, Toga was never shown to actually want to hurt people: the bird was already injured when she found it, her friend got a scrape the way any child might, Saito was involved in a fight Toga had no hand in.  She hurts people now because a lifetime of rejection and dehumanization, but Toga’s admiration of blood was not intrinsically indicative that she’d grow up to be violent; people treated it that way because of cultural attitudes towards blood and blood-attraction.

So, might the same sort of thing be true of e.g. animal-associated heteromorphs?  That they might exhibit behaviors which would, in different circumstances, be totally fine, but which they’re judged for unduly harshly because of cultural beliefs about the animal they resemble?  Let me just spitball a few possibilities:

A cat heteromorph who, as a child, showed affection by nuzzling.  That’s fine when a literal kitten is doing it, and funny and cute when a baseline child sees a cat doing it and imitates it for fun, but when the cat heteromorph does it, he makes people uncomfortable, makes them wonder if he lacks self-control, comes off as weird and too-forward.  So his parents rebuke him and bring him to a quirk counsellor to break him of the habit, leading him to feel ashamed and alienated from a harmless natural impulse.    

A snake-headed girl is the first heteromorph in her family line and the way she stares at people so fixedly, never blinking, creeps them out, makes them feel like she’s dangerous.  She isn’t and has no intention of being so, but she’s sent to quirk counselling anyway and the lesson she learns is to just never look people in the eye at all.    

A condor heteromorph develops a morbid interest in corpses in middle school.  He doesn’t want to eat them, he’s not some kind of cannibalistic animal—at least that’s what he told himself before quirk counselling, where his counsellor, like his teachers, assumed that his interest had to be tied to animal instincts.  He wanted to be a mortician, or join the police and get into crime scene investigation, but when he told people that they just looked at him like he was already holding a fork and knife.  (He ends up getting into photography, and just has to live with the fact that now people have two excuses to call him a vulture.)    

Two children—one with a plant-based emitter quirk, the other an eight-eyed spider heteromorph—are caught in the act of killing some insects by a local police officer.  It’s the sort of innocent childhood cruelty you might find anywhere, and, indeed, when the officer calls their school about it, that’s what gets decided about the emitter—he was just a child who didn’t know any better.  But the heteromorph gets recommended for quirk counselling instead—after all, spiders kill insects.  What if this is an early warning sign for instincts towards predatory behavior?  It’s important to nip these things in the bud.

That’s all off the top of my head or taken from some conversation with friends on the topic, and maybe it’s a reach, but it’s also a very plausible explanation for why a heteromorphic idealogue might bring up quirk counselling as a specific grievance—because, like the Villain-designation for criminals, it’s unevenly and unfairly applied.

O The next point #2 makes, and definitely the one that made the biggest splash in fandom at the time, is his invocation of a pair of historical incidents, possibly both but at least one of which was a mass murder targeting heteromorphs, carried out by a bunch of baseline types.  He names them as the 6/6 Incident and the Great Jeda Purge.  These are both stealth Star Wars references, though the former is disguised a bit better by being in the same format that Japan sometimes uses for naming events like attempted coups.[6]  Given the image we see, it’s fair to assume the event in BNHA was similar.

6: See for example the May 15 Incident or the February 26 Incident, called the 5・15 Incident and the 2・26 Incident respectively in Japan. You see this in China as well, with the Tiananmen Square massacre being referred to there as the 6/4 Incident.

Notice that the perpetrators here are mostly holding weapons.  Were they quirkless themselves, or were they avoiding using quirks such that they couldn’t be branded as Villains?  Knowing the answer to that would give us a timeframe for this.

He goes on to declaim, on the basis of these events, that the history of the paranormal is one of persecution and oppression of those with “differing forms.”[7] The term in Japanese there is kotonaru katachi, 異なる形, which uses a different reading of the kanji in igyou (異形) and muscles in a verb conjugation, which has the effect of softening the harshness of 異 somewhat.[8]  This would be a great catch-all term for those with heteromorphic bodies who might or might not have heteromorphic quirks[9] if it weren’t for the fact that literally the only person we ever hear using it is an anti-social zealot.  No one on Team Hero ever makes this kind of distinguishment.

In any case, #2 is obviously over-simplifying to play to his audience—recall the baseline woman we saw back in that shot of Persecuted Early Quirk-Havers back in Chapter 59—but, as I’ve discussed extensively, being more visible does make one a more ready target.  Also, of course, the presence of the CRC in the story lays the groundwork for this sort of historical horror story even long after the worst days of the Advent.

7: I provide my own translation here because the Viz one, “those who don’t fit the mold,” is vague to the point of uselessness.

8: The koto reading, as best I can tell, seems to be pretty rare, often tagged as archaic in words including it.  The i reading is far more common, in words that denote wrongness, divergence, abnormality, and so on.  But it may be less about the reading and more about the fact that adding the verb conjugation makes the term more of a descriptive phrase than a direct noun.  As ever, take my talk about Japanese language minutiae with a grain of salt.

9: “Differing forms” is broad enough, however, that it could also be read as covering, say, people with amputations, congenital anomalies, or other sorts of non-quirk-related disfigurements from accidents or disease.  As in real life, navigating the linguistic space between specificity and Othering can be tricky.

O Next, #2 rhetorically demands what excuse was given by those who perpetrated these slaughters?  He answers his own question with the quote, “They give me the creeps.” Note how this ties in with my earlier suppositions about the likelihood of discrimination worsening the farther one is from baseline, as well as those about the necessity of putting up a good, positive, appealing front.  It’s a perfectly intuitive leap, that more extreme variants of heteromorphy, or those who evoke negative associations—animals tied to rot or bad luck, people made wholly out of green ooze—are going to be more likely to be found “creepy” than those who look like e.g. sexy bunny girls or straight-laced guys who just happen to have pipes jutting out of their calves.  Of course, that’s on something of a sliding scale; the more biased an area is against heteromorphs in general, the easier it will be to find oneself on the wrong side of that line.

O #2 presents the idea that society has reflected on their actions and made amends, or at least that’s how society’s narrative goes.  Illustrating this, we see two of the three heteromorphs in the police force, as well as Nedzu.  Interestingly, the panel does not include any heteromorphic heroes!  I might guess that this is because heroes are meant to use their quirks to serve others; they’re really just enforcement tools, lacking any particular authority beyond a quirk-use license and some admittedly broad soft power courtesy of the social contract.[10] Conversely, a school principal and a police chief (Gori remaining the outlier here) have actual authority, such that the average heteromorphobia-denier can point to them as evidence that heteromorphobia doesn’t exist anymore.

10: Which is to say, I don’t get the impression civilians are required to take orders from heroes, such that they would actually get in legal trouble for disobeying.  The fact that people do typically follow those orders speaks more to the power heroes wield via their association with the police force, as well as the general tendency of people to assume that someone in a uniform giving orders during an emergency is probably a professional whose orders it would be safe and wise to follow.

In the same panel, we also see a baseline guy palling around with a vaguely murine heteromorph dude (he looks more like a mascot suit mouse than an actual mouse, but he’s certainly nowhere close to baseline!), illustrating another way society wants to pretend it’s moved past heteromorphic discrimination.  I can’t help but note, in regards to this specific pair, that the manga uses faces the readers know to illustrate the point about heteromorphs in positions of authority, whereas to make the point about baseline/heteromorph friendships, it has to make up a new pair to show us because the series hasn’t made the time to actually build any (heroic) relationships that actually look like that!

Now, one could argue that using familiar faces to underscore #2’s speech would imply that he’s aware of those faces, and while that’s fine for figures of authority, there’s no reason for him to be aware of e.g. Natsuo and his mousey girlfriend.  However, the same would apply to anyone placed to demonstrate a random urban friendship crossing the “differing forms” line, including those two strangers.  Who are those two, after all, that #2 is any more familiar with them than he would be of Natsuo and mouse gal?

Honestly, I think the best relationship candidate we have—a pair who would both communicate what the panel needs to communicate to the reader and who would feasibly be enough in the public eye to get pointed at for rhetorical purposes by an in-universe speaker—would be Kamui Woods and Mount Lady.  Unfortunately, they don’t work because Horikoshi has never seen fit to actually reveal Kamui Woods’ real face, so they’re much less visibly “a baseline person being emotionally close with a heteromorph” than the random two Horikoshi made up.

O The oratory continues into discussing the divide between city versus rural views on heteromorphs, and this is, to me, the first clear sign that the series is beginning to lose the thread of this plot.  Taking #2 at his word asks us to concede the heteromorphobia has been completely wiped out in cities, eradicated with that wonderful antidote called “education.”  But discrimination very much does exist in cities!  It may be less violent, less extreme, less vocal, but in the form of things like law enforcement bias, housing discrimination, microaggressions, the quirk counselling #2 himself brought up, it’s very much still there!  Now, it could be that he’s just downplaying that discrimination to focus on the really ugly stuff you don’t see in cities, but I don’t know what his reasons for doing so would be?  Not when there’s so much else he could say that would be equally inflammatory without alienating urban heteromorphs by dismissing their still very much present, modern suffering.

O He then brings up the talk of “light”—echoing Skeptic’s earlier rhetoric—and it not reaching those gathered at the hospital, so they must make their own, for people who’ve never once regretted the quirks they were born with can never be their heroes.  What this primarily puts me in mind of is Hawks’s background with heroes prior to his father’s arrest—that heroes were only on TV, not present to save him in his actual life.  Keep that in mind for Shouji’s response later on.

O Towards the end, #2’s speech finally tips over the line from what could plausibly be read as protesting unequal treatment to an outright call for supremacy.  Notably, he doesn’t call for quirk supremacy, but rather for heteromorph supremacy—for the tables to be turned, the cards reversed, for them to not merely be equal, but rather to be superior.

It’s unclear how much of this he’s sincere about and how much is just convenient rhetoric disguising views that are more quirk supremacist in actuality.  For many reasons, I want to read him in good faith: because the MLA originally struck me as being written in good faith throughout MVA and the first war arc; because #2 never once uses his quirk in this mini-arc, casting doubt on him having such an amazing quirk that he’d benefit overmuch from quirk supremacy anyway; and especially because it would be incredibly bad faith on Horikoshi’s part to make a character delivering a speech like this a total bad faith, manipulative outsider.  Unfortunately, #2’s inner monologue in later chapters will make a good faith read all but impossible to sustain.    

O Halfway through his speech, #2 unmasks himself, revealing both his face—dominated by four pairs of pedipalp-esque mouthparts, though the markings on his head are pretty eye-catching, too—and his scar.  We’re never told how he got it, but the implication is certainly that he was attacked for his appearance.  That may just be a conclusion it serves him to let people make, given his bad faith elsewhere, but thankfully the manga doesn’t go so far as to say that explicitly.  In any case, his deliberate reveal turns his wound into a form of performance art, drawing attention to it, forcing it to be a part of the conversation—the polar opposite of Shouji covering his scars because he doesn’t want them to be a part of the conversation about him, and those scars being revealed because his mask is torn off against his will.[11]

11: This also fits a larger pattern of villains, by and large, choosing their expressions of vulnerability, making deliberate shows of agency in how their weakness is perceived by the broader world—Shigaraki taking his hand off for the first time, Dabi’s video, Toga approaching heroes with genuine questions, and so on.  There are certainly exceptions, but generally if a villain shows his “true face,” it’s because they’re making a conscious decision to do so, and may be actively manipulating how that reveal is going to land.  Conversely, heroes want to present a powerful, confident, untarnished image to the public, so their shows of vulnerability all have to be forced out of them after pitched battles or acts of violence.  Heroes don’t make themselves vulnerable to the public on purpose, which feeds into the way the public then treats them when they are forced into vulnerable positions.

O Spinner’s a mess at this point, and the reason he’s a mess is all tied up in his faith in/desire to help Shigaraki.  It’s not explicitly about heteromorphobia, but on the other hand, given that the thing that drove Spinner to be here at all was his horrifically low self-esteem caused by heteromorphobia, maybe it’s not so irrelevant after all.  It may have taken Spinner longer than the Tenkos, Touyas, and Chisaki Kais of the world to reach the “fall victim to a dark influence due to the neglect and abuse you faced at the hands of Hero Society” plot, but he certainly got there in the end![12]

12: I call this The Sekoto Peak Problem, and it’s a big criticism of mine about how the final arc is framing all these conflicts as being solely brought about because Bad Faith Villain Men like AFO are scooping up vulnerable people and driving them towards violence, without acknowledging the much worse circumstances those vulnerable people might be in if they were just left to their fates.  Touya, for example, if not for AFO’s timely rescue, would likely have simply died on the mountain long before Endeavor was able to find him.

O Shouji takes the mob to task for attacking a hospital without ensuring the safety of the uninvolved innocents within, a laughable bit of sophistry[13] that accurately foreshadows how disastrous his reasoning will be throughout the rest of these chapters.

13: It’s laughable sophistry firstly because the heroes knew this mob was coming but chose to leave Kurogiri at a hospital anyway; one can mount a very reasonable argument that Kurogiri’s teleportation power qualifies him as a military objective, which would make stashing him at a hospital an actual war crime in an international conflict, as well as negating the hospital’s protected status as a civilian object.  It’s laughable sophistry secondly because it criticizes a Villain-led mob for failing to evacuate the building, as if said mob had exactly the same social cachet possessed by heroes, that they could freely walk in the front door of a hospital and start shouting evacuation orders with reasonable confidence that they’d be obeyed.  Finally, it’s laughable sophistry because Shouji is quite simply wrong about the order of the actions he’s describing—the heroes’ evacuation of Ujiko’s hospital was concurrent with their invasion of said hospital, not precedent to it.

   

Chapter 371: 

O Shouji accuses Spinner of taking actions that will set them back thirty years, which is just a really egregiously victim blamey sort of thing to say, placing the responsibility on heteromorphs for the crimes of those who hate them.

O Koda’s perspective gives us a flashback to Shouji telling his classmates about his history—his town and his scars and his reason for wanting to be a hero.  It’s all material that works in the context of all the set-up we’ve gotten—the CRC and the religious inflection of their specific brand of hatred, the rural heteromorphobia, the hints about Shouji’s own discrimination, the attack on the Ordinary Woman, and so on—but that would have been far better served to have been integrated into the story more naturally.  Koda has no specifically established relationship with Shouji (seriously, there is absolutely nothing; it’s shocking how out of nowhere his sudden deep dedication to Shouji is), nor does the scene he remembers have any specific flags for when it might take place,[14] leaving the memory feeling less like a natural extension of their arc than it is a graceless sequence muscled in to attempt to rouse some emotion in the audience when Koda has a quirk awakening he is not otherwise remotely in dire enough straits to have rightfully earned.[15]

14: Shouto and Bakugou being missing might suggest that they’re off at their remedial license course, which would put the scene somewhere in late September up through December (stretching from the aftermath of Overhaul to the introduction of the MLA), save that there are several other students missing as well—Sero, Iida, Sato, and Aoyama, none of whom where in the remedial course.

15: Nearly every other inarguable quirk awakening[※] we know of in the series has as a chief component serious physical injury: Bakugou, Ochaco, Toga.  Geten’s is the only exception, and his is tied to the strength of his feelings for Re-Destro, which are clearly and overridingly his most significant character trait!  Shouji is not anywhere near that central to Koda’s life, and he sure as hell isn’t injured enough to have gotten it that way.

※: By which measure I exclude stuff like the change in Shigaraki’s Decay or Mina’s acid attack against Gigantomachia.  Shigaraki was explicitly just breaking through a mental block to access power he already had.  Meanwhile, if Mina’s Plus Ultra moment had been a sudden quirk evolution, she wouldn’t already have an attack name picked out for it, nor would her horns have gone back to normal after it.  Acidman: ALMA is an Ultimate Move, not Mina having a quirk awakening.

O The flashback itself calls for another subsection.    

Ignoring the Difference Between the Personal and the Systemic for Fun & Profit

O The big thing here the description of the whole town coming out for a “blood cleansing” whenever Shouji touched someone.  This is depicted as Shouji, probably a preteen in this sequence,[16] being savagely attacked with farming tools, the most visible of which is a pitchfork.  This visual, as well as #2’s invocation of historical slaughters, is the darkest heart of heteromorphobia: a child being ritualistically assaulted in the open street as a matter of course, as a consequence for touching someone.  This is the image you should hold in your mind as The Problem through all of the potential answers and responses that get trotted out through the rest of these chapters.

16: Visibly older/bigger than, say, Kouta, but also visibly younger/smaller than middle school Deku.

Before moving on, I do want to examine this image in just a bit more depth.

This is, firstly, the moment that Shouji got those scars, and it’s very important to note that what we’re being shown is likely not a random, representative sample of what the town “coming out in force for a blood cleansing” looks like.  The strong implication is that this is in the immediate aftermath of the sequence we’ll see shortly of Shouji saving the girl from the river: he’s wearing the same clothes and shoes,[17] he’s the same size, and there’s a spray of blood from where he’s being struck across the mouth where he didn’t have his distinctive scars when he saved the girl.  Does that mean the blood cleansings were typically not this violent?  That’s hard to say.  On the one hand, we don’t see any other scars on Shouji, and he wears his arms pretty bare!  On the other hand, we never see any part of his body bare except his neck and arms, and since he can regrow his arms,[18] they’re not exactly conclusive evidence that he’s never been scarred there.  Also, he does say talk about his situation—the scars he bears—as something other children in the country have to bear, suggesting that the norm is rather worse than a little symbolic gash across the palm or something!     17: In fairness, he may not own very much different, as I’ll discuss shortly.     18: The duplicated ones, at least.  I seem to recall reading once that he could regrow the base set as well, but I’m still working on tracking down a citation on that.    

Secondly, as was the case with the image of the historical massacres, the adults here are using tools/weapons in the assault, not quirks.  As I mentioned in a footnote last time, them not using quirks to carry out this attack makes them merely criminals, not Villains, and therefore not nominally a Hero’s job to deal with.  While I can’t imagine any Hero in the manga these days would stand back and let this go on, the absence still stands out—no Hero is participating in this, nor observing from the sidelines, nor trying to intervene.  Heroes simply don’t figure into this picture at all.    

Thirdly, we can see a few children in the background, both there with adults, I assume their parents.  The child on the right is a passive observer, clinging close to their mother and simply watching; their father has one hand supportively on their shoulder.  Neither parent seems distressed, insomuch as we can tell from their somewhat indistinct features and rather clearer body language.  The child on the left is being actively held back by their mother, who’s standing with her back to the violence, her body interposed between it and her child.  The kid is reaching out towards the scene, but it’s unclear what the intent is.  Are they trying to intervene or do they want to join in?     Neither child appears to be the little girl Shouji saved—the one on the right is dark-haired, and the one on the left—the more likely prospect just going by the body language!—is wearing a long, dark T-shirt instead of the little girl’s overalls.  I suppose the left one could be the little girl if we assume she was hustled out of what she’d been wearing by her parents, eager to get her out of now-tainted (and also soaking wet) clothes and into something dry and warm and, in more ways than one, clean.  However, that seems like the sort of thing that would take longer than what looks to have been a pretty impromptu, disorganized bloodletting, unless everyone just held off on assaulting Shouji right out on the street until the “victim” could be present.    

Finally, there’s the pair of adults right at the center of the background.  If anyone in this picture is actually related to Shouji, I’d put money on them being here, watching but not attempting to intercede.  I don’t think it’s conclusive, though; the woman is thin and hunched, making her look older—I’d guess Shouji’s grandmother before Shouji’s mother.  That hunched posture and her hands being raised to her mouth do give her the most obviously distressed appearance of any of the adult, though, to the extent that the person with her is focused on supporting her rather than watching what’s going on in the foreground—and forward attention is what I’d expect if the dark-haired figure is related to Shouji.

So that’s the image we have of the crowd—actively taking part or observing with varying degrees of reaction running from distress to indifference to, potentially, enthusiasm.

O Next, let’s talk about Shouji’s parents.  He implies they were baseline—at the least they were significantly more baseline than Shouji himself, as they lacked arms “like his.”  That makes it quite telling that Shouji’s parents are nowhere to be seen in his story beyond the simple mention of how they were different than him.

Now, I don’t want to suggest here that Shouji’s parents are completely irredeemable people.  While I would imagine that—at least initially—they shared their town’s bigotry, having a heteromorphic child themselves would have exponentially increased the hardship of their own lives.  In a town like that, I’m sure that many if not all of their neighbors must have come to regard them with suspicion of wrongdoing or transgression—recall the first page of the last chapter, where Shouji is accused of tricking the town in his having brought dirty blood to it.  Hie parents almost certainly lost friends and likely became ostracized themselves, and ostracization in a small Japanese town can be a horrifying thing to deal with.

And yet, even with all that being the case, they didn’t abandon Shouji or give him up; they didn’t commit family suicide with him.[19]  Assuming he wasn’t removed from their custody after the incident, they’re presumably paying his school and living costs;[20] likewise, unless he just ran away from home or is carrying out an incredibly elaborate deception about what school he’s attending, they almost had to support his desire to attend a hero school to begin with.  In his situation, parents who support his desire to be a Hero is a big fucking deal.  After all, between the winning and the saving, heroes will de facto be touching people all the time!  If Shouji’s parents still live in his hometown, how do you think those people will take it when someone first realizes the Shouji family sent their kegare-riddled monster off to be a Hero?

19: The history of honorable suicide in Japan casts a very long shadow, and when it’s combined with the meiwaku culture, you get an underreported epidemic of things like parents who can’t see their way out of a bad situation taking their lives and their children’s as well, so as not to leave messy loose ends that others will have to bear the burden of dealing with.

20: I won’t get into whether or not the U.A. students’ parents are paying for any given thing on the following list, but here are some potential costs to consider, assuming that Shouji, like Uraraka, was commuting from an apartment prior to the dorms being implemented: tuition, school uniforms, textbooks, school supplies, school meal plan, food not served at school (e.g. breakfast and dinner or meals when the school is on break), non-uniform attire, personal care and hygiene, housing and transportation costs, a measure of spending money for unanticipated expenses or culturally expected gift-giving, etc.

All that being said, it’s obviously not a glowingly loving relationship, either.  Think back to Shouji’s absolutely barren room in Chapter 99 and consider it in the context of the information we get in this chapter.  Is he really so ascetic by inclination, or is he just used to making do with as little as possible?  After all, it goes without saying that if him coming into contact with someone called for blood purification, anything he himself was in regular contact with was also to be considered incredibly impure.  That includes his clothes, personal belongings and living space; even setting aside his parents’ view on it, who in his hometown would even want to provide or sell things to the family that they think will go to the child with the dirty blood that’s defiling their land?

Shouji’s parents’ absence is also glaring in other ways.  For example:

They’re either not in the beating scene image above at all or they’re that central background couple hanging back and just watching; whichever is the case, what they’re assuredly not doing while their son is being beaten so badly he will still have glaringly visible scars years later is “trying to stop the violence or take the blows themselves.”    

Shouji says he has one single good memory about his body, but his parents are nowhere to be found in that memory.  Ergo, his parents have not given him a single moment of positivity about his heteromorphic form.    

Parents of U.A. students were evacuated to U.A.—not just the ones near it, but even ones like Uraraka’s parents, who live at least a two hour drive away, in a wholly different prefecture with a third prefecture in between them and U.A.  Every student we see in the departure scene in Chapter 342 is shown with their parents except Shouji.

To sum all that up, Shouji’s family situation is not maximally bad, but it’s certainly proximally bad.

O Next, we get Shouji alleging ignorance on the part of heteromorphs raised in cities, that there are still parts of the country in the modern day where stories like his happen.[21]  It’s a milder version of the same assertions made by #2 and the beaky heteromorph last chapter, in that Shouji doesn’t suggest heteromorphobia doesn’t exist at all in cities, simply that there are extremes of violence that can only be found in the country.  It still feels off, however, to suggest that absolutely no one else in Shouji’s class might ever have heard of this through any channel at all: being from similarly small towns, reading about an attack in the news, reading about factors that impact the public approval ratings for Heroes, going through a morbid phase in middle school and researching it, being talked to about it by their parents, etc.

21: The suggestion of the Viz translation of this suggests that city-raised heteromorphs do know this, but only because they’re read about it in textbooks.  My sister-in-law, who does professional translation, tells me this was a subtle mistranslation of the original text, however; the textbook framing is supposed to imply a remove of time, not merely of distance.

It’s not as unrealistic a story beat here as it would be in an American comic, as Japan does tend more towards using silence as a weapon against bigotry—children won’t learn what they aren’t taught, and similar reasoning.  Still, to portray the class as so unanimously ignorant reflects a deep incuriosity, be that in the kids themselves about the world around them or in their author about how the knowledge/perpetuation of discrimination spreads.

This is particularly the case when you consider the story’s handling of the Ordinary Woman—attacked in her own town because people were suspicious of a heteromorph out after dark, turned away from multiple shelters because of her heteromorph status.  It’s certainly true that things got worse for heteromorphs after the first war arc, but for discrimination in that specific form to emerge, there needed to be something for it to draw on.  The fear of villains and the association of villains with heteromorphs are the foundation for the upswelling in anti-heteromorph sentiments in cities.

O Mina’s reaction to all this is one of rather theatrical anger.  That is, no one around her takes her broad declarations—that the world would be better off without the people who hurt Shouji—as anything more serious than hyperbole.  This is, it would seem, the only sort of anger that’s acceptable to show in response to hearing a story like Shouji’s—empathy to the wronged, sure, but no real intent to confront the wrongdoers.

O Mineta stares into space for a second before emphatically apologizing for calling Shouji an octopus once—a call all the way back to his microaggression in Chapter 6!—and asserting that it wasn’t his intention to say Shouji was gross or anything.  Shouji responds gracefully, saying it’s “only natural” that his arms would make people think of octopus.

He doesn’t go on to say, “But that doesn’t mean people have to say it out loud,” but it’s possible that Mineta’s apology is meant to suggest that regardless.  At least, one certainly hopes this isn’t the author’s way of quietly absolving his more popular characters of all the times they’ve done the same thing!  It’s notable, however, that none of the other Class 1-A kids that have done this are in the scene.  Shouto and Bakugou, who have both used that kind of language in anger (and in the latter’s case, also just with no provocation whatsoever) are the missing elephants in the room, and even Sero, who was the actual person to call Shouji an octopus, is, in his absence, Sir Letting The Gag Character Handle This Apology So I A More Serious Character Don’t Have To.

O Shouji brings up the Heroes Who Look Like Villains rankings.  We know the Number 1 on that list is actually Endeavor, per a movie bonus booklet, but bringing it up in this context does implicitly confirm that said rankings have an unseemly slant towards heteromorphs, and what did Skeptic say about Villains and heteromorphs again…?

O Shouji says he wears the mask because he knows that if people see his scars, they’ll wonder about them, and fear he’s out for revenge.  He doesn’t want people to think that, so he covers them up.  He’s praised for this by Tokoyami, and the narrative pretty clearly also thinks it’s admirable and cool.  I have serious issues with this—chiefly that it’s prioritizing the oblivious comfort of the baseline citizens over the fellow feeling and affirmation of other persecuted heteromorphs—but I’m also curious to see if the mask will come back now that its meta-narrative purpose of hiding Shouji’s scars from the reader has been fulfilled.  I note, for example, that Shouji is not wearing the mask in the color spread for Chapter 394, and the color art does have some precedent for being an early predictor of stuff in the body of the manga.[22]

Incidentally, while I’m talking about Shouji’s mask, I do wonder how effective it would even be for him to cover his scars up?  I have my doubts for two reasons.  First and most obviously, heroes are such celebrities, all over the news all the time, such that if Shouji really does get as popular as he intends to, there will be people who want to know what he looks like.[23]

22: The big one is Aizawa’s eyepatch.  It showed up in two pieces of color art (the popularity poll results spread for Chapter 293 and the new art announcing the BNHA Drawing Smash Exhibition) before it was revealed in the manga.  Both pieces released within days of each other in early December, 2020, three months after Shigaraki raked his hand down Aizawa’s face during the war and almost two months before the latter showed up in bandages in the hospital, with another two months to go beyond that before the eyepatch itself made it to the manga in late March.  In a more stealth spoiler, the same popularity spread revealed Shigaraki’s blackened, burned face-hand two chapters prior to Spinner digging it out of Shigaraki’s pants.  The 394 spread is also my basis for asserting that Mina’s horns have gone back to normal after her attack against Gigantomachia, compared to Shouji lacking his mask and Koda having his new horn in the same spread.

23: Edgeshot’s character profile page notes that his fans are split into two factions: those who’re mad to see his real face and those who think the mask is what makes him cool.

O More importantly, though, heroes have to be licensed, and Hero Licenses are photo IDs.  Photo IDs don’t typically allow face coverage because not being able to provide a visual reference to what the bearer looks like defeats the whole purpose.  While we don’t know what full-fledged hero licenses look like to say if they’re taken in or out of costume, we do know the provisional licenses the students carry showed them in their school uniforms, despite the fact that they definitely had working costumes by then:

Pardon the sudden screenshot. The manga has this shot, too, but the anime fills in the details of the text a bit more.

It seems probable to me that the photo on a Hero License must show the bearer’s face, so that if they’re tooling around a crime scene and a cop who hasn’t seen them around before asks for their license, it can reliably be used as a form of identification.  (I wonder how Hagakure manages?)

Also, think back to the press conferences we’ve seen in the story, most recently the one post-war: at every one, the heroes are in serious, solemn black suits, not their costumes.  So at any press conferences Shouji ever has to speak at in the future, he’ll have to show his face there, as well.

O We see a direct flashback to Shouji saving a little girl from drowning in a choppy, swift-flowing river as he says in voiceover that he’d rather cling to the single good memory related to his body than dwell on the bad memories.  He very much uses his quirk to do it, with his right set of limbs used to hold onto the bank while his left ones reach out to the girl, extending out another few “nodes” of arm-length when he at first can’t keep hold of her fingers.  As they sit and catch their breath afterward, the girl clings to one of his tentacles and cries.  This is not quite what his entry in the Ultra Analysis databook was hinting at[24] when it said he wears the mask due to his scary face making a little girl cry; that’ll be next chapter.

24: My apologies for not bringing this up before; it’ll be covered on AO3.  The gist is as detailed above; the databook came out circa the Endeavor Agency arc, so this was a known factoid about Shouji by the time this chapter came out three years later.

O Wrapping up the flashback, we’re left with Koda’s memory of Shouji saying that he knows it’ll take longer than a generation to tear down a wall that’s stood for over a century, so, just as previous generations have done, he’ll keep paying it forward, being the coolest hero the world’s ever seen, “to give good memories to generations to come.”  Which sounds really nice when he says it that way, as opposed to the broader implication that people whose children have been or are in danger of being maimed by bigots should just keep their heads down and “keep paying it forward.”

The whole “be a cool hero and give good memories” bit is particularly egregious to my eye, for a few reasons.

How much good did cool heroes do for Takami Keigo when they were just on TV?  Which is where Shouji will be, because in order to be “the coolest hero the world’s ever seen,” he’s going to have to be at the top of the rankings, and being at the top of the rankings means prioritizing cities, which means all those heteromorphs out in rural areas are never going to see him in person.  And anyway, what’s stopping all those bigots from just changing the channel or going on a rant about Woke Mutie Agendas every time a heteromorphic hero crops up on TV?    

How much did the visibility of previous generations’ cool heroes do for Spinner?  Does Shouji think Spinner was super inspired and uplifted by seeing e.g. Gang Orca on TV using the emitter-like hypersonic waves his quirk gives him to beat up Villains, an undue percentage of whom are also heteromorphs?

It’s certainly nice that Shouji was inspired enough by heroes on TV to want to emulate them, but he is demonstrably not the norm when it comes to wildly disadvantaged and victimized heteromorphs.  Also, I have to wonder how much his admiration of TV heroes would have done him if he’d gotten to the girl just a little later—say, in time to get her out of the river, but too late to be able to save her life without knowing CPR.  As bad as it was for him when he saved a little girl but had to touch her to do it, can you imagine how much worse it would have been if he’d touched her and then failed to save her, being found or having to walk back into town with her body?

I realize that's incredibly dark, but it's the kind of question that presents itself when the story is so insistent on Shouji's exemplary behavior being the model for heteromorphs to follow in their own lives.

   

O Exiting the flashback, when Shouji calls out to the heteromorphs, we finally get a straight-out look at how disastrous this conclusion is going to be in the way he shouts that no, the people who hurt them weren’t justified, but that there has to be a better way, that they should think about how to use their rage—but offers exactly zero suggestions himself for what that better way might be, or what they should be using their rage to do instead.[25]

25: I have seen the argument put forth that Shouji is one (1) teenager, and one (1) teenager cannot fairly be asked to Solve Bigotry.  To this, I would counter that if Shouji doesn’t have even one (1) single idea to offer, why is the camera lens holding him up as the hero who quelled a fifteen-thousand-strong mob with only words?  He doesn’t have to Solve Bigotry, but if he’s going to be used as a counter for other peoples’ misguided but at least active attempts to address the problem, he needed to be better than a mere white knight for the status quo.

Spinner’s #2 calls Shouji out on this directly, saying that if the situation were that easy to resolve, it wouldn’t have come down to this, and accusing Shouji of having no feasible solution to offer, just childish and naïve egotism.  And call me a hopeless MLA Stan and you’d be right, but truly, where’s the lie?

His efforts in this regard, however, wind up pushing Koda to what certainly has all the markings of a quirk awakening because it upsets Koda to see Shouji being “mocked.”  Man, sure is a good thing quirk awakenings are just a dime a dozen and definitely don’t require life-threatening injuries and/or incredibly severe emotional distress over someone who means more to you than your own life, right?

O In a last little stroke of ugliness for the chapter, Spinner calls Shouji gross.  Just to, you know, make it really obvious that the villains are all totally bad faith representation for this cause and thus can be safely dismissed.  (Christ, I hate these chapters.)

   

Chapter 372: 

O We get the flashback of Shouji and Koda asking All Might to assign them to the hospital defense group.  Points of note:

Neither Shouji nor All Might can be bothered to use the Ordinary Woman’s real name, instead just referring to her by her size.  Seriously, I get the intent behind insisting that she’s just an ordinary woman, that there’s nothing in particular stand-out about her in the current age; it’s pretty much the same deal as Shinomori saying that OFA can no longer be wielded by an “ordinary” person, with that phrasing being used to ironically emphasize that quirks are now seen as ordinary, while those without quirks are the unusual ones.  However, it obviously wouldn’t work in-universe for characters trying to specify who they’re talking about to say, “That ordinary woman,” with the end result being that they have to grab for what stands out about her if they want to be understood—in this case, her obviously unusual height.  In trying to emphasize that she’s normal, Horikoshi forces his characters to define her by what makes her stand out.    

Koda says that if Shouji’s going, he is too, a moment that would really land much better if they’d had literally any interactions of note at literally any point prior to this exact moment.  Frankly, even last chapter’s flashback is pretty thin on that front, since Koda is not one of the students who gets speaking lines when cuddling up to Shouji to comfort him.  (I’m not even convinced it’s very in character for Koda to be one of the kids diving in for cuddles—he’s usually pretty shy!)    

Shouji says that he could never call himself a hero if he were to stand back while the hospital attack plays out, implicitly emphasizing the role his reaction to his own oppression plays in his heroic motivation.

O Another flashback[26] gives us Koda’s mother discussing the possibility that he might get horns like hers someday, and what those horns can do, as well as mentioning that she used to have to put up with considerable mistreatment herself, and, lastly, telling her son to grow up into a man who gets angry when people mock those dear to him.

26: The sheer number of them crammed into this mini-arc really says a lot for how rushed it is, but complaining about the structural problems of the last few arcs would be a different essay.

Breaking those down, we’ve got:

The fact that Koda’s mom says he might grow in horns like hers suggests to me pretty strongly that her own horns are a quirk evolution she just doesn’t have the language to name as such.  If it were just a matter of maturation, something that came in with puberty, there’d be no “maybe” about it.  Given what we know about the context of quirk evolutions elsewhere, this in turn suggests that she did not exactly get her horns under peaceful, wholesome, uplifting circumstances!    

This is backed up by her mention of the “real cruelty” she faced.  Interestingly, this kind of raises some questions in relation to Shouji’s assertion last chapter that people like Koda who grew up in cities lack an understanding of the extremes of heteromorphobic violence that endure elsewhere.  Did Koda’s parents move to the city from the country at some point when Koda was young/before he was born, and the “real cruelty” was out in the country?  That might track with the overalls she was wearing.  And of course, Koda’s mother was a younger woman then, so maybe it’s just the fact that heteromorphic discrimination was worse at the time.  Either way, Koda’s mother is clearly open with him about the fact that she was mistreated because of her appearance, though she may have downplayed the severity of it.    

The idea of Shouji being “dear to Koda” is immensely frustrating for how utterly groundless it is, based on absolutely no prior grounding within the story other than the general bond among the 1-A students.  That’s just me complaining, though—more pertinent for this essay is the problem with how this moment frames anger.  Like, the whole mini-arc has the same problem, but this chapter is particularly rotten with it.  To preview: Koda’s anger is portrayed as righteous, as was his father’s, because their anger is about protection, about defensive reaction, about intervening with harm currently in progress—basically all the stuff Heroes are supposed to do.  It is notably not about action based on past harm or proactive attempts to prevent future harm.

O Koda’s bird attack knocks Spinner’s #2 off the roof in one of the most egregious examples of, “I can’t come up with an actual counterpoint for his arguments, so I’ll just shut him up through force,” I’ve ever seen.  Sure, there’s something to be said for not engaging bad faith parties in good faith arguments, but like…  That guy already had a platform of his arguments—he was standing on the roof of a tall building!  The author gave him several pages to make his pitch; the argument’s already out there in the readers’ minds!  The only thing getting rid of him does is guarantee that the person the taciturn Shouji actually has to argue with is…Spinner.  Who is not exactly a born orator at the best of times, and he’s very far from even that level here.

Now, #2 will get a few more lines next chapter, but they’re against one of the people on his own side.  No heroic character has to argue #2 down; instead, they get to match wits with the literally drooling Spin-zilla.  Which is a bit like stepping into the wrestling ring with someone who’s had a bag thrown over his head and his hands zip-tied behind his back.

This confrontation is, woefully, not the only place in the endgame where a heroic character gets all the time and freedom in the world to make their big pronunciations while their opponent gets shut down by some outside factor—interference from other villains, psychological decay, literal possession—but it’s in particularly stark relief here.

O Shouji contends that the crowd is letting their pain be exploited, which is a fair cop, but will become difficult to square with his praise of them next chapter.

O He says that these peoples’ children might be the next targets, presumably because of their actions here today.  This is particularly maddening because it’s coming from someone who was, himself, already targeted as a child!  Not because of anything his parents did, and certainly not because of anything bad he did, but simply because of the bigoted, backwards views of his town.  Children already and still are being targeted!  Shouji’s backstory is all wrong for this stand, and there’ll be another angle on that next chapter as well.

O Here we finally fulfill the promise of Shouji’s databook entry and see the Little Girl Crying Because His Face Was Scary.  She wasn’t crying because she was just scared of his face in isolation, but rather because she sees his face being scary as her fault, directly correlating his wounds to her rescue.[27] Those wounds stand in marked contrast to what happens when other people save small helpless children from danger, and underlines the biggest problem with this whole resolution: the idea that simply Being An Hero will create change.

27: My big question is, “Given that him being in contact with her was so bad it got him scarred for life, how did she even sneak out to see him again to give him this tearful apology?  Did young Shouji even want this apology, or would he have preferred she not risk the two of them being seen together again for both their sakes?

Now, it’s certainly likely in Horikoshi’s world that this little girl will, herself, grow up to be different from the people around her, that she won’t think heteromorphs are tainted.  And like, that’s at least one less person being awful, right?  And doesn’t every one count?

Sure, of course—but what happens when she runs up against that prejudice herself?  Will she try to intervene the next time she sees a blood cleansing?  Will she simply abstain from such action and teach equality in her own household without trying to change the village around her?  Will she simply move away and leave her hometown worse for her absence?  If she does stay in that town, will she herself become an outcast for her views—a form of silent, passive harassment that can be absolutely life-wrecking in those small Japanese villages?  If she gets married and has children, will her husband have her back in trying to raise those kids free of hatred?

For that matter, isn’t there a chance that, being surrounded in people who think heteromorphs are tainted, that she’ll just internalize something like, “It was my carelessness that got that poor heteromorph boy beaten so badly.  He was trying to help, and it only got us both hurt—him for the beatings, me for being in contact with his filth.”  Like, she’s so young in that scene; she’s got a whole lotta years of having the anti-heteromorph narrative reaffirmed at her before she’s old enough to do anything different herself.  It feels to me like the kind of thing that she could easily fall back into as she grows up, only to have a huge spiritual crisis about it once she hits her late teens to early twenties.

In any case, it's just a lot to put on a single child—on her and Shouji both!

O Spinner rallies enough to yell out a message of his own, but it’s just a quote of what he told his followers when he first sent out the call, not anything new to rally them, nor tailored to respond to what Shouji’s saying.  This has been the danger of the plotline all along, and here it comes to fruition: in putting bad faith villains with ulterior motives[28] up against an underdeveloped character who’s hidden the evidence of his mistreatment from Day 1, someone with no apparent intention to ever speak up for others like himself, no one comes out looking good.  Truly, heteromorphs deserve better rep.

28: #2 is the obvious one, but Spinner’s here in bad faith, too.  While I’m sure he’s not totally indifferent to the matter of heteromorph rights, it’s self-admittedly not his current priority.

O That said, if what Spinner says is old hat to the crowd, it is new to the audience, and it serves to sharply up the ante on from what we knew previously about the persecution he faced in his hometown!

But it would have gotten better if he’d just put on a mask and dealt with it, amirite?

Recall that Spinner has previously only said that people in his town called him names—this is self-evidently many steps worse.  Note, though, that it’s another example of the violence heteromorphs face not involving anyone using quirks—that is to say, nothing that’s a hero’s jurisdiction to deal with.  That being the case, how much could Spinner get away with fighting back or running before the “it’s okay to use quirks in self-defense” stops holding?  After all, is it still self-defense if biased cops[29] can accuse him of “escalating” the conflict?  How far away can he get by climbing on walls before it becomes, to some small-town local Hero, unlicensed public quirk use?

29: If policing in HeroAca Japan still works basically the same as it does in IRL Japan, then in truly backwater areas, ones too small to afford the upkeep of a police department, an officer would be sent in from another area to live in a home attached to the police box.  That being the case, it’s not a given that the officer would share the locals’ bigotry.  That’s where we come back to the whole “what percentage of Villain-designated criminals are heteromorphs” statement and what it implies about bias in the law enforcement system.  Also too, building a strong relationship with the community is absolutely essential to rural policing, and there are, oh, so many stories about what happens when someone new in a small Japanese town gets between the inhabitants and their “traditional spiritual practices.”

O Pig Nose Guy starts making an impression by noticing the doctors—most prominently Dr. Yoshi, standing shoulder-to-shoulder with a baseline nurse—forming a human chain in front of the hallway leading to the Inpatient Ward.  This drama is undercut on both fronts by the fact that Spinner is not looking for the Inpatient Ward, and in fact barrels right on past that hallway without even glancing in its direction.  So, the mob stops because they’re struck to hesitation by a group of people protecting a part of the hospital that the mob was not even intending to assault in the first place.

O As part of stopping, Pig Nose Guy seems to have some sort of flashback to a time he saw Dr. Toad caring for an elderly baseline man.  This raises a lot of questions to my by-this-time hyper-critical eyes.

What past circumstance brought Pig Nose Guy—presumably fairly rural, as most of this crowd is implied to be—to Central Hospital, the most technologically advanced hospital in the entire country?    •  If Pig Nose Guy is not rural, but was still so fired up about heteromorphobia that he joined a terrorist-led mob to attack a hospital, wouldn’t that suggest that a lot of people in the story have been misleading us about the extent of anti-heteromorph sentiment in cities?    

If the person in the bed is someone related to Pig Nose Guy—perhaps someone with a rare illness that requires specialized treatment?—why is the guy entirely baseline?  If it’s just a friend, then they must be very close, given that PNG was willing to take a trip to the Tokyo metropolitan area to visit him.  But if PNG is that close to a baseline guy, why did he ever believe that baseline folks are such a lost cause that he, again, joined a terrorist-led mob to attack a hospital?    

Why is this important, impactful memory one of a heteromorph in a caretaker role instead of being taken care of?  To elaborate on why that question matters, a common issue you’ll see minority groups raise when talking about representation in media is the role any given minority character performs in their narrative—the gay best friend there to give the straight female lead advice, the Black person there to help a white person self-actualize, that sort of thing.  This is not so much a critique of any given, specific character as it is criticizing the restrictions on of what demographics are allowed to be portrayed as full, rounded individuals in popular media versus which are relegated to stock stereotypes or supporting cast.     This isn’t something BNHA addresses explicitly, but I do think we have some precedent for suspecting heteromorphs in this world have similar problems—think of the image for Class B’s play in Chapter 173, Gang Orca playing the Villain at the license exam, and, most egregiously, the Hug Me Corporation and its all-baseline-all-the-time image of bystanders and victims.  That being the case, it really gets to me that Pig Nose Guy’s memory here has the man in the hospital bed being baseline while it’s the doctor who’s the heteromorph.     Like, what does that communicate about his mindset, exactly?  “Oh, I remember this time I saw a heteromorph who’d managed to actually kind of Make It in society and he was nice to the baseline guy in his care.  But the spider guy leading us, he didn’t sound like he wanted us to be very nice at all.  Is that what I am?  Not nice?”  On the other hand, if the whole point of this memory is to remind PNG that there can be peace and support between heteromorphs and “people with human faces,” why in heaven’s name isn’t this a memory of a heteromorph being cared for and supported by a baseline person?  Why does the person doing the labor in this picture have to be of the oppressed class?

I hate this panel so much.

   

Chapter 373: 

O The last conversation plays out between Pig Nose Guy, #2, and Shouji, revealing #2 to be a bad faith idealogue who thinks of Shouji with microaggressions and his followers as meatshield patsies.  It’s real bad.

O Shouji says that the feelings that led the mob to come today are neither useless nor wrong, and that their willingness to keep thinking about everything makes them look like a bright and shining light to his eyes.  However, he carefully does not engage with the fact that those feelings, which were previously aimless and directionless, were only stirred up and stoked to the point of “coming today” by the villains.  It’s the same sort of thing the villains always get told, really—you may have a point, you have suffered, but when you act on that point, that suffering, then you’ve gone too far.  All you’re really supposed to do with that pain is—what, exactly?  Thinka bout it and choose to Nobly Endure?

O The last little bit of insult to this chapter, to my eye, is #2 getting an apology from some anonymous hero we’ve never seen in our lives, who says, “We’ve heard your voices loud and clear today.  Sorry for not realizing sooner.”

Remember the bit where the person who apologizes to Shouji for the octopus comment is Mineta, the gag character, instead of Sero, the serious character who brought it up in the first place?  Remember the conspicuous absence of Bakugou and Todoroki, who have actually used that language with conscious demeaning intent?  This apology is the systemic version of that absolute unwillingness on Horikoshi’s part to let his sympathetic/popular/important characters look bad.  It’s the same thing that led to none of the heroes who retired after the war being heroes the readers know and care about, the same thing behind the total collapse of the series’ critique of All Might.  Heroes are allowed to be ignorant, but they are not allowed to be complicit.

Notice, too, what this random hero does not say, what Shouji does not offer, the absence that damns this resolution: any promises of concrete change.  We’ve finally gotten to the crux of Horikoshi’s point, as delivered by Shouji, and it really does all boil down to this:

And I can’t overstate enough what a terrible resolution this is, especially given how Shouji’s own experience puts the lie to it.  Remember, Shouji saved a child from drowning, one of the absolute most prototypical actions someone can do and get called a Hero by the bystanders/victims/evening news.  The only thing he could have done that would have been more stereotyped would have been saving her from a burning building!  He saved that little girl from drowning and the townsfolk attacked him with farming tools for it.

How much more heroic would he have needed to be?  How much more of a shining light could he possibly have been?  In what universe could someone with that backstory possibly think that the answer to systemic bigotry—violence that goes wholly accepted by the community and wholly unpunished by the broader society—could be this Model Minority bullshit?

Ultimately, for Shouji’s backstory to realistically have given him the motivation he professes, his actions needed to have changed the people in his village for the better.  If the reader is meant to believe that Shouji’s “answer”—the premise that selfless heroism can change the hearts of bigots—then we have to see it.  And, you know, even if that had been what we got, there would still be grounds to criticize it!  It would still be a perhaps-too-idealistic depiction of fighting oppression; it would still put too much responsibility on the victims!  But at least it would justify Shouji’s own stance.

As it is, we have Shouji choosing to believe in the changeability of people who specifically shouted while throwing rocks at him that, no matter how much the times advanced, they would never accept him.  His answer does not entail a single non-heteromorph working to bring heteromorphs living in the darkness a light; it entails them kindling their own.  As with Pig Nose Guy shutting down in the face of a memory of a heteromorph doctor, this resolution asserts the life-changing power of…being told that heteromorphs have to do all the work to make baseline people feel better.

   

Conclusion

Do I think that this terrible resolution means heteromorphobia was poorly set up or retconned?  No, I don’t.  I just think it means that Horikoshi is a Japanese man writing a Japanese story from a position of demographic privilege in Japanese society.  I think he’s fully capable of setting up a detailed, intelligent, thoughtful discrimination allegory, a logical, internally consistent extension of the discrimination in the world around him to the alternate future he’s created—and then coming to a completely different resolution than I would because his context led him to different answers than I wanted or found acceptable.  Compared to the U.S., Japan as a culture is more communal, more collectivist; they have less history with successful protest movements, more history with protest movements turning violently extremist or just being ignored by those in power.  The idea of “not making trouble for others” is an incredibly deeply engrained value.

I have a decent idea why this resolution is what it is.  I can try to make myself view it through the more generous, forgiving lens of Cultural Differences; I can fail to do so and instead conclude that this is portrayal is much less about Cultural Differences than it is yet another in a long chain of Well-Meaning Majority-Culture Author Writes Discrimination Allegory, Fucks It All Up Because of His Well-Meaning Majority-Culture Centrism.  That doesn’t mean I believe heteromorphobia came out of nowhere, and I hope this essay has at least demonstrated that much, whatever you might think of its resolution.

——————————

Thank you so much for taking this journey with me, all! At 42,000 words and 93 pages in Word, there's definitely more I'd like to do with this, chiefly taking a spin through the Vigilantes spinoff, which I've always found to be very good at grappling with practical questions and concerns BNHA Core largely ignores. The character of Kamayan is particularly relevant to this topic.

However, for now, I'm going to take a break on this subject and turn my attention to something else. I'm not sure what it'll be quite yet, but meta projects that have moved towards the top of my list concern the ridiculous series of nerfs Toga has been subjected to in this endgame, arc thoughts on everything I hate about the stupid, stupid All Mech fight, and an organized argument for the endgame being chock-full of retcons that are obvious if you look at them for more than the five minutes it takes to read a chapter each week.

You may notice that all of those are pretty negative-sounding, and you would be right. Given that the whole reason I stopped doing my chapter posts is that I was weary of the constant negativity, the actual next thing I do will probably be to get back to one of my neglected MLA fanfic projects.

'Til next time, all!

#bnha #bnha meta #bnha worldbuilding #heteromorph discrimination plot #octolad #plf advisors #my writing #preview for Vigilantes: #Kamayan is a crank and that distracts everyone #from realizing that Kamayan is also right

[coquelicoq]

hmmm for the shipping meme! matonato and hankim or yoohankim?

[ID: A graph with the x-axis labeled "makes sense" on the left and "doesn't make sense" on the right and the y-axis labeled "compels me" at the top and "doesn't compel me" at the bottom. points labeled MN for matonato, HK for hankim, and YHK for yoohankim have been situated on the grid: MN in the top left (makes sense, compels me), HK at the top and to the right of MN (makes some sense, compels me), and two points labeled YHK, one slightly above and to the left of the center (makes some sense, compels me some) and one in the bottom right (doesn't make sense, doesn't compel me). /end ID]

wow this threw me off because for some reason i assumed that makes sense would be on the right instead of the left! so hopefully i made all the necessary corrections to what i originally wrote lol.

matonato: makes sense, compels me. probably obnoxiously obvious to everyone at this point. do they get a happy ending? i mean it's very fun to think about and i love me a good actually-together-matonato concept, but probably the most compelling thing about them is the star-crossed aspect. it's not will they won't they, it's why they why not they. why do they want this and why can they never have it? it's, how can i make this about natori's self-hatred? it's, who is matoba if he quits the exorcist business? (EXTREMELY JUICY AND COMPELLING QUESTION 2 B ASKING.) it's, what changes in their individual priorities and self-conception would be necessary before they could get together? asking myself these questions and understanding why they in their current forms can't be in a relationship helps me to better articulate who exactly they are and what motivates them and gives me avenues for thinking about possible character development. but like i said i do really love thinking about matonato endgame, and even though i know it's never going to be canon (which it doesn't need to be, obviously! we are in our sandbox making our own dreams come true), i'm reading the homura arc like girl why did you do that. where are you going with this??? fellas is it gay to stalk your homoerotic rival's enemies and the answer is a resounding YES. they are a good ship because thinking about each of them in the context of the other expands my understanding and appreciation of their individual characters, but also because it would be sexy for them to mash their mouths together. both are very important elements of shipping 2 me.

hankim: i want to say this is one of the most compelling relationships in orv but they are all compelling, it's actually insane. however hankim is definitely tied for first (with twenty other relationships). her love for him is the beating heart of the story. like the entire plot hinges around her loving him so much she would [redacted], but also the central themes are exemplified by how she feels about him and what she does about it. and he trusts her in a way he can't really trust anyone else, because she knows enough about the world that he can be open with her about things he can't tell others, and because he trusts her to be competent and able to achieve his objectives. mostly to me though their relationship Is About her love for him because of how badly he needs it and how little he can understand it, and how central it is to his entire character that he needs but cannot understand receiving that kind of love. i have not yet succeeded in imagining any kind of compelling sexual relationship for them, except the somewhat indirect one where he gives her permission to make a kim-dokja-looking avatar with which to fuck yoo joonghyuk while kim dokja is elsewhere minding his own business, but that's fine, they don't need to be having sex to have a compelling relationship, obviously. so yeah it's compelling af and it does make sense, but i'm taking some sense points off because the kdj-to-hsy direction is pretty standard shipping material while the opposite direction is like the entire point of the book. it's a lil unbalanced.

yoohankim: this ship fascinates me because i definitely never would have come up with it myself. hankim? see above. yookim? see below. but yoohan - DESPITE THE WHOLE DEAL AROUND WHO YOO JOONGHYUK IS AND HOW HE GOT THAT WAY - are just like. Only Here For Kim Dokja. any relationship they have with each other is a proxy for a relationship with kim dokja, mediated by their feelings for kim dokja, and put through the sieve of who the other person is to kim dokja. i think they have a very psychosexual thing going on where they're having a lot of sex with each other but mostly in order to feel close to kim dokja, who is not involved lol. which is its own kind of compelling, certainly. i guess you could say yoohankim is the ONLY way that yoohan makes any sort of sense to me whatsoever, so in that regard yoohankim is squarely in the northwest quadrant. but at the same time i feel like if kim dokja is actually present, their relationship with each other is more like in-laws than anything else. it's indirect. they don't have divorced energy…they don't even have metamour energy. i don't know. they're like this is my sister's mailman and i have no idea what he's doing at my nephew's piano recital, which is insane to me because they should have (nonsexual) parent-child energy if nothing else. so i also have to put yoohankim in the southeast quadrant. so far this is where most yoohankim fic i have read falls, but probably i just haven't yet found the one that would unlock it for me.

to close the loop i gotta talk about yookim (joongdok). the most enjoyable thing about it to me personally is that yoo joonghyuk so clearly wants kim dokja to hold him down and it's very fun to see kim dokja have to shift his entire paradigm to make that make sense. i mean, i think all of kimcom wants to hold kim dokja down (most of them nonsexually imo), but yoo joonghyuk is the one guy who's like "if you would just stop trying to kill yourself for two seconds then i could let you out of these handcuffs so you could have your way with me. you bastard." they make me crazy because they work together SO well and trust each other SO implicitly while also being like, wow this idiot has terrible priorities and so i have to manipulate him into furthering my agenda (keeping him safe) instead of his agenda (keeping me safe). they're also that evergreen combo of guy with low self-worth who's oblivious to other people's love for him/guy who loves so hard but never uses his words about it that makes me wanna read about them getting together 100 different times. in a slightly different sense than with matonato, thinking about them as a twosome better elucidates aspects of their own individual personalities and worldviews, which makes for a compelling shipping experience.

#it's funny after i wrote the matonato part i was like wait. am i actually saying matonato DOESN'T make sense to me? #and i decided that no it does. it makes sense to me that their current iterations can never be together. but in a way where i'm #still shipping them #it makes sense that they don't make sense. and 'here's how [ship] can still win' is a backbone of the shipping economy #natsume's book of friends #orv #natsume yuujinchou #horrible exorcists #natsuyuu meta #shipping #asks #not anon #thank youuuu for asking <3333 v fun to think about!

[winxwannabe]

With the reboot do you think the girls relationship will be better or worse. (Looks at Riven and Sky menacing)

Sort answer: 'Better' may not be the right word, but I'm hoping they at least return to the level they were during Winx's original run, and I AM PRAYING think they will for the reboot!

Long answer: The Nickbow era stripped back the Specialists to either: A) be points of drama for the girls to go through (Sky, Riven, Nex, S5 Helia) or B) show up every few episodes to say how much they love/support the girls, but otherwise offer nothing (Timmy, Brandon). Even Season 4, as much as I love it, began doing Point A more than I liked (the Stella/Brandon/Mitzi debacle for example). The boys weren't treated as characters so much as they were a collective Boyfriend Unit.

This was, of course, stupid. The Specialists are a great part of Winx Club, they do have distinct personalities and unique relationships with each other (Riven is way closer to Timmy than he is with Sky, Helia is a friend but also lets the guys do Dumb Shit until there's a real emergency, Brandon is probably the most romantic and understanding about emotions next to Helia, I could go on). And that in turn makes their relationships with the girls better. Because instead of Tecna dating the 'Brainiac Specialist,' Tecna is dating Timmy, a guy who is a problem-solver that's sometimes bad at expressing his feelings, but always sees the best in Tecna and loves her.

And look, a full on reboot may mean we're back to square one with Sky and Riven. But again, if they are treated like characters who get actual arcs and personalities, I'll be okay with it. Musa and Riven's relationship in S1 of Winx is 'bad,' because Riven's an asshole who hasn't grown yet. Bloom and Sky develop a great relationship in S1, but it's also gets ruined because Sky's lying about who he is to Bloom. We may have to go through something like that again, and some people may not be jazzed about it (which is fair, it's going to be really hard to separate these shows for me, too). But if it's done well like it was then (okay, like Riven's was, Sky needs this overhaul tbh), I think the relationships in the reboot will come out that much stronger. And with the series turning back to an in-house production without Nickelodeon, trying to reach the original demographic, I think it's the best shot the fandom's gotten in years for good relationships.

#oops it's an essay! #winx club #liz gets questions #anonymous #The Specialists #winx riven #(because oops i talked about him a fair bit) #winx sky

[weretiger-be-my-horse]

Sooo I am back on my bullshit about my silly little theories, let's go besties!

Okay so, I have been thinking about No Longer Human and All Men Are Equal and how they interact. As we know, at some point, Dazai passed the Entrance Exam to join the ADA, effectively fulfilling the condition of All Men Are Equal. Nonetheless, he tells Atsushi that All Men See Equal does not affect him because No Longer Human nullifies it, but I have been obsessing over both abilities and here's how All Men Are Equal could potentially work on No Longer Human.

First, this is what we know about each of these abilities:

No Longer Human

Nullifies other abilities (without exceptions*).

It relays on skin-to-skin contact (although sometimes Dazai needs to touch an ability-related item, such as with the Dogra Magra doll).

It is always active.

It affects ability users.

*This is according to Dazai himself, and it's the explaination he gives as to why he cannot nullify Lovecraft's Great Old One.

All Men Are Equal

It is activated upon meeting a condition, which is passing the Entrance Exam.

It allows Fukuzawa's subordinates to control their ability better (as seen with Atsushi and Kyouka).

It affects abilities.

Now, I know this is pure crack, but I have a few observations regarding No Longer Human:

Dazai needs to touch another ability user, or an ability-related object, in order to nullify an ability. Not its Target, as seen in the Cannibalism arc when he couldn't cure Fukuzawa or Mori from Pushkin's ability.

This is reinforced by the fact that Dazai can touch other ADA members, whose abilities are being affected by All Men Are Equal, without nullifying All Men Are Equal itself.

Dazai says Great Old One is not an ability and that's why he can't nullify it, because according to him, No Longer Human is infallible. This could be true. Or it could be not.

No Longer Human does nullify something that is not an ability, though: Arahabaki (a presumed god). Now, this is kind of a stretch, but the thing is that Chuuya, Arahabaki, and Upon the Tainted Sorrow are three different things. I know this is a messy swamp to waddle on, but I think that the god is separated from the ability. If, for example, it had been Akutagawa being experimented on, Arahabaki would be able to control Rashoumon, right? So, the thing is, why would Chuuya come back to his senses while using Corruption after Dazai intervenes? Arahabaki could still be piloting his vessel without Upon the Tainted Sorrow, yet this is not what happens.

From that, I have certain theories about No Longer Human that directly affect at how it interacts with All Men Are Equal:

No Longer Human could not be as infallible as Dazai claims it to be (perhaps by ignorance or by choice).

No Longer Human may have some rules we are not privy to that make it more complicated than we are originally shown.

Now, what this implies with All Men Are Equal:

Since the interaction between the two abilities happens when the condition of All Men Are Equal is met, there isn't any moment in which Dazai and Fukuzawa physically touch, so No Longer Human does not react. It affects ability users or ability-related objects, after all (expections are made with Draconia's diamonds, which can be nullified by Dazai because they don't have ability users Dazai can touch).

Since All Men Are Equal affects abilities themselves and does not physically touch ability users, it is possible that it can affect No Longer Human.

By affecting No Longer Human, All Men Are Equal could potentially be improving it by making it truly infallible, which means that upon interacting, No Longer Human can now repel All Men Are Equal, since it's always active. By doing so, it again becomes "imperfect" and therefore can again be affected by All Men Are Equal. This would create a cycle that could eventually make Dazai a walking Singularity.

This could also mean that perhaps Lovecraft does have an ability after all, and Dazai just cannot nullify it. Don't get me wrong, I personally believe either that Lovecraft is a cryptid and not an actual ability user, just something else, or that his calamari horror show comes from a pocket dimension or something similar. But, still, it is a possibility.

So, that's all for now (I feel like I am forgetting some of my points but oh, well, this doesn't make any sense anyway lmao).

Have a lovely day!

#bsd #bungou stray dogs #bsd dazai #bsd fukuzawa #ñ #crack theory #bsd theory #bsd analysis

[lemotmo]

Yeah I'm still confused about Tommy's involvement in this storyline. (Also it doesn't help that I don't vibe with his character at all) Yes it started the Bi Buck story, but at the same time the whole relationship (if we can call it relationship yet) as been super rush. It just feels like they are trying to shove so many elements at the same time which doesn't give people time to see a connection developing.

Also I think what doesn't help me is that all the interview/cameo have been confusing me. It seems like Lou is there for an arc, but I have seen people saying that since the official Instagram follow him and that Oliver seem interested to continue to have Tommy there, he will be there for the whole season. (That interview where he could stay as a friend) Also saying that Tim was still writing that last 3 episode that it could change. I mean I'm pretty sure Tim as a vague ideas of where the major point of is story will go. If he does change it last second to include more Tommy then that will be pissed me off especially knowing that he was brought for an Eddie storyline in the beginning.

I hope he's gone soon. I was hoping episode 6, but it could be episode 7. This is a short season and I don't want them to to spend to much time on side character.

i don't know what to think anymore, but I think what doesn't help is how some part of the fandom try to make you feel guilty that you can't accept this new ship. I have been on a blocking spree and it feels great, but it hasn't be easy.

Sorry that was long, but just wanted to vent a bit and tell you I like some of your takes.

Exactly! Everything between Buck and Tommy is rushed and doesn't feel organic at all. It's a frustrating storyline for so many of us, because it just doesn't deliver on the romance. It's boring and dull and kinda just falls flat.

That's why I've got the strong suspicion that Tommy is only there to serve the narrative of Buck coming out as bisexual. He is a plot device to uncover this hidden side of Buck, but it doesn't make any kind of sense in the long run. 911 has been telling the Buck and Eddie story for so many seasons now. It feels organic and natural. There is a build-up and so much history between them. So why not use Eddie to give Buck his bisexual oh-moment? Simple, Buck needed to realise he was bisexual first. That way they can write a slow realisation of feelings for Eddie. Feelings that have always been there. Also, Eddie is still with Marisol at the moment. Any feelings reveal at this point would be so messy. This ship deserves better than this.

As for those interviews and cameos. Oliver always seems to rehash the same things: vague Tommy references and how he wants them to stay friends afterwards (which doesn't bode well for their romance), the kiss felt the same as a kiss with a woman, he is so damn proud to be able to play a bisexual man (GO Oliver! I love him for that!), if Buddie were to go romantic he would be open for it. He never really interacts with Lou directly or shares a lot of Tommy or bucktommy pictures. He just vibes with the fact that he is proud to play a bisexual character. Which... good for him!

As for Lou? He is all over the place. I like the guy, but he is very chaotic. But overall he has been pretty clear that he's only there for a little while. He is also still involved in other shows, so he won't have time to fully commit to 911 anyway. Next to that, even he has mentioned Buddie in his interviews and cameos. I mean... the fact that it was also pitched for him to be with Eddie? Yeah, Tommy is a plot device alright. It is always possible that Tim will try to milk Lou's popularity by extending his stay for a couple of more episodes, but overall I'm not too worried about his staying too long.

I know Tim is still writing some episodes of S7, but the main storylines are already set in stone by now. It's only the details and how to get from point A to B that still have to be worked out. I'd like to think that they wouldn't just change main storylines at the drop of a hat like that. Tim isn't always truthful when it comes to his comments on 911.

Okay, this is for everyone who needs to hear it:

Don't feel guilty for not vibing with a character or a ship!

Don't listen to haters who try to make you feel guilty about it. But also don't go out there to make other people feel guilty about shipping bucktommy. We all like what we like. All you can do is block haters and filter out the tags you don't want to see. Also, surround yourself with people who think alike. Trust me, there's a lot of us out there.

Lastly, I decidedly don't vibe with Tommy or bucktommy. I don't see any chemistry between them. But I also need to accept that this is where the storyline is right now. We have no other choice then to follow the narrative and hope it leads to something more interesting, like Buddie. We'll just have to wait and see and hope that the show is smart enough to follow the chemistry between Buck and Eddie, and not let themselves be swayed by the superficial and temporary popularity of one guest character.

Don't worry about venting here. I don't mind. These are trying times in the Buddie-fandom and we all need to let it out once in a while.

#nonnies galore #buddie