i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.
He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.
And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.
And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.
Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.
Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."
There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.
It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.
Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.
At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.
"Do you like to do anything?"
Nothing. Just silence.
Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.
Danny says nothing the entire time, and is again the first to leave.
Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.
And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.
He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.
Danny is dull-eyed and blank faced the entire time; he looks miserable.
So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.
"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"
"Don't."
He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.
Bruce tilts his head, practiced puppy-like. "Pardon?"
"Don't." Danny says, strongly. "Don't make any deals with Vlad."
It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"
The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."
Bruce stares at him, thoughtful, before looking away. "Alright. I won't."
And they fall back into silence.
Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."
He's scampered away before Bruce can question him further.
(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)
At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.
Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.
("Tucker told me once--")
("Tucker?")
("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")
(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)
(They are ecstatic to hear from him.)
It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."
The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."
The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.
When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.
Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.
"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."
When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.
Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.
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Hey you said something about the my hero academia creator being unhinged about sexism, do you mind explaining?
I tried to write like, a thorough explanation of this and it just got longer and longer and longer and I have not touched this series in actual years and yet I've still got all these receipts a;lkjk;lfasd.
So rather than trying to build the whole massive case, here's a pared-down version. It's normal to have sexism in media, and shounen manga especially. Everyone does it. The level and mode and intentionality and so forth all vary, but of course it's there.
What's not normal is to have lots of varied and interesting female characters with discernible inner lives, and on-page discussion of how sexism is systemic and unjust and holds them back in specific ways, and then also deliberately make consistent sexist writing decisions even where they don't arise naturally from the flow of the narrative.
Horikoshi is actively interested in gender and sexism, he's aware of them in a way you rarely see outside of the context of, you know, fighting sexism. He is hung up on the thorny issue of what women are worth and deserve and how power and respect ties into it. He genuinely wants, I think, to have Good Female Characters, and not be (seen as) A Sexist Guy!
But. He doesn't actually want to fight sexism. He displays a lot of woman-oriented anxieties, and one of the many churning paddlewheels in his head seems to be that he knows intellectually that morally sexism is bad, but emotionally he really feels like it ought to probably be at least partly correct.
There are so many things I could cite, and maybe I'll get into some of them later, but the crowning item that highlights how the pattern is 1) at least partly conscious and deliberate and 2) about Horikoshi's own weird hangups rather than simply cynical market play, is Mineta Minoru.
The writer has stated Mineta is his favorite character. Mineta is also designed to be hated--that is, he is a particularly elaborate instantiation of a character archetype normally deployed to soak up audience contempt and (by being gross and shameless and unattractive and 'unthreatening') make it possible to include a range of sexual gratification elements into the narrative that would compromise the main characters' reputations as heroic and deserving, if they were the actors.
Good Guys don't grope girls' tits and run away snickering in triumph, after all. Non-losers don't focus intense effort around successfully stealing someone's panties. Nice Girls don't let themselves be seen half-dressed. And so forth. You need an underwear gremlin for that. So, in anime and manga, longstanding though declining tradition of including such a gremlin, for authorial deniability.
Horikoshi definitely uses him straight for this purpose, looping in Kaminari as needed to make a bit work. And yet he has Feelings about the archetype itself.
The passages dedicated to the vindication of Mineta, then, and the author's statements about him, let us understand that Horikoshi identifies with the figure of the underwear gremlin. He understands the underwear gremlin as a defining exemplar of male sexuality, at least if you are not hot, and finds the attached contempt and hostility to be a dehumanizing attack on all uh.
Incels, basically.
It's not fair to write Mineta off just because he's unattractive and horny (and commits sexual harassment). Doesn't he have a mind? Doesn't he have dreams? Doesn't he have human potential?
So what's going on with Horikoshi and gender, as far as I can figure out, is that he knows damn well that women are people and are treated unjustly by sexist society, but however.
He also understands the institutions of sexism as something protecting him and people like him from life being nebulously yet definitively Worse, and therefore wants to see them upheld.
So you get this really bizarre handling of gender where obviously women's rights good and women cool, women can be Strong, and the compulsory sexualization imposed by the industry isn't them or the author, and so forth.
But also it's very important that in the world he controls, women never win anything important or Count too much, and that jokes at their expense that disrupt the internal logic of their characters are always fair game, that women asked about sexism on TV will promptly get into catfights amongst themselves, and they are understood always in terms of their sexual and romantic interests and value, and sexual assertiveness and failures to perform femininity well enough are used to code them as dangerous and irrational, and that the sexy costumes are requisite and will never be subverted or rebelled against--at most they might be circumnavigated via leaning into cute appeal.
And that Yaoyorozu Momo, who converts her body fat into physical objects, is being frivolous when she wants to use money to buy things instead (rather than as sensibly moderating her Quirk use) and is never encouraged to eat as much as possible at every opportunity to put on weight and even shown being embarrassed by hunger (even though Quirk overuse gives symptoms that suggest she's been stripping the lipids out of her cell walls or nervous system to keep fighting) and always, no matter how many Things she has made, has huge big round boobies.
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it's weird that you don't call out to jun when he comes into your apartment. jun knows that you know he was coming over at some point to spend time with you, and usually you greet him in some way when you hear the apartment door unlock. he's a little earlier than he planned, but you told him to 'come over whenever' and now he's a little worried that you didn't mean it. he quietly slips into the pair of slippers that stays here at your place, and makes his way further into your apartment to set down the bag of groceries he brought on your kitchen counter. your bedroom door is open, but the tiny room you use as a home office is open just a sliver.
he makes his way over, leaning in to listen for a moment... only to hear your voice. there's a little strain to it as you struggle through a sentence, and it clicks all at once: you're speaking chinese. albeit not very well (it's clear to jun that this is one-hundred percent new to you), but you're still trying. your pronunciation is a bit clumsy, but he can hear the way you try to use the right tone with what you're saying...
when did you start learning this much? jun had taught you little things in the past--the absolute basics, really, plus a few other little phrases that veer into his own cheesy need to hear you say sweet things--but this...? he steps back from the door. why hadn't you told him? you could have told him and he'd happily help you learn. but he trusts you: you must have your reasons to keep this a secret, so he won't push. he steps away, deciding to busy himself with getting ingredients put away--or set up for the two of you to cook together, in case you're hungry now.
then he knocks a cup into the sink, and immediately he hears you coming out of your office. relief crosses your face when you see it's just jun, and you lean against the open doorway.
"i didn't know you were here." you pause, and then he sees you get hit with realization. "... how long were you here?"
"i just got here," he says. it's technically the truth, isn't it? he's only been here for a few minutes. "were you working?"
you nod. "yeah. just had to answer a phone call," you lie to him, but he just nods and acts like he doesn't know that. you come up to his side, wrapping an arm around him. "is this for lunch?"
he leans over to you and presses a kiss against your cheek. "are you hungry?"
"mhm," you just snuggle in for a moment, enjoying his presence. "you should teach me more recipes you learned from your mom sometime."
jun finds himself smiling already. was that what this all was...? an attempt for you to understand him better? to show that you care for him so much that you want to know his culture, too? "i'd love to," he says softly, and wraps an arm around you to tug you closer to his side. "only if you teach me things you learned from your family, too."
then he'll make more efforts to understand you and your background, too. just to show you that he loves you as much as you love him.
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After twenty years, the thing I still don't get is that everything cruel that can be said and has been said against Zutara romance can also be said against their friendship--and Zuko's friendships with the other characters!--and yet somehow friendship is always good and pure but romance would immediately make their healthy friendship dynamic bad and abusive???
But that's not how relationships work. If they can have a healthy friendship, then they could have a healthy romance. If any romance is inherently unhealthy, then the friendship must be inherently unhealthy too.
You've got the original writers saying women who think that Katara and Zuko should be together will forever have "failed relationships"... and then, at the same time, those same writers are like yay let's write them bonding and building a friendship.
People calling a brutally abused child who went on a redemption arc and turned against his father's ways a "colo/nizer" when it's a romance, but when it's friendship it's all good somehow. If lips never touch, it's not possible for a relationship to be toxic??? But if lips DO touch, then a healthy friendship based on mutual respect immediately becomes a Lifetime movie about toxic boyfriends...
The only way this logic works is if you think romantic love immediately "corrupts" or "taints" in a way friend love doesn't. And that's an incredibly ugly, sad idea to push.
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Oh for the people following me, I would like to let you know that I do not agree with any canon interpretation that implies that Hajime and Izuru are separate people or two minds in one body. Headcanons are fine, that’s harmless and amusing to see played out.
I’m just never on bored with anyone saying that they’d make the most sense as a system or anything along those lines. I know that was popularized in 2021, I was a first hand witness to the growth, but trust when I say that completely contradicts chapter 6.
It’s more than “they’re the same person” if we really want to dissect this more, but also yeah, it’s the same damn person. We refer to them differently because Izuru does not resemble Hajime at all, so it doesn’t make sense to call him Hajime. We also do not know he is Hajime because that’s a spoiler, if you forget that you’re not supposed to know until the last chapter.
However, Hajime is Izuru Kamukura, that’s just not his name. His rebuttal towards Junko is different than the one he does before his confrontation with himself (“Izuru”) because he’s not rejecting himself anymore, he’s rejecting the name that isn’t even his to begin with. He’s rejecting the name that was given to him not as a way to individualize himself, but to tie him to hpa’s cause. There’s no reason for him to identity with that name anymore.
You’re welcome to confront me on this or reply, but genuinely I do not think it is a good idea to keep perpetuating the concept that them not being each other is a valid interpretation. As I said in the beginning, you’re welcome to have your fun but it’s not true. Why on earth would anyone look at Hajime’s arc, take scenes out of context, and then think they’re making anywhere near a valid point?
I don’t want to sound mean, but it does fucking invalidate Hajime’s arc and identity issues that you guys so clearly understand. Right. I’m ecstatic that the conversation around Hajime was reduced to this. It’s insane to me you guys can take Junko and Ryoko being the same person at face value, but not this?? It’s literally the same situation.
(Emphasis on canon interpretation because I’d be happy to review trial 6 to make my point)
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