Bruce is actually really attractive, and I have enough reasoning to make a list
He's:
Tall (. Tall enough to hit his head on the vault doorframe)
Long-legged
Has a straight nose bridge
Has high cheekbones (more noticeable in 2nd pic below)
Has a strong jawline
Sharp eyes, but they aren't small (plus eyebags if you're into that)
Overall, he has strong, attractive facial features
Has broad, refined shoulders. You can tell he works out (or he did, when he was alive)
Even has a thick, muscly neck
He has MUSCLE. Is SCULPTED. NOICE. VERY NOICE. (nice arms. Nice shoulders. Nice neck. Nice legs. Nice butt-)
(There are actually panels where you can see some of his muscles. Other than those already shown here, he's got bricky thighs-
-and in the panels where we first get his name dropped, he's got those shoulder blades too-)
The one time we see him smile, and he actually has a scary one
Has small, kinda sharp pupils, and his eyes remind me of a cat. We only ever saw him tense or defensive, so his resting/listening face is really cute
Other than the physical appearance stuff, he also:
Takes shit without batting an eye (patience, knowing it's just how Kudo is, etc)
Kudo being all "Cut the crap Bruce and give it to me straight", after Bruce tests his blood and is rightfully Concerned because they just faced AFO
Put up with Kudo's experimenting and testing over Yoichi's transferable Factor
Did ya'll see the look on Kudo's face when he realized he had Yoichi's Factor/will? Kudo was going to start in nonsense and Bruce just dealt with that.
Also something I noticed when looking back at the images here; Bruce has bandages on his arms in the void. But not when he faced AFO in the sewers.
Were he and Kudo cutting their arms open in their experimenting over Yoichi's theory? Is this why Kudo has two gauntlets instead of his one? Why we never see his bare arms in the void? That he always keeps his arms down so there's no slip?
Is smart enough to run blood tests, plus has enough common sense to pick Shinomori as his successor
He picked a guy who avoids society, has an Ability to detect danger so he can always stay away from AFO, is also a coward so he's never going to go throw himself into danger, even without knowing instinctively he stands no chance, etc.
Meanwhile, Kudo chose Bruce, who he played Hot Potato Yoichi with; but he did also trust Bruce, and put the only pure combative Ability in OFA through Bruce.
These two made their choices based on what they valued and saw the Factor needed.
Is logical, analytical, and calm.
He tried advising Midoriya on their Abilities in One For All, especially his own.
Midoriya then tried ignoring him about using Fa Jin for the first time, but found he was right, thinking: "Dammit!! I had [Lady Nagant] right where I wanted her, but... ugh! The Third was right. My parallel Quirk processes are all screwed up!" (ch. 314).
Plus, when Midoriya fixed his processing mistakes, Bruce was analyzing the way he reached his new conclusion. Pure facts, no bias, very calm, just saying it as it was.
We never see him panic. When he's caught by surprise in the sewers by AFO, Kudo, and Yoichi's little bubble event, he immediately reacts. He doesn't falter, he just knows he has to do something right now.
Was more willing to listen than Kudo to Yoichi's beckon, and probably was just following Kudo's rejection of Midoriya
While we don't see Kudo's face, we see Bruce's eyes when Yoichi calls on his heroes. Bruce was more open and receptive, or at least more impacted.
Bruce was also the one to start talking, while Kudo just kept quiet.
He actually communicates a lot
When Yoichi called them to support Midoriya, Bruce started talking to paint a picture of why they thought the way they did, so Yoichi understood where they were coming from.
(Though he seems to beat about the bush sometimes, since Kudo spoke up to be direct on how they couldn't just put their trust in some starry-eyed teenager. Plus, when Kudo tells him to just tell him what's wrong [double Factors])
When Midoriya first used Fa Jin against Nagant, Bruce came out just to tell him he knew what he was trying, but that Midoriya wasn't ready; and Midoriya found he was right. Midoriya just didn't want to listen to him then.
He asks Kudo for clarification after finding Kudo had two Factors in him after the sewer incident ("Just to be sure, All For One didn't touch you, right?") Kudo knew him well enough to go "stop beating around the bush and tell me", so Bruce was probably gonna start with questions, theories, and trying to understand everything in general, before saying "yeah you have two Factors. Don't know why".
Is strong-willed and loyal.
He followed Kudo, even to death, carrying on the cause he started until it ended with him.
Plus, when talking about how AFO needs a strong will to override OFA's own, we first see Bruce, Kudo, and Yoichi.
AFO couldn't steal OFA because the will was too strong for him, and that was back during Banjo's time. Since Shinomori never actually tried opposing AFO and just hid, we can assume the first Three (Yoichi, Kudo, Bruce) already had an accumulation of strong willpower that made OFA un-stealable. Those three are a strong enough foundation, and the main wills, that the other users just become bonuses.
Kudo, also saying that Midoriya needs allies with the same will and drive as him... hey Kudo, you're talking about yourself and your old allies, aren't you? That's why you look at Yoichi and Bruce when you say this.
Not only is Bruce attractive, but he's got good character. THE END.
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Satoru Gojo’s cursed abilities began to manifest at the age of two. By five he could read and write with ease, he could do basic arithmetic, and had better special reasoning than most adults. It was a given that his secondary traits would manifest early, and the clan was happy to welcome a dominant alpha to the family. Except—
He wasn’t.
The revelation that their messiah was an omega, frankly, appalled most of the Gojo Clan, but they wouldn’t deny their interest in a few incredibly powerful offspring.
By the time Satoru had truly and fully manifested at the age of fourteen, they had already thrown a few dozen alpha suitors his way — he had his pick of any of them, he could just drop out and raise children like a good omega. Except— he wouldn’t.
Satoru insisted on school, where it quickly became apparent that he would outclass even the strongest alphas. The clan was once again disgusted with him; the way he behaved, his strength and charisma, it simply wasn’t like an omega. He should be demure, and sweet, and happy to let everyone else order him around. Except he wasn’t.
He showed absolutely no signs of omega tendencies, except for infrequent heats, which were so mild he didn’t even need to take time off school. The clan had hopes that maybe that alpha boy he was always hanging around would get Satoru to settle down and mate, but no luck. When asked about this, Satoru said he found alphas “boring,” and would “rather drink bleach than fuck one.” The clan decided it would be best to wait a few years before broaching the topic of marriage again.
It wasn’t until his final year at Jujutsu High that Satoru showed any sign of libido at all. Lounging on the porch, ignoring his English tutor, staring out as the gardener tended to the koi pond. Then— Satoru bolted upright.
The tutor startled. “What? What is it?”
Satoru pointed. “Who is that?”
It took a second for the old man to spot who he was referring to. Someone else had joined the Gardner at the pond, peering down into the golden arc of fish. “The groundskeeper’s child.” A follow up question formed on his lips, “Why—“
Why are you interested when you’ve never shown an inkling of curiosity about anyone else in your entire life? But it died just as quick.
Satoru was staring at the gardener’s child with a look that could only be described as hungry. The shortened breath, dilated eyes, and flushed cheeks were unmistakable, although the unhinged grin he wore was a bit unusual (and unsettling). Nevermind whatever was going on below the belt.
“I want her,” Satoru said. Unshakable, bottomless lust— now that was just like an omega. Finally, he was experiencing a true heat, triggered by the presence of a potential mate.
Except—
“Gojo… that’s a beta.”
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Hey, @modmad, I made this RGB figure from polymer clay because I absolutely LOVE TPoH and needed this in my life to sit on my desk. Seriously, your comic is one of the best things I’ve ever read - I adore it so much - the intricacy and cleverness of the characters and plot, the foreshadowing / metaphors I never could have come up with, and the awesome art!!
I made a mini comic as part of my end of school major artwork, along with figures like this, and I referenced TPoH in both my process diary (I annotated the sequence where RGB and Hero escape Click by using the cane to slingshot away) and in the official description of the work.
It ended up getting into a gallery on display, so now your name is listed there as a source of inspiration!!
Thank you for reading this, and I need you to know how much I love what you do. I can’t wait to see where TPoH goes in the future, and I hope you like my rendition of RGB!! :D
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Okay, breaking my principles hiatus again for another fanfic rant despite my profound frustration w/ Tumblr currently:
I have another post and conversation on DW about this, but while pretty much my entire dash has zero patience with the overtly contemptuous Hot Fanfic Takes, I do pretty often see takes on Fanfiction's Limitations As A Form that are phrased more gently and/or academically but which rely on the same assumptions and make the same mistakes.
IMO even the gentlest, and/or most earnest, and/or most eruditely theorized takes on fanfiction as a form still suffer from one basic problem: the formal argument does not work.
I have never once seen a take on fanfiction as a form that could provide a coherent formal definition of what fanfiction is and what it is not (formal as in "related to its form" not as in "proper" or "stuffy"). Every argument I have ever seen on the strengths/weaknesses of fanfiction as a form vs original fiction relies to some extent on this lack of clarity.
Hence the inevitable "what about Shakespeare/Ovid/Wide Sargasso Sea/modern takes on ancient religious narratives/retold fairy tales/adaptation/expanded universes/etc" responses. The assumptions and assertions about fanfiction as a form in these arguments pretty much always should apply to other things based on the defining formal qualities of fanfic in these arguments ("fanfiction is fundamentally X because it re-purposes pre-existing characters and stories rather than inventing new ones" "fanfiction is fundamentally Y because it's often serialized" etc).
Yet the framing of the argument virtually always makes it clear that the generalizations about fanfic are not being applied to Real Literature. Nor can this argument account for original fics produced within a fandom context such as AO3 that are basically indistinguishable from fanfic in every way apart from lacking a canon source.
At the end of the day, I do not think fanfic is "the way it is" because of any fundamental formal qualities—after all, it shares these qualities with vast swaths of other human literature and art over thousands of years that most people would never consider fanfic. My view is that an argument about fanfic based purely on form must also apply to "non-fanfic" works that share the formal qualities brought up in the argument (these arguments never actually apply their theories to anything other than fanfic, though).
Alternately, the formal argument could provide a definition of fanfic (a formal one, not one based on judgment of merit or morality) that excludes these other kinds of works and genres. In that case, the argument would actually apply only to fanfic (as defined). But I have never seen this happen, either.
So ultimately, I think the whole formal argument about fanfic is unsalvageably flawed in practice.
Realistically, fanfiction is not the way it is because of something fundamentally derived from writing characters/settings etc you didn't originate (or serialization as some new-fangled form, lmao). Fanfiction as a category is an intrinsically modern concept resulting largely from similarly modern concepts of intellectual property and auteurship (legally and culturally) that have been so extremely normalized in many English-language media spaces (at the least) that many people do not realize these concepts are context-dependent and not universal truths.
Fanfic does not look like it does (or exist as a discrete category at all) without specifically modern legal practices (and assumptions about law that may or may not be true, like with many authorial & corporate attempts to use the possibility of legal threats to dictate terms of engagement w/ media to fandom, the Marion Zimmer Bradley myth, etc).
Fanfic does not look like it does without the broader fandom cultures and trends around it. It does not look like it does without the massive popularity of various romance genres and some very popular SF/F. It does not look like it does without any number of other social and cultural forces that are also extremely modern in the grand scheme of things.
The formal argument is just so completely ahistorical and obliviously presentist in its assumptions about art and generally incoherent that, sure, it's nicer when people present it politely, but it's still wrong.
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