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snurtsnurtcreations · 3 months ago

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The Ghost in the Moors

Johnny Mactavish x Simon Riley x Reader

Hey y'all, enjoy my most recent, incredibly persistent brainworm that's resulted in this word vomit. Heavily heavily inspired off the vibes of The Secret Garden and Jane Eyre

Warning: I wrote a sad ending for this one. Major character death y’all, so watch out.

The distinguishable gentleman Mactavish has at long last taken a wife. His heart is not truly in the marriage, but that is perfectly understandable for a man of his standing in high society. (He’s never been so listless before his dearest friend, Simon Riley, died- but those are just the whispers of his staff). He is not cruel or particularly dismissive of his wife, but… it is clear he does not care much for you either.

Not minding much, you take on the duties of the estate admirably. The staff all respect you greatly, and you find fulfillment in many a task surrounding the care of the grounds. Regrettably, however, you do end up falling in love with your husband from the glimpses of him that you get interacting with the staff, with animals, with children… You’d wanted to avoid catching feelings for him when you knew from the get-go that this was a marriage of convenience, but there is a true goodness in him and a charm just past the deep gloom that settles on his countenance.

The thing is though, the Mactavish estate holds a secret. Late at night one might hear a haunting howling. On the dreariest of days, when the fog lies thick and curling over the moors, you’d swear there was a dark presence wandering the grounds. And no one dared enter the abandoned walled-off garden. There is great evil brewing there, the staff would say. It was never particularly dangerous before that one night that… oh, well, they really shouldn’t say.

You start trying to investigate into this mystery. How could it be that there is a whole garden, a plot of considerable size, that no one had access to? What is it that all the staff are nervously tipping-toeing around saying? And why are all past accounts of an energetic and joyous Johnny so false in the face of the cold, impassive character in the present day?

One stormy day, they take in a group of people passing by to provide them some refuge until the storm passes. One of them, an old woman, confidently claims there is a ghost in their midst. The crack of lightning and thunder immediately following her statement does not lend itself well to the doubt of such a statement. Neither does the nervous silence of the staff. Johnny, however, is adamant that such talk is nonsense.

Later, you take the old woman aside, and ask more about what led her to such a conclusion earlier. The old lady just pats your hand and cheerfully says, “Because I am a witch, dearie- I have a sensitivity to these sorts of things.”

You decide far be it from you to question an old lady, but ultimately you do not take much stock in her words. (Though, you make note in your mind, you may not believe it to be true, but you certainly don’t believe it entirely false either…)

You spend your days occupied with the goings-on of the estate, but occasionally you go for a walk around the grounds, reveling in the feeling of being surrounded by rolling hills and nothing but moorland and some sheep in the distance.

A horse comes galloping down the road, and the rider brings it to a full stop as he nears you, the horse rearing it’s head at the suddenness, it’s hooves clipping against the ground anxiously. It’s Johnny. He seems surprised to see you.

“What are ya doing all the way out here, my lady?”

“Simply out for a stroll, my lord.” You answer, confused.

“Is that where you’ve been disappearing for hours? You’ve got all the staff on edge.”

“My apologies, my lord, I hadn’t meant to-“

“Just let them know when you go out next, is all.” And that concludes the conversation. His expression hardly changes as he gallops back out to whatever business he must attend to.

His back and forth attitude confuses you. Just this morning you saw him jump up from the breakfast table to go see to an injured lamb on his property, but now here with you he is cold and impassive.

Still you make attempts to connect with him, and dutifully continue doing your countess tasks.

When one day you ask Johnny on an evening stroll about the garden, what starts as an innocent question becomes a full blown argument as he gets increasingly more upset and angry at you. You cannot for the life of you understand what is making him so irritated about it- you just wanted to know more about this garden!

“Fine! You wish to know about the garden? Let me show you the garden.” He snarls in his fit of rage and grabs you by the wrist. You stumble after him as he stomps to the walled garden, brushes aside the vines to reveal a door and lock that you would otherwise have never known was there. He pulls a key off a chain around his neck and slams the lock open, yanking you into the garden.

The thing is, the sun is setting, the sky darkening rapidly- likely due to the dark clouds brewing on the horizon, inching closer and closer with the strong winds. You are entirely uneasy. The last thing you’d wanted was to see this garden in such conditions, with Johnny in such a rage. For the first time in your stay here, Johnny’s made you truly afraid as he guides you deeper into the garden. You softly plead for him to stop, to slow down, but your pleas seem to fall on deaf ears.

The garden is so large it’s practically a forest of its own. The plants are so overgrown, the bushes towering over you may as well be walls, and the vines and roots taking over the ground seem to make it their mission to trip you up. Already you have lost sight of where the door was.

“Here. Here is the god damned garden.” He says as he tugs you even deeper into the foliage. Your foot snags on a root, and this time you fall to the ground. Your fall causes him to pause a few steps ahead, and you wonder if it might have pulled him out of his episode. But then he turns to you with a manic grief-stricken glint in his eyes, spreading his arms out demonstrably. “Is this what you wanted to see so badly? The ruined remains of whatever good I’d had?” Johnny roars.

You can only stare up at him, teary-eyed and confused. He opens his mouth to say more, but the wind makes a whisper noise akin to what you’d swear sounded like someone saying “Johnny…”. Both your heads snap towards the sound. You see nothing but the swaying branches, but Johnny’s sharp inhale has you turning back to him. His face is pale as you have never seen it before, mouth agape, eyes wide.

“No, no…” He whispers. Never had you seen such deep terror in anyone’s face. Just as you are about to ask what is the matter, he turns and sprints away as though he had all the hounds of hell on his tail.

“Johnny!” You shout in alarm, but by the time you have risen to your feet, he is already out of sight. You run in the same direction he took, but it is difficult to navigate the garden, especially now that the sun is gone and darkness coats everything. Branches slap painfully against your face whilst your hands are busy hiking up your skirts, so you drop one side to shield your head. “Johnny!” You shout again, with a growing panic as you realize you don’t know where he went or where you should go to exit the garden.

Nothing answers back except the howling of the wind.

You come to a complete stop. You cannot even hear any sound of Johnny’s movements. Looking around provides you with no clues for where to go. Your breath hitches, but you bite down your panic and steel your nerves.

“Alright,” you mumble to yourself, “alright, no need to panic. I must simply find one of the walls and follow it until I reach the door.” With your newfound inkling of bravery, you set off in one direction, attempting to keep as straight a line as you can with the bushes and trees in the way. A nearby owl taking off nearly makes you jump in fright, but you push onward. Just as you reach a wall, setting a hand on the stone bricks with triumph, the first drop of rains hits your nose.

Your spirits take a swan dive as the heavens open up a torrent of downpour. You try to hurry along the wall, but it is difficult to do when there are huge swathes of overgrown plants that you must find a way to step around, then find the wall again. It is only when it starts to rain so hard that you can’t keep your head up without droplets obscuring your vision that you decide to perhaps wait it out a little. You find the largest tree within your limited line of sight and hug yourself close near its trunk. Underneath the canopy of the tree, the rainfall is lessened, allowing you to see just how hard it is raining outside the cover of the leaves. You let yourself sink down to the ground when shivers start to wrack your form and the rain shows no signs of easing up.

You sniffle miserably. If you let a few tears loose, well, who would be any the wiser whether the droplet down your cheek originates from the sky or your eye?

“I’m so stupid.” You murmur despondently, “Never should have brought it up in the first place.”

But you still when it feels as though a hand is wiping your tears. You turn to the source and see- nothing. And yet the warmth along your cheeks is undeniable. Some unseen hand slides down your hair and settles a warm, warm palm against the back of your neck. Your breath is caught in your throat, your eyes searching for someone who is not there.

“Don’t give up…” A voice whispers, “Take care of him.”

You blink the tears from your eyes, wiping the remaining wetness off your cheeks.

“Alright.” You take a steadying breath, “I- I will.” And your voice carries true conviction, because truth be told, you would have kept taking care of Johnny either way, for your love for him runs deep, even though today has not been the first time you’d thought perhaps it shouldn’t run so deep.

An approving hum, and then a feeling akin to being embraced. You allow the warmth to seep into your skin, to chase your doubts away, your hands hovering in uncertainty.

“Who… who are you?” You whisper. The warmth pulls away.

“Only a ghost.” Is all the answer you get. Then there is a distinct emptiness in the air, and you feel as though whatever presence was here has left now, yet you still ask,

“But what is your name?”

No answer.

You rise and look around. The rain is not as heavy as it was before. You set back off to follow the wall, when you hear an anxious voice calling your name from somewhere within the walls of the garden.

“I’m here!” You answer. Soon Johnny emerges through the foliage, looking entirely guilty, but relieved to have found you. He hurriedly wraps a cloak around you.

“I’m so sorry, my lady, I- I never should have brought you here, let alone have had the impudence to leave you in the dark unaccompanied- I am truly- truly sorry.” He stumbles over his words, worried eyes examining your form.

“It’s… it’s alright, my lord” You let him wrap your hand round his elbow and lead you out of the gardens. Despite the darkness and overgrowth, it seems he knows exactly where he’s going. “You looked terrified when you fled- what was it that sent you away in such a hurry?”

“Perhaps that old woman was right.” He says in a hushed tone, like a confession, “For a moment, I could have sworn I’d… seen a ghost.”

As you approach the door to the garden, you think it could very well be true- in the corner of your eye you catch sight of the large ghostly form of a scarred man, fading in and out of reality.

Following that day, you keep your promise to the ghost, caring for Johnny in whatever ways you can, making sure everything in the estate runs smoothly, having food be brought up to him when he misses his lunches, being a comforting presence in the evenings in the library when the fire runs low and it is obvious he is restless with the silence of the house.

He has even begun speaking to you a little about his past, which you’d like to think is because he’s warming up to you, but rationally you reason it is more likely because he still feels guilty for his actions that day. Sometimes he speaks of his old friends, men he had served in the military with when the war had been ongoing. Once he’d confessed that the garden was a gift to his old love. You hadn’t pried, but you could tell this old love of his was still enduring to this day, his face struck with grief as he spoke of it. He’d soon excused himself to retire for the night, as though suddenly remembering it’s you he was speaking to.

During one peaceful evening, you had gently asked permission to restore the garden. He had seemed uneasy with the idea, but then schooled his expression to appear nonchalant, and shrugged you off with a “sure, why not?”. His reaction had almost made you take back the offer, but then your mind flashed back to the ghost, and you felt in your bones that it would be better in the long run to set the garden back to it’s former glory, in honor of whoever it had been initially made for.

It became your personal little pet project. You did not include the staff in this effort, your gut warning you against it, as though the inclusion of others would somehow desanctify the garden. So bit by bit every day, you would go in and weed and trim and do what you could on your lonesome. Many evenings you’d be found in the library reading up on gardening books, and often you’d question the local farmers on plant caretaking - you would have asked the gardener of your estate, but it turns out you didn’t have one. The staff had told you Johnny had never bothered replacing the previous gardener. When you’d asked what happened to the previous one, they all fell silent.

There were days you knew you were not alone in the garden as you tended to the plants and cleared pathways. Somehow you could always tell when the ghost would come to join you, unseen though he was. Sometimes his eyes digging into the back of your neck, other times his hands brushing some plants away to reveal your misplaced trowel.

Eventually, perhaps once it became clear to him that this isn’t some passing fad but a permanent routine for you, he begins conversing with you. Just small quips at first, a ‘that one’s a weed’ here, a ‘don’t trip’ there. You always respond with a thank you, and try valiantly not to pry with all your burning questions. As time goes on he speaks more. He has a habit of telling you silly jokes (ones a proper lady probably ought not to laugh at) that have you giggling while you’re weeding. Oftentimes he starts talking about a specific plant and how best to care for it. You listen closely, enraptured by his vast knowledge, and even start bringing a journal to write down notes. (Sometimes he huffs out a laugh when you write something down with wide eyes, though you’re uncertain whether that was actually a laugh or just a gust of wind sweeping over your hair). On especially foggy days, you can nearly see him fully- which you’d think would be counter-intuitive, but it is almost as though the fog lends him form. It does not last long though, only a flicker and then he is a disembodied voice once more.

Every once in a while, you hear Johnny approaching the garden door while you are inside. The ghost always falls silent when it happens, and it feels as though all three of you are holding your breath. But always Johnny pauses by the door, stands for but a minute, and retreats back. The ghost becomes much more reserved after Johnny leaves, not joking any more nor speaking as much. It takes a few day’s time before he opens up again.

Sometimes, though rarely, you admit to the ghost how deeply in love you are with Johnny. He answers with a knowing chuckle, saying “He’s easy to love.” The ghost will let you wax on poetic about little moments that made the yearning in your heart pulse like a blooming bruise. How he handled a tough situation with the servants, treating them fairly and compassionately. How he scaled up a tree in town to get a farmer’s cat down, effortlessly climbing up the branches and gently cradling the cat. The way he looked at you over dinner with those piercing eyes of his, how the light catches in them so handsomely. The ghost only sighs wistfully, as if he shared your yearning all the same.

“But I know he dislikes me.” You confess, “He still longs for his old love, the one he built this garden for, and resents me for taking the place of his beloved. I feel he wishes he had never met me, let alone married me.”

“Don’t say such things,” The ghost answered sternly, “Though he is swallowed by grief, he still cares deeply for you.”

You didn’t believe him, but you let him have the last word, returning to your work.

When not gardening or taking care of the estate or watching out for Johnny, you start an even more private project- researching into who the previous gardener was. The servants’ hush when you had asked about a gardener piqued your curiosity- it felt like the first real clue to solving the estate’s mystery. You tried finding records of why he isn’t in the estate any longer, or even simply records of his employment, but there seemed to be no trace, not even a name. Either the records had been destroyed or Johnny kept them locked away- and the last thing you wanted was to send Johnny into a rage again for prying. (You may have forgiven him, but the mind does not forget so easily- just the mere thought of overstepping made you incredibly uncomfortable- and he never acted that way with anyone else, so, really, it’s you who was the problem. Perhaps his dislike of you is more than that, perhaps it is a hatred?)

You reach a disheartening stopping point in your research when you can find no more. That is, until Duke Price and Lord Garrick give your husband a visit. They are some of the old military friends Johnny’d spoken of previously. Entertaining your guests in the parlour, the topic of your work in the garden is brought up. A somber hush falls over the men. A true tragedy the gardener met his demise, they say, he was a good man. One of the best. They pour out a drink for their fallen friend. Johnny asks that you give them a moment of privacy, so you oblige. (Heavy-hearted though you may be).

You learn his name that day. Simon Riley.

Later, you are hesitant to bring it up in the garden, but… you are burning up with questions, and perhaps, perhaps this once, the ghost might answer.

“Do you know…” you begin hesitantly, but stop uncertainly. He hums for you to continue, so you gather together whatever scraps of bravery you have, “Did you know the previous gardener of this place? A Mr. Simon Riley?”

The air grows still, a tense silence falling over the area. Then,

“Of course I knew him.” The ghost says, his voice soft and sorrowful. An invisible hand tucks a hair behind your ear, “For he and I are one and the same.”

You take in a sharp inhale. Your hands twist the fabric of your skirts.

“May I call you by your name, then?” You ask quietly.

His answer is whisper-soft, a shuddering concession, “Yes.”

“Simon. Simon Riley…” You say it slowly, enjoying the way his name rolls off your tongue. And then his form fades into view like never before. Still slightly transparent, but now he is here, directly in front of you, and so close, so close you could reach out and cradle his face, and his eyes, oh his eyes, they are so full of longing and woe. “You are… beautiful…” You breathe.

He flinches, taken aback, eyes wide.

“You can… see me?” He asks, astonished. You can only nod in response.

He refuses to answer any more of your questions that day, and instead waits to see how long this bout of visibility lasts for. From that day forward, you can see him at all times, though some days greater than others. Some days he is barely an outline against the garden walls, and other days you can see him as clearly as if he were alive and real. Those days it is only your hand phasing straight through his body when you try to set a palm on his shoulder that breaks the illusion.

Since he will not answer your questions, you turn to other means, now armed with a name. You look through public records, and find a cemetery with his name, and then an obituary that stated he had died in a fire. You shudder at the thought of it, pained on his behalf. What a horrid way to go. But there are no further details on what caused the fire nor where it had happened. Was it on the battlefield? Was it in the grounds of the estate?You find no further details.

You return to gardening and your countess duties.

There finally comes the day that Johnny approaches the garden door and instead of leaving, creaks the door open. Your conversation with Simon had fallen silent the moment you heard Johnny’s steps once more, but when the door had opened, you and Simon exchanged a surprised, excited glance.

Johnny stood within the doorway, looking around with equal parts amazement and heartache, his eyes wide, his brow furrowed. It made you suddenly realize just how much progress you’d made after all this time. The garden looked nothing like when you’d first seen it on that dark night. The flower beds were thriving, the bushes cut back to a respectable size, the vines no longer encroaching plants and pathways but rather providing a delightful contrast to the other foliage. Deeper in the garden there were still pathways overgrown, but for now you had completed a commendable amount of work.

A couple steps in, and Johnny was turning his head this way and that to take it all in.

“Good afternoon, my lord.” You greeted him.

“Good afternoon, my lady.” He parroted back. “You… really have been busy in here.”

“Yes, I’ve grown quite fond of the garden. I hope I have done it justice, though I have not seen it in its golden days.”

“You’ve done… remarkably well in restoring it.” Johnny murmurs. “It looks almost… like…” He trails off.

“Like…?” You echo. He shakes his head, as though breaking from a reverie.

“It looks almost identical.” He says, but you feel like that is not quite what he meant to say initially. While his attention is elsewhere, you exchange a look with Simon. Simon seems quite familiar with Johnny, and perhaps what Johny might have meant, shaking his head wryly.

That leads you to wonder why Johnny can’t seem to see Simon. If he saw the ghostly figure besides you, surely he would have said something? If it was Simon that had made him flee the garden that first evening here, would it not stand to reason that Johnny knows something about Simon’s demise, and is perhaps more qualified than you to be able to see his ghostly form?

But Johnny says nothing, and his eyes never stop on Simon as he glances around.

“It’s… good to see the place be put in order.” He says primly, then moves to leave, “I will see you at dinner, my lady.”

You say your goodbyes and watch as he makes a swift exit. You and Simon listen as his footsteps become more and more distant. Then you crumple in on yourself.

“Ohhh, he hates it, he hates what I’ve done to it.” You bemoan miserably. “I’ve besmirched the memory of his lover and now he despises me all the more.”

“What! Are you daft?” Simon exclaims, “That was him saying thank you, stilted though it may be.”

“Don’t lie to me, Simon, you saw him! You heard his tone! I am an imposter in this garden, in this household, and he will never accept my being here.”

Simon grips your shoulders, meeting your gaze seriously, and it is the first time you have ever seen him look so angry.

“Don’t you dare speak that way. You, you shining, quaking thing, you belong here most of all. He cares for you, I know it.”

“No you don’t, no you don’t. You don’t see us in the house, Simon, you don’t see our dinners- he barely speaks to me aside from polite conversation and those few times he’s had a drink and forgets that it is me he is speaking to. There are times he looks at me and I can tell, it isn’t me he is seeing, not really.”

No matter how much Simon swears up and down that you’re wrong, nothing he says can change your mind. You depart the garden that day with a heavy heart, feeling as though you had said far too much to Simon, added onto his already heavy burden with your own trifling sorrows.

Weeks go by and nothing really changes. The sun sets and rises, the skies continue to be plagued by grey clouds, the heather blooms purple over the moorland. You busy yourself with the garden and making preparations for your head maid to visit some family, which meant reworking certain schedules, and Johnny busies himself with the business and the farmers in the area.

Then one day you happen upon a tattered letter. It slips out of an old book you had reached for in the library. The book had looked worn and well-loved, so you had reached for it out of curiosity, when out dropped a lone letter.

You read over it once, twice, thrice… then sank into the window seat with a hand over your mouth and wept, eyes tracing the words over and over again.

It was a letter addressed to Simon, from Johnny. There was evidence of old tears on the paper. The shaky strokes of the pen were visible in every word- every word a confession of love and regrets. Every other word was an apology. Sorry for leaving Simon in that town alone, sorry for not getting to the burning building fast enough, sorry for not confessing his love properly while he was alive. An account of all the sweet moments the two had that he would miss forevermore, and a single final ‘I love you’ finishing off the letter.

The dots all connected in your mind then. The love they shared, the garden that was built, the yearning glances and longing sighs- the burning house, the deep regrets, the haunting, the listlessness. It was a vivid picture painted in your mind, and suddenly you wanted nothing more than for there to be some happy ending for them. Your heart ached for their love story cut short, burned with your love for them.

You tried to compose yourself and set the letter back into the book, but then your eye caught on the inscription on the cover page of the book.

‘To my dear Johnny, I may not be the best with words, but I would borrow from all the poets in the world if only to see your smile.’

You stifle the sudden sob that bubbles up your throat, and flip through a couple pages of the book- all of it lovingly annotated, certain phrases underlined, notes in the margins of some pages. You gently, ever so carefully, fold the book closed and set it back in its place on the shelf.

That night all you can do is weep for the two.

But surely there must be something you can do? Simon may be a ghost but he is still here- that has to count for something, right? But then might he disappear if his regrets are laid to rest? You’ve read somewhere that ghosts are only souls that have unfinished business in the world of the living… You do not know enough about the supernatural to say anything for certain.

So you track down the old woman who’d first said there’s a ghost in the estate. She said she is a witch, did she not? Surely she might have some solution, something that could help? When you reach her little cottage and tell her all that has happened, all you have learned, you are not quite as composed as you’d thought you would be, instead kneeling at her side and telling your tale like a beseeching child, with tears sliding down your cheeks. The old lady strokes your hair comfortingly.

“Oh, my child… there is little that can be done when one is dead.” She says regretfully, “There is a balance in life, you see? One cannot bring back a life without giving something back in return of equal measure.”

You glance up sharply, eyes wild.

“A life for a life, then? It is possible?” You ask. The old woman is taken aback.

“Well, yes, but…”

“I could turn in my life for Simon’s? They could be happy together again?”

“It is… possible. But, child, what of your happiness?” She asks earnestly. You pause, contemplate. Then shake your head, determined.

“I would be overjoyed to see them reunite. That is my happiness.”

And so the plan is hatched. The witch needs some items of import to make the spell work, which you are able to obtain with some sneaking around. The difficult part is the spell must be done where the ghost’s presence is tethered. You aren’t certain where that may be until she starts asking where you tend to see Simon most often and where is his form most sturdy and visible. Then it becomes obvious to you it must be in the garden, so the issue lies in sneaking her out to garden with everyone none-the-wiser.

In the few days leading up to the spell, you become more withdrawn. Simon catches on quickly to the change, but chooses to let you keep your secrets. To your surprise, Johnny also seems to notice a difference in you, and unlike Simon, he is persistent in trying to figure out what might be the matter. With each passing day it becomes more and more difficult to brush him off.

But soon the night of the ritual is upon you. You sneak out of the house in your silky gown with naught but a single candle, and meet the old woman near the entrance to the garden.

Simon is instantly upon you, questioning and inquisitive as the witch sets everything up.

“What… what is this?” His face is grim.

“I’m bringing you back, Simon.” You answer lightly. His eyes widen at the realization as the witch starts chanting, cutting your palm open.

“No. No, stop this immediately!” He reaches for you, to pull you away, or push you back, but his hands phase right through you. It is one of the nights his form is weakest, and you’d purposely chosen today for that reason. “Don’t you dare. I need you here- we need you!”

You only send him a soft, doleful smile, taking a vial from the witch’s basket.

Panic sets on his face as he realizes he cannot stop you. His ghostly form disappears entirely, and part of you is glad you will not have to see the pain in his eyes when you go.

Simon had gone to get the aid of the only one who’d be able to stop you. He used all his strength to appear before Johnny, who’d been at his desk, writing ‘neath the candlelight. Johnny startles and watches, mouth agape, as Simon shouts at him to save you, that you’re in the garden, about to die.

That gets Johnny up and sprinting down the stairs and out to the garden, his shirt billowing in the window, his hair askew. Simon is right behind him, though his form fades in and out of existence. They burst into the garden, footsteps skidding on the dirt.

They are too late.

Johnny grips Simon’s arm in his shock, chest heaving, and Simon’s frame is sturdy, solid, alive as he supports him. Your body is still and motionless on the ground, your face pale, lips parted, eyes open but unseeing. The moon illuminates the scene, an unwilling witness to the tragedy that has befallen.

Simon sinks to his knees while Johnny cradles your limp body. There is nothing they can do but weep.

#ta-daaaa *jazz hands*#I just really needed to get it out of my system #but then once it was out and I read over it again I thought 'huh! that's not half bad!' and have now decided to share it #I guess you can either assume the two live forever with the guilt of her death but live a long happy life together #or the two had both fallen in love with her too and now are stuck forever mourning the death of another loved one #(or maybe they get into some sort of quest for a magic spell that can bring her to life and then they all live happily ever after? idk)#snurt writes #cod #ghoap x reader #ghost x reader x soap #ghost x reader #soap x reader

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polysyndetonaddictsupportgroup · 5 months ago

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did every hero really follow endeavor's plan during the jail break? I've never watched bnha, but I always figured there were more heros then Japan knew what do with. Was endeavor really just that worried about how the fight again AFO would go? and did AFO have the league with him? or other prison escapees? Given eraserhead was so entrenched?

As a preliminary matter--yes, it was way more than AfO. The League basically did what they did during the USJ arc and subcontracted their violent attacks. They needed a big force to first get AfO and everyone else out of Tartarus, and then they made it very clear (via loudspeaker and also fucking tweet) that they would all be very peacefully retreating while all those criminally insane and violent motherfuckers went that other direction. Ball's in your court as to how you want to tackle it.

AfO was the biggest threat, by fucking far, but it was far from isolated to him. It was the entire League of Villains + Their Very Special Friends. It was the kind of force that would be required to make the entirety of Tartarus fall for the first time in history. So the heroes had plenty to keep them busy.

And as to whether Endeavor was that scared about the next fight with AfO... Yeah.

I think bnha does a good job at establishing that All Might and AfO just exist at entirely different levels than every other person alive. Their fight leveled a decent chunk of Kamino. And I think that's kind of power and devastation is hard to conceptualize as like, people in a world where we don't have to worry about superhero fights. (as a side note--Sukuna's Big Fight in the Shibuya arc from JJK did better than any other fight in media to really capture the sheer cosmic horror of being caught as a bystander in one of those fights).

But endeavor saw it. He was there for AfO’s and All Might’s last fight. The gods were fighting. Everyone else was just an ant.

He is facing the villain that ultimately took down All Might. All Might won Kamino, sure. But he didn't get up again after. He was permanently and irreversibly taken out of play. And Endeavor has spent the last year feeling like he was struggling to be even half of what All Might was with two hours of productivity a day. He was so consistently voted to not be able to compare to All Might that he bought a wife and had four kids about it, all of whom hate him actively.

He does not think he is winning this fight. He is Japan's number one hero. The responsibility is going to fall to Midoriya Izuku to him. He is the best they have left, and the fight that would be coming was one that already nearly killed All Might, the one guy he has never ever been able to compare to. And when he really looked himself in the mirror and asked if he could stop AfO, the answer was no.

And it wouldn't just be AfO if he came back to power. It would be his followers--and he was liable to get more than just the current League of Villains roster. It would mean more Nomus. They could barely handle one Nomu--how could they possibly handle the Nomus, and the LoV, and AfO?

And the answer that he came to was that they couldn't. Not without All Might.

He thought he was sacrificing Yokohama for every single other city AfO was going to level if he had time to grow in strength again. He thought that if they threw absolutely everything they had at him while he was weak, then maybe they could contain him and the League before entire cities fell.

So. That's why he came to that decision. Why did every hero fall into line?

So what’s key to what happened here was it was this complete structural breakdown at exactly the wrong time.

Structural Flaw #1: Transportation

Was it every hero in Japan that responded to Endeavor’s order? No. But not every hero in Japan was available. Any heroes out of the immediate area were too far away to do shit.

But it's a massive crisis. Heroes would commute from all over if they could--but it's not about desire, it's about time and resources. With how imminently emergent the threat was, a lot of far-away heroes would need something like a jet to even conceivably get there in time.

Who is sending the jet?

Let's pin down what heroes could, conceivably, get there in time. Very few heroes are in walking distance. How do heroes typically get from Point A to Point B?

Hero society in bnha is an agency model. There is no communal pool of resources--you have what your agency has. You have a jet to transport you if your agency has the money for one, and I’m pretty sure only all might had that (he has since had it dismantled and the parts repurposed for the sake of the environment. He only had it to begin with so he could quickly respond to imminent threats. All Might thinks there's more than one way to save the world and saving the environment is part of it). Like. We even saw Endeavor flying fucking commercial.

But let's just assume, arguendo, that some agencies have jets. It would have to be the very top agencies to possibly afford it.

All of whom are shown in canon to mostly operate out of the same area. So they're going to have to send the jet somewhere else to get more heroes. Now any travel time is doubled. If they do send it out, how many people are they realistically getting? Are these heroes in multiple different cities? That's more travel time then. Maybe we just land the plane in Kyoto and whoever gets on in the twenty minute period while they're refueling is who is coming back. We'll hand them parachutes and kick them out the plane door over Yokohama. Okay. Good plan. Go team.

Who is sending the jet?

Like, who is physically making the call to send the jet? Who do they call? Do they just start ringing around their buddies and seeing if they have other plans? The city is on fucking fire and we need people fighting now, so the big name heroes don't have time to organize transport with other agencies. They’re not even thinking of that right now. Make it a sidekick's job.

They are all on fucking strike.

Fuck it. Fine. Make it an admin's job. There has to be some kind of office staff who can work a telephone who's available.

Who is thinking to send the jet?

Admins are not making strategic calls about where the company jets go. There would have to be some kind of protocol in place or someone with the authority to send the jet would have to think of it in the moment. And I guarantee you this would not be the case.

Because this is a society where they have canonically semi-privatized public safety and put people in direct competition with each other over it.

ASIDE: The Economic Structure of Heroics and Why It Sucks

I have an economic structure. You must listen to it. I promise it is relevant. This is why it takes me forever to do things it's because i get too deep into the weeds and have to explain the fucking economic structures underpinning the analysis for my nonsense to make sense.

How the fuck do heroes get paid?

I have no idea if canon ever tells us because to be so for real with you guys I have not watched this show in years. I haven’t cared about canon since the Shie Hassaikai arc. The fucking YouTuber arc broke me. I literally never watched it again. If they ever explain to us how heroes get paid I do not know and I do not care. I refuse to go back to canon. Everything I found out about canon after the Shie Hassaikai arc, I learned against my will. The ending to this story was so fucking stupid and I only have a scattered knowledge of the details but I’m still right. If canon ever tries to explain it then please do not tell me, I refuse to learn more things about this show.

But I still like poking around the potential economic structures based on the part of canon that doesn’t cause me psychic damage. So here’s the thought process for the economic underpinnings of hero society in the pez universe.

From canon, we know it can be an enormously lucrative profession, we know that it involves some degree of private interests (re: merch lines), and we know that there are some people who cannot have merch lines (Underground Heroes, e.g. Eraserhead), so there also must be some kind of public funding aspect to it as well. So. Who the fuck signs your paycheck?

Sources of Funding

a. Public Funding

There must be some kind of official governmental budget for heroics. Like. They are very much a public service. There would be no way to have a fully private heroics force without government funding. What else are you supposed to do, fucking Venmo heroes after they save you? Do they put your kitten back in the tree if you don’t have enough.

In my mind, there's public funds allocated to heroes as part of a city's budget. That funding is allotted based on the number of employees in a given entity balanced against the confirmed acts of heroics of that same given entity. There’s a base salary level and that can be increased based on how successful you are, but salary isn’t exclusively what this fund is for. The heroic entity (an individual hero or an Agency) is effectively receiving grant money from the government to run their agency. You put it into salaries, gear, office space, everything. The government is basically investing in heroes, and it’s investing more in heroes who are shown to have a greater positive impact on society.

It involves overly complex calculations regarding the scaled difficulty of a given bust/rescue/act and ranking of the villain (if there is one) and the overall public benefit for the service rendered. You get bonuses for having a lower average property damage, for contributing to community building projects, that kind of thing. It is Complex. There is a lot of paperwork that has to be submitted to strange and vaguely threatening government accountants. When Mirio and Izuku start their agency, they will burst into tears multiple times trying to figure it out once filing season rolls around, bundle all the paperwork in a Massive Tears And Shame Package, mail it off to the shadowy powers at be, and then get a perfunctory notice that they are getting a ludicrous amount of the city budget allotted to their dinky little agency for the upcoming fiscal year because they are Big Fucking Heroes and enormously good at what they do and it reflects in their stats. They will then lay on the ground of their haunted fucking office and stare at the ceiling for a very long period of time.

But this puts the heroes in competition with each other. Your public funding is chained to your stats under this model. There's only so many criminals out there--you've got to get the right numbers or it cuts into how much of a slush fund the agency is working with.

It's sort of an insane model for a public servant position, but I think it matches with what canon shows us. Imagine having firefighters pitted against each other. like, having a competitive model for public safety raises extreme concerns about how it incentivizes public servants to act.

But this isn't canon's model. It's my guess as to how canon works based on the hints i can remember and my own mental illness. So why do I think canon suggests a model like this?

It's because 1) canon does establish that heroes are in competition with one another and 2) this kind of model would likely be necessary due to the level of autonomy that heroes have.

The literal first fight we see involves heroes in competition with each other. Kamui Woods is doing a big Ultimate Move, and Mount Lady rushes in and steals the show. Like. that is crazy behavior if we are looking at this through the lens of a typical public servant. Imagine you're trying to get directions from a park ranger and a different park ranger kick flips in with a map and a desperate need for you to get your directions from them instead. You call poison control and they��re beating each other in the head over who gets to tell you you’re dying.

Still, on its own, the competition isn’t dispositive, because the private income streams (we'll get there) would incentivize competition even if public funding wasn't based on it. But the level of autonomy that hero offices exhibit also suggest some kind of competition model.

Heroics agencies are not run like a typical police force or fire station. With most entities that function as first responders, they respond to some kind of centralized force (like 911 call centers) and they have highly regulated resource distribution. Like, police forces are restricted to a specific jurisdiction. Within that jurisdiction they have multiple districts and officers typically stay in their district. They're not going to a different fucking city because they think the crime is cooler there.

But Endeavor does exactly that. He's like "hello, son who hates me. Let's go to Hosu because I want to fuck with the hero killer for street cred. won't you come along. It is non-optional" and todoroki says "i hate you father and will abandon you on our father son trip to set a serial killer on fire with my mind. it will be for mildly gay reasons."

These agencies aren't a centralized public service. They are all just off doing their own thing. They're not responding to specific areas as allotted to them by the city--they just fuck off and do whatever. Like, there's probably some coordination between agencies as to who is covering what patrol, but it likely would be more out of courtesy than formal requirement. People wouldn't step on each other's toes nearly as much if there was more of a structure to this.

Typical public agencies who receive funding in accordance with staffing and budgetary needs have more structure and formality than is exhibited in canon. Heroics Agencies act like they're all independent contractors. They probably function like grant money recipients, where they're all fighting for the same pool of funds. You have to write in and show why you deserve that money when that's the case. They're in competition with each other.

Like, is this definitively the structure in canon? No, of course not. I have no fucking idea what, if anything, canon has going on. But it definitely fits with canon.

b. Private Income Streams

We know from canon that it can't just be public funding. Izuku alone probably paid for the Mighty Agency private jet with how much fucking all might merch he bought. Canonically, heroes have merchandise lines, branding deals, commercials, everything. All Might had fucking movies made about him. Those are all extremely lucrative income streams--and likely where the richest heroes get the biggest brunt of their income.

In order to get this kind of income, you are necessarily in competition with your fellow hero.

Public attention, spending money, screen time, all of it--it's a limited resource. You have to be the person who gets to the fight first, who does the big move, who saves the day. If it's someone else? Then that's another kid buying their action figure instead of yours. Heroics is heavily commoditized in canon, and that inherently invites competition.

2. Distribution of Funds

So now that we have a theory as to where the money comes from, how does it get paid out? Based on canon, it comes down to a structure of (a) Independent/Underground Heroes and (b) Agencies.

a. Independent/Underground Heroes

I can't actually remember if the word "independent" is said in canon or if I came up with it, but I think canon implies its existence. It's basically the same thing as being an underground hero, but you're still a Spotlight hero. I also cannot remember if the underground/spotlight thing is canon or fanon or what I’m sorry I haven’t watched this show in years.

Independents are spotlight heroes without the backing of an agency. They just go out every day with the clothes on their back and a dream. They have no support staff, no back up, and no one to help them if things go sideways.

It is not a popular employment option.

Part of it is because it's that much harder to fund being an independent. Like. Say you're just out of high school and you decide to strike out on your own as independent. You're still spotlight, so you can have a merchandise line, and that'd be a nice income stream while you're just starting out.

How the fuck do you start your own t-shirt line?

How do you make contracts with the manufacturers? How do you make and copyright the design? how do you sell the stupid things? Do you try and get them in Walmart? Do you start an Etsy? Your own website? do you call your mom and cry when you have 500 ugly t-shirts with your face on them that no one wants to buy and they're taking up all the space in your studio apartment.

Agencies have preexisting structures in place to help launch these kinds of options, which is one of the reasons why they're so attractive for baby heroes just starting out. The only reason why Mirio has merchandise is because he decided that he didn't care and didn't need to make merch and Izuku came after him with feverish crack addict energy because he cared and he needed Lemillion merch like. yesterday. All Might ended up getting his agency to start a lemillion line. Mirio gets the profits with a reasonable fee to the Mighty Agency. To this day he suspects that Izuku is 70% of his sales but Izuku denies this fervently, like a liar (he actually has a small but very devoted fanbase who rabidly support him and buy all of his merch. he would cry if he knew this. Still. Izuku is his biggest fan and buys literally every single piece of new merch in triplicate.).

Underground heroes are in the same boat as independents but they don't even have the option of a merch line. They exclusively get public funding unless they're backed by an agency, which none of them are because agencies have a tendency to fuck them and their busts for the sake of the spotlight. All underground heroes are bitter and culturally opposed to agencies.

On that note:

b. Agencies.

This is where by far the most heroes would end up. But an agency is like thirty dudes with the same joint bank account. How does the money get there and get distributed out?

i. Public Funding in an Agency Context

Take the above model. How do you attribute public funds based on personal statistics if there's no single person? Does everyone get their own check? But that wouldn't make sense--this isn't just for salaries, it's for funding the actual heroics itself.

Everyone under the same agency would be counted together for the purposes of funding allotment. If Sidekick A managed 300 busts last year and Sidekick B man managed 350 busts, then congratulations, The Big Hero Hero Agency made 650 busts last year, here's a check made out to the agency, figure out what you want to do with it.

But what about incidents that involve multiple heroes from the same agency? Let's say that The Big Hero Hero Agency is involved in a big bust. It is Sidekick A's baby. They have spent months doing this. This has been blood, sweat, and tears. When the day comes, they are joined by Sidekick B, Sidekick C, and Big Hero himself. Sidekick B has been helping Sidekick A for the past three weeks on this case. Sidekick C got called in the day-of to help.

Big Hero showed up for the last twenty minutes of the fight when they were mostly done with everything.

So. You're filling out the post-arrest paperwork. For funding and for public statistics, you need to make sure to properly account for who gets credit for the bust. It has to be one person--if you had everyone individually credit themselves for the bust, then it looks like you've resolved four incidents instead of one under this financial model. it's artificially inflating your numbers for public funding. that's fraud. Who should get the credit: Sidekick A, Sidekick B, Sidekick C, or Big Hero?

Well, there's nothing stopping Big Hero from writing their own name. So let's go with Big Hero. He helped.

This was one of the big sources of the sidekick strikes: a lot of agencies had an absolute policy of attributing successes to the name hero if they touched the case at all, because there was no rule against it. It was better for the agency, after all--unrealistically high numbers on the biggest name meant the agency as a whole appeared more successful.

So there were a lot of heroes artificially inflating their stats with things that were more properly credited to their sidekicks. Which made it all the harder for sidekicks to leave because their stats were shit because their boss was taking credit for their work.

ii. Private Funding in an Agency Context

But that’s just public funding. How would agencies distribute private income streams?

Big Hero Agency is proud to announce its newest line of Big Hero Action Figures, featuring the Entire Big Hero Team, now retailing for $39.99. Get it now from a store near you.

So. An agency is selling an action figure line featuring Sidekicks A, B, and C, as well as Big Hero himself. We’ll round up to an even $40. How do we split up the cash?

You can’t give everyone each $10. You have to first pay the suppliers, the advertisers, the trucks that shipped the toys to the store, etc. Then you have to pay back into the agency to fund miscellaneous expenses—the stationary, the insurance, the coffee in the fucking break room. Everything. By the end, there’s only $4 of profit left over. Not great, but hey—they’re selling a lot of toys. So if they each get a $1, then it should add up quick.

Right. But. If you think about it, people are only really buying it for Big Hero. He’s the best hero of all of them—his name is on the agency, and just look at how much higher his stats are. So it’s only fair that he gets $3.70 a toy and the rest of them can get $.10 apiece. Don’t worry, it’ll add up quick.

Not all agencies would have been like this. But a lot of them would be. Money is a hell if an incentive to screw people.

END OF ASIDE.

With all that in mind—why would they feasibly have a structure to fly in help from other heroes far away? That’s their fucking competition. Sure, we have team ups, but they’re all either well in advance or in the heat of a moment. If they are in the heat of a moment, half the time the heroes resent it because they just stole their fight. They’re gonna what—pay the exorbitant jet fees to fly in someone who’s just going to steal their hard work in the eyes of the public?

Okay, but what about situations like this? Massive emergencies where you need more people?

Those haven’t ever happened before. They had All Might.

So. The heroes on the ground calling in help are out. What about the heroes who are close enough to make it there by ground transport? No one calls them, they just show up out of public need. How are they getting there?

Trains are out. All the trains into the area are shut the fuck down. We are not giving the freshly escaped villains a bullet train to the rest of the country. Same thing for buses. No fucking bus driver is making their regular route into a fucking battleground.

Private transportation it is. Anything more than a few hours out of the area is completely out of the question. Like, good ol’ Manuel from Hosu City and all his buddies? Not making it. The wild wild pussycats? Watched this on TV from their mountain home. Gran Torino? On FaceTime with All Might, who is watching the fight with Midoriya Inko’s hand gripped in his left and Bakugou Mitsuki’s hand gripped in his right. Gang Orca? Twelve hours away and on a fucking island so he needs a boat AND a car to get there. Or he just fucking swims.

But there has to be at least some hero that saw this happening and heroically climbed in their Mazda sedan to make the three hour car trip. Why didn’t they go to the fight in Yokohama instead of the one against AfO?

Frankly at that point those literal children were visibly doing way better than the actual heroes were faring and any heroes showing up went where they were most needed and uh. It wasn’t by the kids.

If we have the agency model as given to us by canon, then that means there is a decentralization of resources. If you want to utilize your public defense force in the case of emergencies, then you need a way to fucking get them to the emergency. Canon does not have that. This is a huge structural failing that only wasn’t a disaster sooner because most emergencies required one guy and he had his own private jet. So most heroes in the country never had to even consider if they would listen to Endeavor’s order because they were completely cut off and useless at the time.

So. Now the analysis has been narrowed from all of Japan’s heroes to just the ones in the immediate vicinity of the fight. That’s still a fuck ton of heroes. This is a heavily populated area with a bunch of heroes around. You can’t go outside without tripping over a hero.

Most of those guys were on fucking strike.

Structural Flaw #2: Over-Reliance on and Abuse of Sidekicks.

The vast majority of the workforce had to be sidekicks. Like, just from a business model perspective. Even the smallest agencies we saw had 2-3 sidekicks. Endeavor’s agency had at least double digits, and I think Idaten was at over a hundred or something. We were probably looking at, conservatively, a 1:10 ratio of heroes to sidekicks.

All those guys are on strike.

Okay. But not all of them, right? Idaten already settled and got their sidekicks back. That’s like a hundred guys.

Except the Strike was not isolated to the Tokyo/Mustufasa/Yokohama area. Idaten sent out a lot of their sidekicks to other regions to help alleviate some of the strains of the strike. (As a note, this was not the Idaten sidekicks crossing the picket line. Them picking up the slack for other sidekicks still striking would have helped minimize effects on the public. However, the agencies of the striking sidekicks would have reaped no benefit from this under the compensation structure outlined above. Idaten would have gotten the credit for everything their sidekicks did, so the other agencies would still be bleeding from this while risk to the public was slightly alleviated. Idaten’s entire function in this strike was to set an example for quick settlement and minimize public harm. There’s this entire sub-analysis on Idaten’s internal culture and how it intersects with broader heroics standards that I won’t get into now this is already way too long.)

Idaten is at 1/10 capacity. It has like, ten guys, all of whom have been working say, thirteen hour shifts (voluntarily—again, it was a decision made to try and minimize the public safety risks of the strike while still allowing their colleagues their best chance at improved conditions) daily for the past month.

All of those ten guys responded to Tartarus before Endeavor made the call.

To understand the exact nature of the breakdown, you really have to see the chaos of how exactly this unfolded.

The LoV and their merry band of criminals hit Tartarus. The heroes do not realize at this time that they intend to let everyone out, give them transportation, and point them straight towards the mainland. They think that they’re just there for AfO. That’s still a huge crisis that needs to be shut down immediately, so they call out all of their best. Endeavor responds. Hawks responds. Eraserhead responds. Mt. Lady, Kamui Woods, Miruko—everyone in the vicinity who could conceivably respond show up. For a second, it looks like it’s going to end here.

Once the LoV get AfO out of his cell, the entire tide of the battle turns against the heroes. Now everyone’s out. All of those horrible, terrible villains. Tartarus has fallen. They have to make hard decisions. The high ranking, very powerful heroes who are most likely to break the line on Endeavor’s decision? They’re already at the fight by the time he has to make it. It is chaos and something they cannot easily leave.

The LoV’s picked right now because they knew that the heroes were operating at less than a tenth of their regular capacity. They picked right now because they knew the system had structural faults, and if they hit them just right, it would all come down on the heroes’ heads.

But the sidekicks broke strike lines to respond, right? Why do they all go to endeavor’s side?

For one thing, it wasn’t all of them who showed up—maybe a third of them were not even in the area any more. It wasn’t malicious, or intentional, or anything like that—they were off visiting their families for the first time in a long time or taking vacation. All of them had spent the past few years being completely overworked and abused by their jobs. They just weren’t there.

So now we’re down to 2/3rds of them who can even try to show up.

A lot of it wasn’t actually made as a reasoned choice. For many of them, they ended up where they did because of all the chaos.

So you’re a sidekick. You’re on strike. The entire world has gone to shit. How do you normally find out about the world going to shit?

This is a competition model streamed through individual entities. There’s no central command structure. Your agency calls you.

Well, your agency either fucking fired you or they cut you off completely during strike negotiations. This time, you find out through the news when the story breaks. Now what?

You frantically try to get in touch with your (ex) agency. Who is picking up the phones?

No one. That was your fucking job before you went on strike.

I used to work at a government public-service type deal, and let me tell you, they abuse the fuck out of non-unionized workers. You are doing everyone’s job. No one ask why we don’t get more support staff because they have unions. Like. I had a law degree. I was hired to be a lawyer in that office. They had us all doing the jobs of four people, and by that I mean it would be the literal entire job description of another fucking position in that office and we were all expected to just do it too.

Unions incentivize treating workers right. The absence of them opens the door to the opposite.

Why the fuck would agencies hire more people to lighten the load on the sidekicks and let them focus on actual heroics? Just make the sidekicks do everything. What are they going do, complain? They’re a dime a dozen. Hire more of those fresh faced kids with no standards just out of school.

You know when you had a job where you’re like. This fucking place is going to fall apart without me. But they treat you as disposable and easily replaceable and you’re like “okay bet” and so you leave and you find out from the people left behind that it actually fucking fell apart without you and you’re just like :o

Yeah. So that happened.

There has been a massive break down in the function of heroics offices for the past month and change because the sidekicks were not there. They were the ones who actually did most of the day to day handling of the office. They were the ones coordinating transport and figuring out the actual mechanics of who would be deployed where in a crisis. All those things that would be super helpful now? Yeah, those guys aren’t there, and they’re locked out of the fucking offices and can’t get in to un-strike for the sake of societal crisis.

But they know where the fight is. It’s on the news. Why don’t they just show up?

Where’s their gear?

Who owns it?

Heroics support gear must be an enormously expensive thing. It would have to be provided by the agency itself. Literally the only reason why Mirio has gear is because 1) all might would NEVER let his pseudo step son run around without proper support so the man would have bankrolled it himself if needs must and 2) the UA support class has a stipend each year where they can make support gear for active heroes and those heroes get it for free in exchange for free advertising for the students trying to kick start their careers, so he is decked out in THE most experimental bullshit from Hatsume Mei Industries (I have this entire side plot where the support class this class year low key became a sort of religious cult haha not really it’s just a joke it’s not really a joke and power loader is afraid every single day when he comes to work he is afraid under the iron clad rule of Hatsume Mei’s weird girl energy and they all decided Mirio was the Tabula Rasa, a figure of prophecy, and I just cannot get into that right now it’s too long it’s too long already. But it’s so fun).

All those sidekicks on strike lost valuable time trying to get back into their agencies so they weren’t showing up to an S-class villain fight in their fucking jammies. Then, when some poor admins figured out what was going on and let some of them in, everyone was frantically gearing up and getting in whatever transport van they were pointed at. Some of them didn’t know they werent reporting to Yokohama until they were already at the other fight. There’s was so much chaos and confusion that very few people had a clear idea of what was happening.

With the sidekicks, some of them never made it, some of them just got in a van and went wherever it took them, and some of them chose to obey Endeavor’s orders. Some agreed with the decision. Some disagreed but deferred to his experience. With how the Sidekick Strike had left their infrastructure, very few sidekicks were able to respond fast enough to make any real difference.

Now for the last possible demographic: the heroes that weren’t on strike and weren’t initially deployed to the Tartarus Prison Break. Why didn’t any of them go to Yokohama?

Structural Flaw #3: All Might was that one kid doing the entire group project for like forty years and some of these people are having to be heroes for the very first time and realizing that they don’t actually want to risk their lives to save people they just sort of liked the idea of this job.

It may be a bit too specific to be a structural flaw but I’m counting it anyway.

So, just to give a bit of a recap: We consider every hero alive in Japan as a candidate for Endeavor’s order. The vast majority of them are too far away to do shit, and there’s no centralized transport network to get them there faster. Toss in those who are dealing with personal medical issues or are away on vacation or just can’t come for some reason or another, and you’ve lost most of the heroes in Japan as respondents. Probably ~80% of potential heroes are culled from this alone.

So we have, generously, 20% of Japan’s heroes left as potential people to respond. ~90% of those are sidekicks on strike. They’ve got hours before they make it to any fight, because of the aforementioned structural breakdowns.

Now we’re down to 2% of Japan’s total heroes.

Some of that 2% were first responders to the initial Tartarus prison break. All the big name heroes in the area. But there can’t be that many top heroes—so let’s say 0.2% of them were at the initial fight.

Now we only have the remaining 1.8% of heroes to analyze.

There have to be a percentage of those who agreed with Endeavor’s call as a tactical decision. If they show up to any fight, they’re going to be obeying his order.

So we only have the ones who disagreed with his call left to look at.

These are small-time heroes. All of the big names are already at the fight. So they are less likely to have flashy Quirks, be especially talented, or consider themselves to have an especially large effect in the grand scheme of things. They have likely spent their entire careers living in a world with All Might.

It has never actually been down to them.

Think of Uwabami. Momo did her work study with her.

Her hero outfit is a fucking evening gown. She spent the entire work study doing commercials and meeting with her fans. She explicitly invited the young heroes that she did because she thought they were cute enough to be in commercials with her.

Now, she’s had some good if minor moments helping rescue civilians. It’s not that she’s never saved anyone.

But all of the top heroes are already committed to the fight against AfO. The current Number One Hero just ordered all her colleagues to report there. And Yokohama has a lot of S-Class villains en route.

And what the fuck is she going to do to stop them? It’s just her. Half of those villains took All Might to stop the first time. She is not fucking all might.

Is this a hero likely to go to Yokohama completely on her own to fight *checks notes* literally the entire prison population minus one guy? The worst guy, albeit. But one guy.

These are all heroes who have never had to be the actual thing standing between society and destruction. There has always been someone more powerful or capable or heroic nearby. Until recently, there has always been all might.

This isn’t to malign them. A decent percentage of them are legitimately well meaning about being a hero. They do good. But when it came to the big, blowout fights, they have always, always, always been the heroes evacuating civilians in the background or performing rescue in the aftermath. It has never been them who had to stand up and do the fight itself.

Every single one of those villains represent a big, blowout fight. And this hero trying to decide if he’s going to obey Endeavor’s order? They are one guy. And they’re not sure if they could even beat one of those villains alone, let alone all.

The reason why no one disobeyed Endeavor’s order was because, frankly, at the end of the day, they did not want to die.

Endeavor’s order signaled to everyone that there was no guarantee anyone would show up to Yokohama. It actually put good odds to the opposite. If you decided “fuck that, I’m going to Yokohama” then you’d likely be doing it alone.

What Class 2-A did was considered a death sentence. People who didn’t know them and their bullshit were shocked that they all made it out alive. These were the worst villains their society had ever faced and it was all of them at once (minus that one guy).

The heroes who were in a position to disobey endeavor didn’t actually think it’d make a difference if they did. They’d just… lose.

Most if not all of these heroes made the decision to become heroes during all mights era of peace. Everything just had lower stakes. Crime was less frequent and less serious. The big fights always had someone there who could handle them, because All Might was there. They’d fight the odd mugger or purse snatcher and help put out fires and go home at the end of the night. They’re heroes. That doesn’t mean they’ve ever truly had to grapple with a life or death fight.

If they went to Yokohoma, they thought they’d die. So they might as well respond to a fight that has a chance. Even if they feel ashamed as they do it. Even if they think Endeavor made the wrong call and wanted to go to Yokohama instead. All Might wasn’t there anymore. And they were afraid.

But there is one thing that Class 2-A had going for them that gave them an advantage over these heroes. And that was the fact that they are all medically insane.

It’s that they were together.

It’s a decentralized heroics structure. If you have a large agency, you are necessarily a top hero because no one else would be able to get that many people to agree to work under them. So you’re already at Tartarus and this isn’t a decision you had to make.

Maybe you’re independent. Maybe you have a small agency with 2-3 people. There is no preexisting centralized line that you can use to try and gather more people to go to Yokohama with you. You’re stuck with your immediate colleagues and maybe a few other heroes you’re close enough with to have their number. You really don’t have time to try and ask around to see if anyone else wants to go to Yokohama instead—you need to pick a battle and get there yesterday.

What good is 2-3 people going to do in Yokohama? You’ll just get massacred and it won’t have made a difference. At least if you go to stop AfO, you’ll have a chance at doing something that mattered.

Maybe you disagree with Endeavor but you defer to his training and experience.

Maybe you don’t go at any fight at all. Maybe you’re afraid. Maybe you became a hero in a time where you had a symbol of peace, and you realize you can’t keep doing it in a time without one.

I think there’s a small subsection of heroes that quit in the aftermath of Yokohama. Because they wanted to disobey endeavor’s order, and they thought they’d just die and it wouldn’t matter, and then dawn came and a bunch of school kids had managed what they were too big of a coward to do. I think the fact that they fell into line when their hearts told them they shouldn’t made them seriously doubt whether they were good enough to be a hero.

But they were alone when Endeavor made the call. And it felt like certain death. And—yeah, it sort of felt that way to Class 2-A when they made the decision to respond. But they weren’t alone when they did it.

They were together. And they always felt braver when they were together. Together, they could make miracles happen.

#pez dispenser debris #me with fictional worlds: where is your city planner I just want to talk #none of the heroes were happy at the thought of abandoning Yokohama #Yokohama didn’t happen because the heroes actually all got together and said ‘fuck those guys let ‘em die’#it was an absolute implosion of the heroics structure that they’d spent their entire careers working on #in my mind there’s a heroics organizational reform bill still making its way through the Japanese government in an attempt to correct the #structural failings that led to Yokohama happening. Aizawa keeps getting calls for his fucking kids to speak to the government about the #issue. and he’s like ‘absolutely not someone will tell them to do a flip and they will do it and cause a public incident’#no one said it out loud but everyone was sort of terrified that one of them would die at Yokohama #you could choke on the fear during the ride over #but they didn’t know what else to do. Yokohama needed heroes and all they had were them #but when you think of Yokohama think of all the big boss fights during bnha #not afo but like. overhaul. now think of fighting a few dozen of him at once. it’s. it’s not great odds.#the idea of just responding alone in the face of that is a nonstarter. and the decentralized nature of the system meant it was borderline #impossible to get the support needed to make a defense feasible. but class 2a had each other. and that was all they needed.#going to Yokohama the next day and it not having been a bloodbath was the biggest relief of those heroes lives #endeavor had never had a good relationship with shouto but he went to him in the hospital after and genuinely thanked him #I have this mental image of Iida. concussed four times over running on fumes and slightly delirious. desperately trying to keep it together #just a little while long. he has a list of the injured who need immediate evacuation. and his classmates. some of them need to be taken to #a hospital immediately. he made a list of their medication allergies. please ensure everyone is taken to the same hospital. he doesn’t think #he could bear it if they were scattered about. and he needs to help coordinate the transports of the villains from where they’ve been #containing them. and one of the Idaten sidekicks is like. Tenya. it’s okay. you did amazing. you can relieve command now. they’ll take it #from here. and he just says. okay. and he sits on the curb and cries. he asks them if one of them could call his brother. he’d. he’d really #like to come home if that’s okay. just for a few days. he just. he wants to go home. like the aftermath of that scene was kind of brutal to #process because on one hand they had all done so amazing but on the other they were so painfully young. a lot of them broke down in the #aftermath. kirishima got embarrassed because he started crying and asked mr Aizawa to call his moms. like once the adrenaline crashed it #all sort of hit them. they had all been so brave but also they were kids and they really really wanted their parents now if that’s alright #they know they’re heroes now and they have to be brave but also can someone please call their mom. please please please they just want their #mom. it was sort of a punch in the face for the full heroes to get there and see just how young these kids were. like these weren’t they’re #colleagues. these were kids who they didn’t protect. it hurt.

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