#Trifecta Ranking System

[d-criss-news]

“Following Your Heart Is a Zero-Loss Game”: Darren Criss Is Forging His Own Legacy

Darren Criss is no stranger to the spotlight. But, does his latest role in Broadway’s Maybe Happy Ending solidify his place within the ranks of Filipino theater legends? 

Oliver, the main character in the Broadway musical Maybe Happy Ending, would be confused by the actor who plays him. See, Oliver is a robot dubbed “helper bot” with a classic Type A personality: rigid in his ways and painfully calculated. He exists in Seoul in the distant future, where these bots are essentially humanoid versions of our current cell phones. Oliver has only one mission in life, which is to reunite with his human who left him in an apartment complex where other thrown-out bots reside. (Think of how your old blackberries are stashed away in some random cabinet drawer.) His only friend is a plant named HwaBoon who, audiences come to learn, is the most important character in the show. The actor who brings this robot to life is Darren Criss who is anything but one-track-minded. The Filipino-American’s personal curiosity and dynamic career tell this best. Was it Glee where you first got to know his dark locks and melodic voice? Or, did you first see him hit the stage on Broadway in How to Succeed in Business Without Trying (2012)? Perhaps it was his role in Ryan Murphy’s Gianni Versace: American Crime Story (2018). His portrayal as Andrew Cunanan, the killer of the late fashion designer, earned him an Emmy, Golden Globe, and SAG award and placed him as one the few actors to earn the trifecta. Unlike Criss, Oliver has only had one job during his entire battery life. 

Yet, Criss breathes life into his mechanical character on stage as if he knows what it’s like to operate like a robot. But, perhaps he does. Perhaps, we, including those who have continuously waved a finger to AI and ChatGPT; all do.  “Think of Aesop fables or Greek Mythology,” he tells Vogue. “These tales all displaced the human experience by using non-human things. We learn lessons about our own behaviors through animals, spirits, gods, or other totems because it doesn’t feel patronizing if we use human characters. I think using robots was an excellent metaphor for human life itself and the way we perceive the world; operating systems, battery life, logical programming versus illogical emotional responses. A lot of these human things lend themselves really well to computers and robots.”  The last time Criss performed at the Belasco Theater where Maybe Happy Ending is showing until January 2026 was 10 years ago. At the time, he starred as Hedwig in John Cameron Mitchell’s Hedwig and The Angry Inch. “I love the poetry of my return to the Belasco theater a decade later,” he says. The aforementioned show is considered a classic in modern musical theater. It first debuted Off-Broadway in 1998, and later revived in 2014 starring Neil Patrick Harris. Then, he was continuing a legacy, but with Maybe Happy Ending, an original production directed by Tony Award Winner Michael Arden, written by Will Aronson and Hue Park, and produced by Jeffrey Richards, he’s forging his own.  “As a creative person, you dream to be a part of something original and singular to itself. You can’t put lightning in the bottle, but you work hard until one day the serendipities fall into your lap. That’s what happened here; a new dream was achieved.” 

There’s also another difference in his return to this theater. Unlike his previous solo-performance, he gets to share the stage in Maybe Happy Ending with his 24-year-old co-star Helen J. Shen graduated from the University of Michigan; the same school Criss graduated from in 2009. “I’m literally the upperclassman on stage,” Darren jokes. Shen plays a fellow thrown-out helper bot named Claire, who ends up bringing the spontaneity out of Oliver.  But, with newness comes risk. Those in the artistic universe know that participating in original productions bears a certain weight on one’s shoulders; tenfold when you’re riding high from a previously successful project. Will it be successful? Will it resonate with the audience? How will it affect one’s reputation?  Maybe Happy Ending may be a completely new production on Broadway, but it ultimately asks an age-old question: Is it better to have loved and lost than never to have loved at all? “There are prerequisites to every good story,” Criss says. “Themes of love, loss, life. Think of any Shakespearean play you’ve seen. These are universal macro-themes that are packed very neatly and effectively in the show.”  Speaking of universal themes, Oliver’s plant HwaBoon is perhaps the true star of the show. In fact, the last moments of the play zero-in on the plant before the curtains fall. “He’s a glorious symbol of love that can outlive time itself,” Criss says. When asked if he has a real-life HwaBoon of his own, he directs his answer to music. “As a musician, I have instruments whose sentimental value completely eclipses their actual effectiveness. My guitars, for example, have been there for many beautiful moments in my life.” For Criss, success as an artist isn’t measured by how many tickets sell. “Following your heart is a zero-loss game. I had a strong feeling about the piece even before we opened the show. Whether or not people actually caught on was up in the air, but I would’ve still been very happy either way. On an artistic level, I was so moved that even if it didn’t reach the height that it is at now, I would’ve talked about it very proudly 20 or even 30 years down the line.”  The show has been running since November 2024 with ticket sales currently grossing $20,889,683. But, the Tony nominations speak for themselves. A day after Criss offered this humble note of measuring success to Vogue, news broke that Maybe Happy Ending was nominated for 10 awards for the 78th annual Tonys. The categories include: Best Musical, Best Original Score, and Best Scenic Design. Darren Criss is nominated for Best Actor.  When Filipinos think of stars on Broadway who share their ethnic backgrounds, Lea Salonga quickly comes to mind. She is, after all, the first Asian woman to win a Tony award. There’s also Eva Noblezada who held roles in Miss Saigon and Hadestown; and Rachel Ann Go who had roles in Les Miserables and Hamilton. Darren Criss, whose mother hails from Cebu and has an affinity for Palawan, puts in a case for his right to join their ranks as legendary performers.  “I certainly don’t think of myself in that way,” he tells Vogue. “But, I think it’s my responsibility to rise to that occasion if that’s what people see me as. I especially look up to Lea Salonga in a revered way. I look at her as a beacon, but I wonder if she even sees herself in that way. See, it’s this sort of call to duty. Beacons give cause to our belief, and they make us feel like it’s worthwhile to believe in something. I am honored and privileged to be given that role if it’s given to me.”  

[darkmaga-returns]

Republicans have a right to feel good about the 2024 elections. Thanks to their “trifecta”—President Donald Trump and Republican majorities in both chambers of Congress—GOPers can put a stop to wokeness as federal policy, stack the judiciary with cadres, and start up energy production. They might even be able to bull-DOGE some spending. 

Yet true conservatives, mindful that we live in a fallen world, should temper their optimism. Having been properly taught to not put their trust in princes, we should be mindful that the princes we like could be replaced—will be replaced, sooner or later—by princes we don’t like. That is, the day will come when Republicans are once again in the minority. 

Thankfully, our constitutional system is replete with minority rights. Here in the U.S., by design, winning isn’t everything and losing doesn’t leave the loser with nothing. 

To know more, we might brush up on John C. Calhoun. Why so? Because nearly two centuries after his death, the South Carolina statesman—he served as secretary of state, secretary of war, senator, and vice president—still stands as a leading theoretician of minority rights. 

More on Calhoun and his motley crew of intellectual frenemies in a moment. But first, let’s consider the thinness of the Republican majority; or, if one prefers, the thickness of the Democratic minority. 

Trump won a higher percentage of the popular vote this year than in either 2016 or 2020, and yet his percentage is below 50; he edged out Kamala Harris by a mere point-and-a-half. (Yes, the Democrats do have a strange ability to come up with new votes, even weeks after the voting; looking ahead, this mysterious power of theirs is yet another reason for GOPers not to get giddy.) 

Meanwhile, Trump’s popular-vote margin ranks 44th of the 51 presidential elections since 1824. MAGA can thank that worthy dinosaur, the electoral college, for making their national victory loom larger.

[3rseo]

Online Growth Recipes: The Ultimate Cookbook for SEO, Google Ads, and WordPress Design

In the ever-evolving world of digital marketing, it is imperative for businesses to harness the power of the internet to reach potential customers. The landscape encompasses a diverse array of strategies and techniques, paramount among them being Search Engine Optimisation (SEO), Google Ads, and WordPress website design. SEO focuses on organic growth, ensuring that your business is visible in search engine results. Google Ads helps to capture the attention of prospects through targeted, paid advertisements. Meanwhile, WordPress design enables the creation of aesthetically pleasing and user-friendly websites that draw in and retain visitors. Collectively, these components form a powerful trifecta to propel online visibility and success.

The Trinity of Online Marketing Excellence

SEO, Google Ads, and WordPress are not just individual tools but a synergistic triad when it comes to generating leads. SEO organically improves a website’s visibility, making it more likely for potential customers to discover your business.

Effective SEO practices ensure your site ranks well for relevant queries, leading to an increase in quality traffic and, ideally, a higher conversion rate.

Google Ads complements SEO by providing a mechanism for immediate visibility, placing your brand at the forefront when users are actively searching for your products or services. It’s a dynamic approach to reach a highly-targeted audience quickly.

Lastly, WordPress’s design capabilities ensure that once visitors arrive at your site, they’re met with a compelling, navigable, and responsive user experience, which is critical in converting interest into actionable leads.

Together, these elements form a holistic online strategy that can significantly amplify lead generation and business growth.

The Fundamentals of SEO to Optimise your Online marketing!

In the realm of Search Engine Optimisation, businesses must start with the fundamentals to establish a strong foundation. This involves comprehensively understanding how search engines function and what criteria they use to rank pages. Key amongst these are:

Keyword Research: Identifying the right keywords is paramount; it involves discerning which terms and phrases potential customers are using to search for your offerings. Tools like Google’s Keyword Planner can provide insight and help tailor your content to these terms.

On-Page Optimisation: This pertains to optimising individual web pages to rank higher and earn more relevant traffic. It encompasses refining HTML tags, including title tags and meta descriptions, and ensuring content quality and keyword density are aptly balanced.

Off-Page Optimisation: Equally crucial is building authority through backlinks from other reputable sites. This external endorsement can significantly impact your site’s perceived value in the eyes of search engines.

Content Quality: High-quality, relevant, and constantly updated content is one of the most potent instruments for SEO success. It not only helps keep the website fresh but also increases the likelihood of it being shared, thus boosting backlink opportunities.

SEO Tools and Analytics: A key aspect of SEO is continual monitoring and analysis to track progress, identify areas for improvement, and adapt to changes in algorithms. Tools like Google Analytics and Search Console are invaluable assets in this regard.

By mastering these fundamental SEO elements, businesses are more likely to ascend in search rankings, driving both traffic and credibility to their digital doorstep.

Introduction to Google Ads to Generate more Online Sales

Google Ads stands as a cornerstone of digital advertising, providing a versatile platform for businesses to put their products or services directly in the line of sight of potential customers. As a pay-per-click (PPC) advertising system, it enables businesses to create ads that appear on Google’s search engine and other Google properties.

Google Ads operates on an auction system, which takes place every time a user performs a keyword search. To compete in this auction, businesses select keywords they want to bid on, set a budget, and design their ad campaigns to trigger when those keywords are queried. The distinct advantage is the ability to control expenditure through cost-per-click bidding, meaning you only pay when a user actually clicks on your ad.

This immediacy and precision targeting make Google Ads an invaluable tool for businesses seeking rapid and measurable results. Whether the objective is to increase website visits, drive online sales, or get the phones ringing, Google Ads provides a measurable and scalable approach to online marketing.

Setting Up Effective Google Ads Campaigns

Google Ads success relies on the creation of structured and targeted campaigns. Businesses must do their homework to optimise their ad campaigns for success.

Keyword Research: As with SEO, keyword research is essential in identifying relevant terms that will trigger your ad to appear in search results. Proper research can help determine which keywords have high search volume and relevancy to your offerings.

Ad Groups: Grouping ads by theme or category is a strategic way to ensure that each ad set targets a specific audience and message. This enables the tailoring of ads to be more relevant and appealing, leading to higher click-through rates.

Ad Design: Ads must be visually compelling, concise, and provide an effective call-to-action. They should also contain relevant keywords and reflect your brand image to maximise engagement.

Tracking and Optimisation: Continual monitoring of ad performance is critical to identifying top-performing ads, eliminating underperforming ones, and refining targeting. Google Ads provides tools such as conversion tracking, which enables businesses to track the effectiveness of their campaigns in meeting specific objectives.

By mastering these elements, businesses can utilise Google Ads to its full potential, ensuring optimal return on investment and driving significant online visibility.

WordPress: The Ultimate Web Design Platform for Online Success

When it comes to website design, WordPress stands out as the preeminent platform, powering a significant portion of the internet due to its flexibility, user-friendliness, and extensive feature set. From hobby blogs to the largest news websites, WordPress caters to all with its scalable architecture.

Basics of WordPress Website Design

The process of designing a WordPress site begins with choosing a theme – the template that sets the visual tone of your website. Themes can be customised to a great extent, allowing for unique designs without needing in-depth coding knowledge.

Theme Selection: Choosing the right theme is critical as it represents your brand and sets the framework for your site’s appearance. The WordPress theme directory provides a multitude of free and paid options to fit any niche.

Customisation: Customising your theme encompasses everything from fonts and colours to page layouts and header images. WordPress’s customiser allows you to preview changes live before pushing them to your site.

Plugins: To extend functionality, WordPress offers plugins for virtually any feature you might need, including SEO, security, social media integration, and e-commerce.

Responsive Design: With mobile usage on the rise, ensuring your WordPress site is responsive —looks and functions well on all devices— is a necessity. Most themes come with built-in responsive design capabilities.

Page Builders: For those who want more control over their layout, page builder plugins provide a drag-and-drop interface to design complex pages without touching a line of code.

Maintenance and Updates: Regular maintenance is required to keep a WordPress site secure and running smoothly. This includes updating the core software, theme, and plugins, as well as backing up your content regularly.

By understanding these WordPress website design basics, both novices and professionals can create attractive, effective, and highly functional websites that stand the test of time. From SEO to online advertising, WordPress integrates with various tools and platforms, making it an essential element in any digital marketing strategy. So, businesses should invest in mastering the platform to unlock its full potential and capitalise on the vast opportunities it offers. Therefore, utilising Google Ads alongside your WordPress website can provide a powerful combination for reaching your target audience and driving business growth.

Developing Winning Landing Pages

Importance of Landing Pages in Digital Marketing

In the realm of digital marketing, the importance of landing pages cannot be overstated. They are designed with a singular focus to convert visitors, typically brought in through campaigns like Google Ads, into leads or customers. A landing page serves as the destination that users land on after clicking on an advertisement or a search engine result, crafting an impactful first impression.

Unlike general web pages, landing pages aim to elicit a specific action—whether signing up for a newsletter, downloading a whitepaper, or making a purchase. This specificity in purpose is what elevates their value, providing a clear path for user engagement. Effective landing pages are often the linchpin of successful digital marketing campaigns as they are optimised for conversion through persuasive design, targeted copy, and strategic calls-to-action (CTAs).

By investing in the development of well-crafted landing pages, businesses can significantly increase the conversion rate of their online marketing endeavours, leading to a more effective use of budget and higher return on investment (ROI).

Designing High-Converting Landing Pages

Creating landing pages that drive conversions requires a strategic approach that considers various elements, such as:

Headline and Copy: The headline should be compelling and reflect the ad or search term used to bring the user to the page. Clear and concise copy helps keep visitors engaged by conveying value quickly.

Engaging Visuals: Images, videos, or illustrations can provide visual appeal and add depth to the message, making the page more engaging. These elements should complement and enhance the written copy.

Form Design: The form on a landing page is crucial as it captures user information, turning visitors into leads. It should be easy to fill out, with minimal fields that are relevant to the conversion goal.

Colour and CTA Placement: The colour scheme should align with the brand and be visually appealing, while the CTA button should stand out to encourage clicks. Placing it above the fold can also increase its visibility.

Mobile Responsiveness: Similar to a WordPress website, landing pages must be mobile-responsive for optimal user experience across devices.

By continuously testing and optimising these elements, businesses can fine-tune their landing pages to maximise conversions, providing a high return on investment and driving significant online visibility. With the right combination of WordPress and effective landing pages, businesses can create a strong digital presence that captures the attention of their target audience and boosts their bottom line. So, take advantage of these powerful tools and elevate your web design game with WordPress. There’s no limit to what you can achieve with a well-designed website and optimised landing pages. So, invest in your digital marketing strategy today and unlock the full potential of WordPress. Happy designing!

A/B Testing for Landing Page Optimisation

To ensure the effectiveness of landing pages, businesses should utilise A/B testing to compare different versions and determine what works best. By creating two or more variations of a page and directing traffic evenly between them, data can be collected on which version performs better in terms of conversion rate.

Through this process of experimentation, businesses can continuously improve their landing page design by identifying the most impactful elements and making data-driven decisions. This helps create a more effective and efficient digital marketing strategy, ultimately driving higher conversions and ROI.

In conclusion, WordPress is an essential tool for businesses looking to establish a strong online presence. Its flexibility, extensive plugin library, and ease of use make it an ideal platform for creating websites that stand out in today’s digital landscape. By combining WordPress with well-designed landing pages and utilising A/B testing, businesses can maximise their online visibility and drive significant growth. So, continue learning and experimenting to unlock the full potential of WordPress in your digital marketing strategy. Happy designing! ̧

Success Stories from our Clients

Real-world Examples of Successful SEO, Google Ads, and WordPress Implementations

Counselling Services

Psychotherapy Clients have praised their website designs for being both appealing and effective in attracting clients. The ease of finding these services online has been significantly enhanced, leading to a notable increase in client engagement.

Multiple counselling services have also reported quick and positive results from SEO implementations, with websites achieving higher rankings on search engines in a short time. This improvement in visibility has translated into a substantial increase in new client inquiries and engagements.

Financial and Professional Services

A financial services client experienced a notable increase in online presence and client engagement due to a comprehensive digital marketing approach.

A professional services firm saw improvements in their website’s user experience and aesthetics, leading to better client interaction.

Retail and E-commerce

Retail clients achieved improved online visibility and increased sales through tailored SEO strategies.

An e-commerce business experienced significant growth in online sales through targeted Google Ads campaigns.

Healthcare and Wellness

In the healthcare sector, enhanced online reach and patient inquiries were achieved by navigating the complexities of healthcare marketing.

Physical therapy services saw a boost in website traffic due to improved SEO.

Hospitality and Real Estate

A hospitality client enhanced their online booking system, resulting in more direct bookings.

A real estate agency witnessed increased property inquiries from better search engine rankings.

Specialised Services and Products

A painting services provider gained more web traffic and leads from enhanced Google rankings.

Fitness and health training centres benefited from targeted SEO strategies.

Automotive parts retailers improved Google rankings and site visits through user-friendly content.

A property maintenance service saw increased leads correlating with high website hit rates.

Technology and Design

A technology firm enhanced customer engagement through a redesigned WordPress website.

Office equipment and bespoke workwear companies gained visibility and implemented successful SEO strategies.

For a comprehensive view of all client testimonials and their experiences with 3R, please visit the 3R testimonials page.

Lessons Learned from our clients!

This “Lessons Learned” section delves into how bespoke SEO strategies, tailored to unique industry needs, drive impactful results. It underscores the crucial role of SEO in enhancing user engagement and the importance of adapting to dynamic market trends. Furthermore, it highlights the precision in Google Ads targeting and the significance of WordPress design in elevating user experience.

Integrating SEO with web design and the imperative of continuous learning and adaptation are also key themes, demonstrating the evolving nature of digital marketing and its profound effect on business growth across various sectors.

Customisation in SEO: Tailoring SEO strategies to specific industry needs leads to more effective outcomes, as evidenced by the diverse success across sectors like healthcare, retail, and real estate.

SEO for User Engagement: Enhancements in SEO not only improve rankings but also user engagement, leading to increased website traffic and genuine leads.

Adapting to Market Trends: Regularly updating SEO strategies in response to evolving market trends is essential for maintaining online visibility and effectiveness.

Google Ads Targeting: Precise targeting in Google Ads campaigns can significantly boost sales, especially in sectors like e-commerce, where reaching the right audience is key.

WordPress Design for User Experience: Redesigning websites using WordPress to enhance user experience and aesthetics can lead to improved customer engagement and direct bookings.

Integrating SEO with Web Design: The integration of SEO principles in WordPress design, as shown in the technology and professional services examples, is crucial for a holistic digital presence.

Continuous Learning and Adaptation: Embracing continuous learning and adapting to new digital marketing methods ensures sustained success and growth.

For more detailed insights from each specific case, visit the 3R testimonials page.

Conclusion and Next Steps

In summary, the success stories of our clients clearly demonstrate the power of digital marketing when SEO, Google Ads, and WordPress are effectively leveraged. Critical takeaways include the a pivotal role of customisation in SEO for varying industry needs, the enhancement of user engagement through SEO, and the necessity of remaining adaptable in an ever-changing digital landscape. Precise Google Ads targeting has been proven to significantly influence sales outcomes, while a focus on user experience in WordPress site design is paramount for boosting customer interaction and satisfaction.

Moving forward, we recommend that our clients continue to prioritise the integration of SEO with thoughtful web design and to keep abreast of market trends to maintain a competitive edge. It is also imperative to regularly reassess and refine digital marketing strategies to capitalise on the dynamic nature of online user behaviour.

We invite you to consult our experts at 3R to further discuss implementing these practices into your marketing strategy and to explore additional resource material on the 3R testimonials page. Together, let us continue to sculpt the digital landscape and cultivate business growth through informed and innovative marketing solutions.

Book a Call today and start your journey to maximising your online success with 3R.

[sustainableyadayadayada]

July 2024 in Review

Most frightening and/or depressing story: Joe Biden’s depressing decline in the international spotlight, and our failed political system that could let such a thing happen. Not much more I can say about it that has not been said. The “election trifecta” – non-partisan, single ballot primaries; ranked-choice general elections; and non-partisan redistricting – is one promising proposal for…

[projectpainterly]

⇒ Not a lot today, just working on modes. More info after the cut.

⇒ App is Obsidian Notes, canvas option.

⇒ Classic Turf War: Current Turf War.

⇒ Turf War: Exactly like the current Turf War but if a team holds 70-75% of the map for more than 50 seconds, that team wins and gets a Knockout! screen.

⇒ Quad Turf War: A 4v4v4v4 match with the new Turf War rules.

⇒ Trifecta Turfwar: Tricolor Turf War, but it's 3v3v3 instead of 2v4v2

-Special Modes

⇒ Rainmaker: Current Rainmaker.

⇒ Splatzones: Current Splatzones.

⇒ Quad Splatzones: Held on 4 new maps with 4 zones in total.

⇒ Tower Control: Current Tower Control, but if it had the Side Order Payload mechanics. (Players can shoot the tower to make it move faster, or slow it down. Players still have to stand on the tower.)

⇒ Clam Blitz: Current Clam Blitz.

⇒ Heavy Weight: A new mode similar to Rainmaker. A team has to hold an anchor for 60(?) seconds to win. The anchor can be given to other teammates and dropped with the A and L button. (This works like eggs in salmon run but without being able to throw the anchor.)

⇒ All the Ranked Modes work the same as listed above, but they now have the ranking system.

⇒ Sidenote about the Splatfest '2 chosen special modes,' It's random like the map rotations, it will also change with the maps and modes being updated.

[fromzion]

Australian Summer Staple: Can Bamboo Clothes Keep You Cool All Season Long?

Australia's summer – a relentless sun that scorches the earth, humidity that hangs heavy in the air, and the constant battle against sweat. Finding clothes that offer a truce in this war is a perennial struggle. Cotton clings like a second skin, synthetics trap heat like a sauna, and let's not even mention the dreaded fashion faux pas of sweat patches. But fear not, warriors of the Aussie summer; a natural, sustainable hero is rising from the fashion ranks: Australian bamboo clothing.

Beyond the Buzz: Unveiling the Science Behind Bamboo's Cooling Crusade

Australian bamboo clothes isn't just a trendy fad; it's a scientifically-backed champion against the summer heat. Made from the fast-growing bamboo plant, this fabric boasts a unique combination of comfort, breathability, and sustainability – a trifecta perfectly suited for the eco-conscious Aussie. Here's why bamboo clothing might be your new secret weapon:

Microscopic Marvels: Forget about synthetic fabrics that trap heat like a villain's lair. Australian bamboo clothing is woven from natural bamboo fibres with a unique microscopic structure. Imagine tiny air vents built right into the fabric! This structure allows for exceptional air circulation, creating a gentle breeze that keeps you cool and comfortable. It's like having your air conditioning system woven into your clothes!

Moisture-Wicking Wizardry: Let's face it, sweat is an inevitable part of the Aussie summer battle. But with Australian bamboo clothing, you can ditch the constant dampness and discomfort. Bamboo fibres possess incredible moisture-wicking properties. They act like tiny sponges, absorbing and distributing sweat from your skin throughout the fabric. This translates to a drier, fresher feeling, even during the most intense workouts or midday errands. Plus, by preventing sweat build-up, bamboo clothing helps combat the formation of unpleasant odours – a major victory in the summer heat!

Breathability Beyond Compare: Breathability is the ultimate weapon in the fight against scorching temperatures, and Australian bamboo clothing is a master strategist. The natural structure of the bamboo fibres allows for exceptional airflow, preventing that dreaded feeling of being trapped in a stuffy, humid environment. You'll experience a noticeable difference compared to traditional fabrics – no more feeling like you're suffocating in a plastic bag!

Softness Like a Summer Dream:  Comfort shouldn't be sacrificed for functionality. The beauty of Australian bamboo clothing lies in its ability to offer both. Bamboo fabric is renowned for its incredible softness, making it gentle against even the most sensitive skin. This is especially beneficial for those with allergies or eczema who often struggle to find comfortable clothing during the Australian summer's relentless assault.

A Sustainable Hero for a Scorching Climate

The benefits of Australian bamboo clothing extend far beyond keeping you cool. Bamboo is a rapidly renewable resource that requires minimal water and thrives without harmful pesticides. By choosing Australian bamboo clothing, you're making a smart choice for your comfort and positively impacting the environment. It's a win-win for you and the planet!

Finding Your Perfect Bamboo Ally

With the ever-growing popularity of Australian bamboo clothing, finding the perfect pieces for your summer battles is easier than ever. Look for high-quality bamboo fabric blends with a higher percentage of bamboo for optimal cooling and moisture-wicking properties. Consider the style and silhouette that best matches your body type and preference. From breezy maxi dresses and flowy pants to comfortable t-shirts and shorts, there's a perfect Australian bamboo clothing option for every summer adventure.

Embrace the Cool Revolution

Ditch the discomfort and embrace the cool, breathable, and sustainable comfort of Australian bamboo clothing. Whether you're conquering the city streets, soaking up the sun at the beach, or simply relaxing at home, bamboo clothing will keep you cool, fresh, and stylish all summer. So, join the bamboo revolution and discover a new comfort level during the scorching Australian summer.

[starvels]

You seem deep into the yeehaw zone, but how would you rank that genre in the trifecta of

🤠🧛🏴‍☠️

(🐺 & 👽 can also come)

[disclaimer: very old ask i am clearing out of my drafts!] this is so cute, nonnie 💕

i AM deep in the yeehaw zone always and forever and i shall be calling it that from now on, thank you.

this is also a hilarious question bc i am indeed STILL writing a 1872 with werewolf steve and vampire tony, so! i think my answer is that cowboys overshadow everything but werewolves rank equally with vampires. and w&v vibes must be carefully tended to. also maybe that they are best in conjunction with each other. the foils, the duality, the tension, the blood, the inhuman drama, the awkward bodily functions, you know. i do think sometimes people write them too human and too boring and that ruins it for me lol.

cowboys can be done boring as well, but there's something very compelling about their boring. i love the way they relate to their environment. i love their rich history. i love the meta of their own lives. i love how they dress and swagger and endure pain and loneliness and live or the horizon and are kind to animals and make a religion of water and dirt. and they are even better in space than on land!!!! they make music out of the void and say y'all and howdy. what's better than this...

pirates are fun and have many a good tune but i mostly care most abt space pirates. treasure planet i live and BREATHE by you!!! average pirates make me think too hard about practicalities of worldbuilding and rats on ships. (though the ships are badass)

i shouldn't have to explain why aliens are sublime but lemme try. it's about the unknowing. it's about the complexity of an entirely separate evolutionary chain in a radically different ecosystem from a different base element. it's about the wonder, the joy, the fervent, furious, casual and flamboyant alienness that is not inhuman bc it is not defined by anything human except in our own viewing and contextualizing of it. it's about the Raw Potential of Literally Anything, Any Way of Being, Any System of Survival. aliens challenge how we think about the foundational facts of our lives and i live for that lil kick in the soul, that loud question singing in my heart. it's about belief and faith and adventure and respect and learning and becoming and communicating.

so, subjective di rating likely to change any day?

aliens

cowboys

vampires & werewolves

pirates

[dhaaruni]

What do you think about how climate change is being handled in DC rn? Your perspectives on other political things have been really smart and optimistic and i see a lot of polarization between "we're doomed" and "nothing is wrong" that I'm hoping you have some nuance on

Lol well.

I agree with David Shor and Matt Yglesias when they say that whatever we do with regards to climate change, we have to make sure gas prices don't go up to the extent voters hand power right back to Republicans, who'll just make things worse. Like of course it would be way easier to deal with climate change if we banned people from eating red meat 7 days a week and made them take public transit but that's also a recipe to a 50-year Republican trifecta lol.

I also really agree with this piece.

This part in particular is significant:

“Climate justice” has become a tool for using the cause of racial justice to win intra-progressive fights over climate policy. The climate-justice movement associates itself with a series of left-wing stances whose relation to the cause of racial justice is at best theoretical. [...] The climate-justice movement isn’t even satisfied with maintaining the broken status quo. Its main goal is to make it even easier for local communities to block these projects by passing a new law to “dramatically expand the public comment period before permits can be issued, plus provide legal recourse to affected frontline communities,” per E&E Daily. You can see how the climate-justice movement’s principles brought it to this position. They believe local communities should have more power. The problem is that their ideals are bad — or, at least, that they are an extremely poor fit for the contours of the existing climate-change problem, in which community activists rank among the most powerful forces standing in the way of decarbonization. In theory, the climate-justice movement’s vision of devolution and restoration of ecosystems is radical. In practice, it upholds a system — one that reifies the existing built environment and maintains local control — that is deeply reactionary.

The point is, we have to make concessions because we don't have another option. The choices aren't "Do something" or "do this better thing;" they're "do something" or "do nothing" or "make things worse," and Republicans will almost always pick the last choice.

[scrabbleknight]

When it comes to the Amphibian military, is there going to be a High Command (command group composed of the highest ranking admirals and generals) or a Supreme commander (who holds direct authority over the entirety of the military)?

I'm gonna assume this is for SatF, so...

Amphibia is a pretty small place, so there wouldn't be that big of a group of high-ranking commanders. I personally imagine Newtopia's military to be more city-sized than anything.

There's General Yunan who handles Newtopia's major army, the Knight Commander of the Newtopian Knight Guards who handles Newtopia's own security and finally, the Fleet Admiral who handles Newtopia's navy. There are also other smaller commanders such as Marcy being the Chief Ranger, the worms as part of the Sparrow Force (it's a dying breed) and the chief engineer of the military technologies development team. These are all top-ranking positions, though not all are equal.

Below them are, of course, the various different ranks and positions. Each group has their own classifications, so a Captain of the general army is not the same as a Captain of a navy (the former is higher than the latter). There is only one General and that's Yunan but despite leading the army with its larger workforce, she's actually the lowest in the trifecta compared to the Admiral and the Knight Commander.

Additionally, there are the Toad Lords of Toad Army who work under Newtopia but aren't officially part of its military. The Toad Lords are more like warlords employed by Newtopia than anything else, and act independently for the most part unless Newtopia gets itself involved. It happens but not as often as you'd think since relations can be damaged by the excess meddling. Much like the other branches, the Toad Army has its own ranking system, but a Toad Captain in the Toad Army (the highest ranking a toad can get) is equivalent to a Captain of the general Newtopian army. Unfortunately, toads aren't allowed to go any higher, so all Toad Lords are officially Toad Captains but with special privileges.

And of course, obviously King Andrias Leviathan stands above all of them as the Command-In-Chief. It's part of being king.

(Also, thanks for the ask. I'm not an expert in military governance so I made most of this up on the fly, but I think it works well enough. Anyway, I'm so going to make a few OCs to fill in the roles of Knight Commander and Admiral now.)

[the-gordianknot117]

A “B-Class” Underdog in an “S-Class” Crisis.

Fubuki’s role in the webcomic Monster Association arc holds a special place for me out of all the things I love about the series, so here I want to delve into it. I’ll organize the content of the post in the following way: first, a quick look at Fubuki’s introduction arc and what it establishes about the character; then, what role is assigned to the esper during the Monster Association, how she is portrayed during those events, and in what way this relates to the overall themes of the arc and the rest of the cast; finally, what outcome the arc holds for Fubuki and where it leaves her at the beginning of the next. Webcomic spoilers. 

Disclaimer: my opinion is based on the story so far and future webcomic updates can always make this post obsolete/flat-out wrong and my interpretation of the characters completely off the mark.

EDIT 04/06/2024: I decided to change the opening image because I realized that the previous one from Chapter 74 was too low-res, so I opted to change it with the first panel from Chapter 77 (I also removed the text boxes from the page; I apologize for the end result, but this is the best I can do).

Before jumping into the main topic of this post, it is important to remember what preceded the war between heroes and monsters. After the Alien Invasion arc and before the clash between the Hero Association and Monster Association, ONE placed three mini-arcs introducing a trifecta of characters (Chapters 42-50): King, Garou and Fubuki. This isn’t a casual choice. The mini-arcs are inextricably connected to the MA, providing the required groundwork for what follows and forming one cohesive and unified narrative structure resulting in the Garou saga as a whole, whose shared themes and plot threads, introduced in Chapters 42-56 (the mini-arcs and Garou’s Hero Hunt), carry over to the events of Z-City (Chapters 57-94).

Garou's debut monologue/flashback (Chapter 46: 1, 2 and 3), in particular, sets the stage and introduces all the main leitmotifs (i.e., “hero versus monster”) and narrative trails that will be explored in more depth over the course of what follows. For example, “unfairness” (especially, but not only, as in social injustice and in relation to mob mentality), which is explicitly referenced here and is a very central theme of the MA arc, is also present, in one form or another, in every single one of these characters’s storylines and their introductions:

King is the hero Saitama’s heroics are misattributed to, while the real deal has to rise from the bottom of the rankings, accused by the public of being a fraud and a suspicious troublemaker. At the same time, King ended up trapped in a misunderstanding he didn’t cause, and, to make things worse, he keeps finding himself stalked by monsters at every turn, with his fame becoming an unbearable burden more than a privilege;

for Garou, his battle against “unfairness”, referenced in his introduction, is the driving force of his character arc and his crusade against the status quo;

Fubuki, whose powers destined her to greatness but lived under the shadow of her sister, an anomaly of the esper world (Chapter 50).

Even outside of that, there are other recurring elements that encompass all the characters featured in this lengthy, multi-focal “prologue”. For example, King and Fubuki’s mini-arcs, aside from establishing the characters themselves, illustrate the flaws, dysfunctional sides, and shortcomings of the association our main characters work for. The Hero Association is a corrupt organization plagued by rookie crushing, rivalries and flawed and sometimes dangerous individuals - all things that, to a certain extent, justify Garou’s criticism of heroes and the society sustaining them. Additionally, and much like Saitama, both King and Fubuki are living proof (in their own ways) of the unreliability of the HA’s ranking system as a way to gauge “strength” and the individual value of its heroes: if King was granted his placement in S-Class simply because of a massive misunderstanding, Fubuki deliberately chooses to stay way below her actual level, in a “safer” environment with no challenges.

As for their impact on the series, every one of the three newcomers will have a significant role to play in the all-out war over the ruins of Z-City:

Garou is the main character/antagonist of the saga, whose journey constitutes the backbone and emotional core of the story; 

King, an ordinary man that somehow ended up being considered the strongest hero of humanity, and Fubuki, the B-Class Rank 1 and the leader of one of the biggest factions of the HA while also an esper with a mysterious past that will resurface during the Z-City’s battle, are two significant additions to Saitama’s group and expand his circle of positive influence in the HA, bringing entirely new side-plots and endearing dynamics to the table.

With the conclusion of the last mini-arc, we enter the events leading to the Monster Association arc. After Fubuki is introduced and Garou hunts down Tank Top Master and co., in fact, the Monster Association makes its entrance by rescuing the Hero Hunter right when Fang, Bomb and Genos put him into a corner. This is what leads to the events taking place in Z-City. With the debut of a group of monsters capable of rivaling the S-Class Heroes and keeping them busy while Garou develops in character and power over the course of the crisis, the chessboard is complete and the spectacle can finally start.

Since Fubuki’s moments in the MA’s conflict are inextricably linked to her introduction, just like the MA arc itself can’t be separated from its “prologue”, I think it is necessary to take a (very) brief look at Fubuki’s first appearance in the series and the setup it provides for her involvement in the MA arc.

Fubuki’s Introduction Arc: Establishing an Underdog.

Before the encounter between Fubuki and Saitama, it’s worth pointing out the general perception people have in the setting of the series of our protagonist and his “heroics”: 

Chapter 19 (this and the pages that follow with Tank Top Tiger); 

Chapter 22: 1, 2 and the last few pages from the same chapter; 

the entirety of Chapter 23 (in particular the pages: 1, 2, 3, 4, 5 and 6); 

Chapter 31, where Saitama pretends to be exploiting his colleagues’ heroism: 1, 2, 3.

The examples above paint Saitama, in the eyes of the public, as a troublemaking rookie hero rumored to steal other heroes’s achievements to rank up and profit from their efforts. Therefore, for Fubuki, who formed a group in order to maintain and secure her rank and whose permanence in B-Class is motivated by the unreachable first spots of the upper classes and their harsher competition, press like this is bad news. We do know, in fact, thanks to the dialogue in the apartment at the end of this arc (EDIT: I wrote a post about this scene), that Fubuki is well informed about other heroes and the rumors surrounding them (like the Three Disciples of Atomic Samurai and Amai Mask) and in Chapter 47 Fubuki herself states that she keeps an eye on the heroes who impress her. 

With similar rumors circling around this hero skyrocketing through the ranks and the voices painting him as a troublemaker, Fubuki, worried for her status, decides to pay a visit to Saitama’s apartment and deal with this “threat”. This marks the starting point of her journey within the series. 

Having met the man, the recruitment attempt goes south when Saitama expresses his disregard for rank and factions, firmly refusing to join the group (Chapter 47). Fubuki doesn’t take that too well (Chapter 47: 1 and 2; Chapter 48). In the “fight” that follows, Saitama sees right through the façade, showing the cracks and the frailty - clearly displayed in Fubuki’s inner monologue - of the surrogate sense of realization Fubuki created for herself in a challenge-free environment (B-Class and the group). Upset by her egoistical obsession for rank and factions, in a reality where humanity is facing constant world-ending threats, Saitama warns the esper about the kind of future awaiting her (Chapter 48: 1 and 2), predicting a scenario that Fubuki will soon experience, where her status as B-Class Rank 1, her group, and all her illusions of security won’t matter: it’s foreshadowing for the role Garou will play in her character arc, something I will return to later. The “big fish in a small pond” strategy may have worked so far and granted Fubuki results while sparing her perils and failures, but this bubble world is only a frail and temporary protection that prevents Fubuki from facing reality and her demons, on top of causing harm to others and their work as heroes.

After having used to no avail her telekinesis, which didn’t even cause Saitama to flinch, Fubuki’s sudden and uncharacteristic reliance on physical strength, completely at odds with her fighting style and behavior in battle as the series will consistently demonstrate (more on this later), reveals how, at this point, her assault is nothing but a desperate act of frustration and powerlessness against an opponent she can’t beat, something she is painfully aware of. There is nothing Fubuki can do against this insurmountable obstacle that speaks unpleasant truths: her tears in Chapter 48 reveal how fully aware Fubuki is of being completely outmatched by Saitama, who, she believes, is going to dismantle everything she built and take from her all her achievements. 

But then, the situation takes an unexpected turn when Genos and Sonic’s battle interrupts the “fight” between Fubuki and Saitama, with the latter now dragged into another conflict enraging right in front of his house. It’s in this instance, as she witnesses Saitama take down an S-Class criminal without breaking a sweat, that Fubuki realizes how much of an outlier Saitama really is: this feat is the final proof that Saitama truly “isn��t normal”, as she suspected all along and learned during the battle, and that there is more to this hero than what might appear at a first glance. After Sonic’s defeat, we are finally back at Saitama’s apartment. It’s here that Fubuki starts to be observed from a more sympathetic angle, and so the reasons behind the B-Class esper’s actions are finally addressed: feeling smothered for her entire life by her sister’s extraordinary telekinesis and wanting to be number one. Despite her brilliant intellect, physical strength (“体力”) and incredible psychic powers, the immense telekinetic potential of Tatsumaki always loomed over Fubuki’s life. Fubuki knows that, even with all her aforementioned talents, she is unable to overcome solely by herself this single but significant advantage Tatsumaki has over her: the overwhelming telekinesis Tatsumaki was born with. For this reason, the younger esper decided to create an organization that could level the playing field between them and help increase Fubuki’s chance of success. Future chapters will reveal how much, much more there is to topics only “teased” here (like the real nature of the sisters’s relationship, their conflict and their past, etc.), but, for now, this is the essential groundwork for what is yet to come. During their talk, King pays a visit to Saitama and this allows us to learn about yet another side of the B-Class esper: by seeing Saitama’s (S-Class) acquaintances and their casual and friendly interactions, Fubuki wonders if Saitama will allow her to be part of this strange group of people, unlike any she has ever seen before. This page (and the fourth panel in particular), not coincidentally placed at the very end of the arc, contains, unfiltered and unconcealed by the façade (it’s a thought bubble after all), Fubuki’s inner longing for human bonds, an overarching theme that ties together and encompass her entire character arc - the Esper Sisters arc, in particular, deals with this.

With that being said, from the perspective of a first-time reader, by the time the hero raid starts and Saitama’s group involvement appears to be inevitable, we have only seen Fubuki in a handful of scenarios, as significant as they might be. We have never observed Fubuki in action as a hero in a serious situation. From her reactions to Genos and Sonic and her comments on Amai Mask, Tatsumaki and King (Chapter 50), we may conclude she isn’t a particularly impressive asset at the HA’s disposal. The dismissive attitude and the comments of other characters, coupled with her concerns about the battle occurring underground between heroes and monsters (Chapters 62-66), cast a shadow of doubt on Fubuki’s potential as well. Furthermore, prior to Sitch’s call, Fubuki’s chunni antics during the Hot Pot seem to suggest she talks big in non-dangerous scenarios while being completely useless otherwise. From this first impression and from what is said about her, we may guess Fubuki just hides behind her subordinates and exploits others for her gain without having the strength to sustain herself in a critical situation like the one our characters are about to experience. Sure, there are instances where it is hinted at the fact that Fubuki is no mere B-Class:

like this one (Chapter 24), the first reference to Fubuki in the series,

or this, always from Genos (Chapter 50), 

or this line from Tatsumaki’s during her battle with Psykos (Chapter 62),

but these “hints” are buried under remarks that seem to dismiss Fubuki’s prowess and her overall utility on the battlefield. So, while the introduction arc established this new character and her storyline, there are still many things left (purposely) in the dark, leaving Fubuki’s role in the series a question mark - King, the other new member of the group, is another wild card as well. What can we expect from Fubuki as the Saitama group’s participation in the war draws near? It’s easy to write her off as someone you can’t rely on the moment the situation goes south and a hindrance to the powerful S-Class heroes accompanying her.  

A “B-Class” Underdog in an “S-Class” Crisis.

But that is not what happens. In Fubuki’s case, ONE didn’t fall into the trappings and the clichés usually associated with female characters, only useful as healers/support to their male colleagues and utterly helpless on their own, barely relevant in the plot and lacking any agency whatsoever. Quite the opposite, in fact.

But let’s go in order.

While the heroes sent by the HA commence their mission against the monsters, the Saitama group, completely unaware of the whole thing, has gathered at Saitama’s apartment and is having Hot Pot. Here Fubuki’s lack of experience in normal social settings is demonstrated by the completely out-of-touch gimmicks she employs in order to fit in and improve her standing. Why this behavior? For a multitude of reasons. First of all, she is in an unfamiliar environment while subjected to social norms she is completely foreign to - later in this post I will discuss Fubuki's friendless and sheltered backstory. On top of that, if we look at it from the perspective of the character, Fubuki sits at the table from a position of total disadvantage:

she is at Saitama’s apartment, the hero she tried unsuccessfully to recruit. Furthermore, not only did Saitama refuse to join the group, but he also displayed a level of power worthy of an S-Class Hero (as Fubuki learned in Chapter 49);

she is surrounded by his acquaintances;

she is outranked by pretty much everyone, save Bomb (not a hero) and Saitama - and while one of the reasons Fubuki is drawn to the place is due to how power, rank and status do not seem to matter, those concepts are still so deeply ingrained in her mind that she feels the need to put up appearances and resort to her habits when dealing with other people; after all, it’s too early for Fubuki to get over this mindset, which wouldn’t make sense at this stage of her character arc;

as far as she knows (aside from Bomb), all of them are stronger than her (for the same reasons I explained in the previous point);

none of these peope are bound to her by a boss/subordinate relationship, and the circumstances of this “gathering”, aside from being all colleagues/heroes, aren’t related to work reasons. 

From her point of view, the only way to navigate these tricky waters is to try to appear “powerful” in order to be accepted and respected. Adopting the Fubuki’s group leader persona is, for the character, the way out of her disadvantageous position. At first glance she might come off as arrogant by doing so, but in reality it is the opposite: even if she takes pride in her own telekinesis, Fubuki recognizes that alone it still isn’t enough in a world of “monsters”; Fubuki is profoundly insecure about her own capabilities, bordering on (as the Esper Sisters clearly shows) a lack of self-worth. The existence of the group, staying in B-Class and the safe approaches she takes in life denounce how afraid she is to be reminded of being “weak” (which is how she actually sees herself) and being perceived as "inferior” by other people. The act isn’t a delusional attempt at recruiting the people around her but rather an overcompensation for her lack of confidence and strength. The façade covers these weaknesses, prevents the outside world from peeking into what is hidden underneath the surface and displays an image of superiority and power. Likewise, under the guise of the façade even Fubuki’s desire to be allowed into the group is reshaped in these interactions with the others into her pretending to “admit” Saitama and co. into the “Fubuki’s group”, which covers and reverses her desire for human contact in a way that “protects” Fubuki from otherwise coming off as “weak” - she actually wants to be accepted in it and for Saitama to permit her to become part of them, because the group represents an oasis of ordinarity and healthy, equal and friendly human bonds she always lacked in her life, and yet she can’t help but resort to the protective, faux persona because that it’s the only way she knows to interact with people, since there are no other precedents in her life, no previous examples on how to befriend others and behave in this kind of context. It could appear contradictory, but ultimately it’s a psychological defensive mechanism Fubuki displays in order to justify and strengthen her position, especially (but not exclusively) in the presence of people who outclass her, as in this case. That said, we do get to see a glimpse of sincerity from Fubuki when she asks Genos about his relationship with Saitama - previously, in Chapter 48, learning about a S-Class being a disciple of a B-Class left Fubuki completely astonished. Fubuki receives no answer from the cyborg, but her question denounces her eagerness to learn more about the group she desires to become part of (Chapter 50) and that, at the same time, seems to subvert any rule of human relationships she knows of. This exchange also highlights Fubuki and Genos’s exceptional phrasing skills, so there is that too.

Anyway. The (relatively) peaceful dinner is then interrupted by the increasing evidence that something strange is going on underground, deep below the surface of Z-City. Upon hearing strange noises coming from the neighborhood, Saitama is the first to leave the apartment, in search of the culprit. Later, Fubuki senses Tatsumaki’s telekinesis and realizes how her sister is exerting more power than usual (Chapter 62); a few moments later, Sitch’s call confirms her worst fears (Chapter 62 and Chapter 66): something serious is happening and it involves Tatsumaki and the other S-Class Heroes. With these developments, Fubuki immediately drops her façade, as evidenced by the changes in her demeanor. During this arc, the leader/recruitment shtick will never reappear (not even once) and Fubuki will never try to boss around her S-Class colleagues or attempt to recruit them because the luxury of fooling around or losing focus is something she cannot afford in a scenario like the one the group is about to face, whose gravity is perfectly clear to the B-Class (Chapter 66). She also will never act cocky or overconfident either (aside from employing it as a strategy against Psykos), and for this reason, she will never take on the role of the goofy comic relief of the arc. Naturally, even in these worrisome times, Fubuki still retains her distinct personality and psychological habits. In Chapter 69, in fact, the esper once again puts up a “front” with Genos, but, unlike the “Hot Pot” shaenenigans, here she is simply remarking the value of her actions to someone who is stronger than her, while she is still maintaining the focus on the situation at hand (I already talked about this sequence at the beginning of this post).

In the following events, Fubuki is one of the heroes who will distinguish herself the most out of those taking part in the battle and her efforts will be vital for the final outcome of the arc. Dropped into a war zone with little information at her disposal, at a time when all the top-ranked heroes suffered inglorious defeats against the Monster Association’s Cadres, Fubuki ends up being the one who single-handedly defeated the leader of the Monster Association in one of the major fights of the arc - I talked about her accomplishments, as well as other stuff, here. ONE purposefully introduced a character who is insecure about herself, overly cautious and unadventurous, and threw her in a desperate situation where her strength and abilities could shine without anyone else interfering. At the same time, ONE took away from Fubuki all her psychological reassurances, her group, her plans, and her careful preparations for a mission. Fubuki has nothing to fall back on, and she gets separated from the Saitama’s group early on too. During the arc, the esper is essentially by herself, left to her telekinesis and wits. But even when she was together with Fang, Bomb and Genos, instead of hiding behind them or relying on her companions and taking credit for what they performed in her place, Fubuki proved her value without ever becoming a liability or turning into a damsel in distress they have to keep an eye on. Instead of acting like a delusional aspirant leader, Fubuki understood her position and followed her companion’s orders/directions without question (Chapter 69). Despite all her glaring flaws and issues, Fubuki is a hero and acts as one when the situation requires it - for example, when Genos, Fang, Bomb and Fubuki found themselves in front of the proverbial Threshold Guardian of the Monster Association, Overgrown Rover, Fubuki’s first thoughts were directed toward eliminating the mysterious being before it could reach the surface and endanger innocent lives. To be fair, Fubuki isn’t the only example of this. Keeping company to her, the MA arc contains several other examples of characters subverting our expectations and playing a surprisingly major role in the battles: in regard to “rank”, there is Amai Mask who is “only” the A-Class Rank 1, yet his exploits and performance in the arc put to shame the vast majority of the S-Class (Chapter 78), who outrank him; for “power levels”, King is only an ordinary (or below ordinary) human being strength wise, the very opposite of what people believe him to be, nevertheless he was able to hold down a group consisting of four Dragon Level Threats and buy enough time for the other heroes to show up. It’s worth noting that King, Fubuki and Amai Mask’s unexpected and surprising intervention all happen back-to-back (Chapters 73-74) right after the defeat of the strongest and highest-ranked heroes on the scene (the S-Class Rank 2, Tatsumaki, and the S-Class Rank 3, Silver Fang) that occurred in the chapters preceding their entrance.

On the other hand, during the MA arc, there are multiple instances of Fubuki being underestimated for the B-Class Rank and her supposed negligible strength, which serve to cement and reinforce her status as an “underdog”: 

Genos didn’t even take Fubuki into account when assessing the strength of the group for the upcoming battles (Chapter 66); 

after coming face-to-face with Tatsumaki’s power (Chapter 62), Psykos completely dismissed Fubuki’s telekinesis and later mocked her former president when the two reunited in Chapter 74; 

stating that the monsters’s leader shouldn’t be someone who has trouble with a “B-Class lackey”, Homeless Emperor and the other Cadres abandoned Psykos to herself (Chapter 74);

all of the above is given a poetic comeuppance:

Fubuki saved Genos from a Dragon Level Threat (Overgrown Rover) that otherwise would have killed him (Chapter 69);

Psykos took down Tatsumaki rather easily in the end and played with her prey, enjoying the torture she was unleashing upon the now helpless HA’s ultimate weapon (Chapter 71), only to be utterly beaten by Fubuki;

Homeless Emperor ended up subjected to the same treatment he reserved for his former leader right on the next page, when Zombieman caught the human Cadre off guard (and contrary to Psykos, Homeless Emperor didn’t even put up a fight against the hero). 

Fubuki also plays the role of the underdog not only as a B-Class but also as a “member” of the Saitama’s group too, whose members consist of:

the past his prime martial artist who trained the Hero Hunter and failed to capture him,

Fang’s older brother, who isn’t even a hero; 

the fraud hero who is mistakenly believed to be the Strongest Man; 

the “second choice” esper herself; 

and, finally, the new rookie S-Class Hero.

It’s a ragtag group of “outsiders” who were informed about the situation at the last moment and so joined the fight late, only to make the difference just when the mighty S-Class sent by the HA failed their task due to the overreassurance and uncooperativeness of some of its heroes.

In any case.

Fubuki’s and Tatsumaki’s relationship is also re-contextualized (or, better yet, clarified) during the MA arc. Chapter 70, in fact, justifies Fubuki’s wary attitude toward her sister with a concise and effective demonstration of what Tatsumaki is capable of doing at any given time: after detecting a connection between Psykos and Fubuki’s telekinesis (Chapter 62), Tatsumaki decided to suddenly drag the MA’s headquarters to the surface with barely any concern for the heroes or the hostage, and that simply due to her obsessive attitude toward her sister. As for Fubuki herself, this chapter (and, retroactively, her statements about Tatsuamki at Saitama’s apartment) go to show that hers isn’t a mere “inferiority complex”: Fubuki is actually scar(r)ed and afraid of Tatsumaki (Chapter 62: 1 and 2; Chapter 70: 1, 2, 3; Chapter 71), for the latter being a time bomb ready to explode at any given moment, barely held together by a childish and fickle temper. This is clearly shown effectively by every instance of Fubuki taking notice of her sister. In Chapter 62, the sole presence of Tatsumaki’s nearby completely changes Fubuki’s state of mind and mood at Saitama’s apartment. In Chapter 71 Fubuki doesn’t even consider the possibility of Tatsumaki being in danger against the Cadres, but her to be the source of danger. In both occasions, when she senses her sister in Chapter 62 and when she advice Genos to stay underground, Fubuki is clearly more afraid and unsettled at the prospect of having her sister around than to deal with monsters. Actually, she refers to Tatsumaki as “monster” when the base is ripped apart and lifted to the surface. Her concerns toward Tatsumaki isn’t isolated though: the members of the Saitama’s group themselves express reproval and criticism for the S-Class esper’s careless actions, echoing Fubuki’s concerns (1, 2). The narrative is pretty explicit at portraying Fubuki’s opinion of her sister not something biased or unjustified, but shared by  the rest of the cast and based on factual reasons. This is top-notch build up to the next arc that it still makes very intuitive the type of relationship between the sisters and their estranged past even without showing anything about their backstory. The Esper Sisters’s arc will delve deeper on the subject, revealing the roots of Fubuki’s traumas and exploring how Tatsumaki’s twisted ideas (spawned, in turn, by her own traumas and by an extreme and literal interpretation of Blast’s words) affected Fubuki’s life for the worse, as well as plenty other topics. 

That said, it’s worthy taking a look at Tatsumaki’s role during the events of the Monster Association. While Tatsumaki’s immense telekinesis is highlighted throughout the arc, it is also significant how the Rank 2 Hero utterly failed at dealing with Psykos and the Dragons: by bragging about how she was going to kill every single one of the MA’s Cadres, criticizing her colleagues for not having already eliminated them, and boasting about taking all the glory for the successful operation (Chapter 70), in a single excruciating instant Tatsumaki lost her chances at ending the entire arc early, and was unceremoniously taken down by Psykos (Chapter 71: 1, 2) before she could do anything against the Dragons - at the start of the arc, Tatsumaki was throwing a tantrum insulting her colleagues (Chapter 58: 1, 2 and 3) because she believed she could handle the entire monster organization all by herself without any need for reinforcements. As a result, while the Cadres were left completely unscathed and had the time to reorganize (now reunited to their leader), the scattered and injured heroes were trapped beneath the unstable debris of Z-City, confused and unaware of the state of the mission: Tatsumaki’s actions benefitted the monsters far more than the HA, to the point where the Hero team would have lost the battle if it hadn’t been for outside factors cleaning up her mess. In the wake of Tatsumaki’s defeat and the extraordinary but short-lived Fang counterattack, just when King’s antics were losing their hold on the Dragons, the “second choice” esper, the “weaker Witch Sister”, Fubuki, is the one who puts a stop to the MA leader’s S-Class demolition spree, right when Psykos was an inch away from victory.

Before getting to this part, there is something I haven’t addressed yet.

I haven’t mentioned one seemingly minor but important detail from Chapter 55 that is significant for what follows, so I think now is the right time to talk about it: after Fang, Bomb and Genos failed at stopping Garou, who was rescued by the sudden appearance of the Monster Association, the group reunited at Saitama’s apartment, where they discussed the recent events together with Fubuki. During the talk, Fubuki guessed the existence of a leader behind the monster attack. In the following chapters, her statements are proven correct: the Monster Association, more than an ensemble of monsters working together toward a goal, is an organization ruled by a single leader (Psykos) that acts as the mind behind its organization and the activities of her underlings, who, otherwise, wouldn’t be as cooperative and well organized without her supervision. As for how the monsters fare as a team without the direct presence of a leader on the battlefield, we later see how Royal Ripper, Bug God and Senior Centipede fighting against Garou without cooperating or properly working together resulted in the death of the Centipede while the other two, although victorious, were reduced to a sorry state (the dialogue box from Royal Ripper in the third panel of the page); or what occurred to the Cadres once Psykos was taken out of the picture (more on this later). All this evidence proves that monsters are indeed unwilling (or incapable) of cooperating without the presence of someone (a human esper, in this case) pulling the strings behind the scenes - and even then, sometimes, the mysterious beings are unruly even with an authoritative figure commanding them (e.g., how the ugly kid was kidnapped by Royal Ripper against Psykos’s will). It is a small thing, sure, but it proves Fubuki capable of deducing schemes or patterns from a few clues. Her victory against Psykos depends partly on Fubuki’s intelligence and her ability to exploit her opponent’s flaws. By the way, Fubuki correctly identifies the mysterious enemy attacking her at the end of Chapter 77/beginning of Chapter 78 as the Hero Hunter Garou, despite she never having encountered him before, as the narrator points out. 

And now, finally, Fubuki’s highlight of the arc, her battle against Psykos.

Let’s start from its inception, writing-wise: tying the newly introduced “B-Class” esper to the leader of the Monster Association, who is therefore revealed to be a human (with nice implications for the overall human/monster narrative), not only does wonders for economy of storytelling, but also places the B-Class newcomer, Fubuki, in a very “plot relevant” position, providing a personal reason for her participation in the arc beyond its original significance once her connection to the leader of the villains is brought up, with the further consequence of Psykos developing into something more resembling an actual character compared to the mere evil mastermind role she fulfilled prior. The fact that this happens shortly (27 chapters) after Fubuki’s introduction also avoids the risk of throwing Fubuki into a bubble of irrelevancy needlessly stalling her storyline before it could reach a turning point, such as this battle. 

Regarding the lead-up to this battle, the lack of action scenes starring Fubuki before the MA (save the one with Saitama) preserved her status as an “underdog” and maximized the impact of Fubuki’s actions during her involvement in the Z-City battles. For example, shielding Genos and withstanding point blanck several blasts from Overgrown Rover proves Fubuki to be a force to be reckoned with. Furthermore, this “feat” adds further believability to her chances of fighting a Dragon Level esper and winning. Showing what is strictly necessary for a character and keeping vague what isn’t required at the moment (or that could be more effectively disclosed little by little) is sometimes beneficial for a story and can lead to satisfying payoffs later down the line.

In this particular case, Chapter 74 is where the payoff starts to bring a narrative “revenue” to the lead-up preceding it. 

In one of the tensest moments in the entire series, when none of the top heavy-hitter heroes were left standing and Psykos was about to launch an all-out assault against King, 

Fubuki makes her entrance, halting once again the Dragon’s charge. We are left wondering: what is Fubuki going to do against Psykos, the leader of the Moster Association who put on its knees the Hero Association’s S-Class team? Psykos is of the same opinion, already savoring the flavor of the upcoming revenge. While the Dragon Level esper mocks her opponent and rejoices at the prospect of eliminating both Witch Sisters on the same night, Fubuki, unmoved by these provocations, unleashes a powerful psychic attack against the other esper, leaving Psykos screaming in pain in front of her subordinates, who promptly desert their leader. 

In the battle that follows, Fubuki gives proof of her talent and mastery of her telekinesis through the use of Psychic Whirlwind, a technique that allows her to manipulate the direction of her psychic waves. For anyone else (minus a certain esper) this technique would appear as nothing more than a pointless discovery, a fascinating but ultimately useless and inapplicable invention. Still, the B-Class came up with a use for this finding of hers, in particular in battles against other espers: by disrupting the other telekinesis user’s psychic signals in a swirling maelstrom of her own waves, Fubuki nullifies their attacks (1, 2, 3) allowing her to wait for the most opportune moment to deliver the “finishing” blow. A technique that favors ingenuity over raw output, prudence over recklessness, flexibility and innovation over mere brute strength, truly represents Fubuki’s style, her way of fighting and her personality. In OPM we are used to battles ending in a “stomp” due to the mere power gap between opponents, but here the staggering difference is on the “technique”/skill side of things and Fubuki obtains victory without gaining any power-up or “zenkai” boost of sort over the course of the battle, but solely thanks to her superior telekinesis skills and wits. It is even rarer, especially in this arc, for a character to be assured of their victory, boast about it during the battle like Fubuki does here, and then win.

On why this clash is fundamental for the arc, structure-wise, suffice it to say that if Psykos wasn’t taken out of the picture and her authority undermined, the heroes would have found themselves facing another Dragon Level Threat, and an esper at that. Even worse, a Dragon Level Threat who leads, coordinates and keeps united with lethal effectiveness the other Cadres. In a similar scenario, Psykos, unlike the more short-sighted and less tactically skilled subordinates (ready to backstab each other at the first chance), wouldn’t have allowed Zombieman to restrain Homeless Emperor and would have coordinated the Dragons against what was left of the hero party; furthermore, none of the emerging heroes had what it takes to deal with this formation (Black Sperm, Evil Natural Water, Homeless Emperor and Psykos herself): reaching the surface would have culminated in a blood bath for the heroes. By the way, Tatsumaki was also able to recover and rejoin the fight later solely because Fubuki lured away the enemy capable of dealing with espers (Chapter 73), otherwise, she would have kept her role as the MA leader’s personal stress relief toy for the rest of the battle. The entire arc would have taken a completely different, and plenty more gruesome, direction if it weren’t for Fubuki - obviously, she is not the only deciding factor, but undoubtedly one of the major ones.

But what makes this battle interesting is the story of the two espers and how ONE takes advantage of this battle to explore Fubuki’s character. In this regard, perhaps the “boldest” decision made by ONE during Fubuki’s moment of spotlight is to not “sugarcoat” or “whitewash” her personality but to stay true to the character: the duel starts, as we have seen, with Fubuki resorting to an underhanded strike against Psykos, a sneak attack that catches off guard the other esper during the pre-duel conversation, honor and fairness be damned. Truly a classic hero’s move, right? And that’s just the beginning.

During their reunion and the battle that follows, Fubuki never attempts to talk no jutsu Psykos out of her evil schemes with a speech that exposes the inconsistencies of her adversary’s thesis and gives the evildoer a new purpose and a new understanding of life through some kind of life-changing advice. Fubuki’s “argument” against Psykos is, instead, a plain admission of what her intentions were at the time: she opposed Psykos simply because of egoism. Fubuki reveals that, when the alarmed members of the "Society for the Study Supernatural" approached and informed her, the president of the group, about Psykos’s plans to use the club for exterminating humankind, her thoughts were at the time: if the weak and ordinary people have all disappeared, how could she (Fubuki) define herself? What makes one strong, if the weak are no more? All Fubuki’s struggles and efforts would have been for nothing if that occurred. By protecting those “inferior” to her, Fubuki preserved a gap that makes her tower over those who, by existing, allow the esper to standout. To Fubuki, reality appears to be made of contrasts and opposites that exist solely to distinguish the extraordinary beings from the masses: those who are special/”witches” from the common “folk”, the strong from the weak, the leader from the subordinates, those at the top and anyone else below. Furthermore, from her perspective, every interaction between individuals is nothing but a fight for supremacy, which inevitably leads to a polarization of roles, dividing the “contestants” into two rigid “groups”: on one hand, those who win or are capable of imposing their will (the “strong”) and, on the other, those who lose/submit/become followers or subordinates (the “weak”); as a result, when they aren’t actively competing one against the other, humans can coexist solely by occupying different spots within a “boss-subordinate relationship” and never on an equal ground - hence her surprise when Saitama and co. proved this false. What matters, then, is not to be on the lower spot of said asymmetrical “relationship”: only by being “strong” a human being can avoid the discrimination and the suffering reserved for the “weak”, which includes not only those who don’t possess enough strength but also those who refuse their powers. In the Childhood Flashback (Chapter 99), a very young Fubuki used her psychic abilities solely for self-defense and didn’t try to fight her classmates, asking them instead to stop harassing her; that only encouraged the bullies to torment her even more. Tatsumaki, on the other hand, “gained” the respect and the fear of Fubuki’s bullies due to her immense powers and her lack of restrictions, which included throwing a kid into space and lifting an entire school full of children - and thus scaring away, from Fubuki, not only the bullies but anyone else too (be it from school or otherwise), effectively isolating Fubuki with the only company of a traumatized and unstable sister. If dialogue is an invitation to further abuses and the unwillingness to use one’s potential against others is perceived as a lack of strength, the only alternative is to learn the language spoken by everyone: violence. Therefore, in this toxic reality, what determines right and wrong, good and bad is the extent of one’s own power and their propensity to use it against others. When we look at the (very few) human interactions Fubuki was exposed to in her life, prior to her introduction arc, these were all regulated by violence or disparity in power, and Fubuki’s sole role model taught and actively encouraged her to employ force against others (which is how Tatsumaki herself deals with any problem), giving an example of how it’s done, as shown in Chapter 99. The kids who called her a “witch” and mistreated her (Chapter 99), her sister who always used her telekinesis as a way to deal with others (Chapter 99), Psykos with her lofty world-domination goals and her method of recruiting/subduing esper groups (Chapter 77) and, later, even the Hero Association itself, where rookie-crushing is commonly practiced and heroes are ranked in a highly competitive environment, where the success of one goes at the expense of another: it’s a life-long confirmation that might makes right. Divergences/differences were all settled on who held more power and any other method of resolving a disagreement was nothing but a display of weakness. Being ruthless against any opposition and being quick to resort to force were always rewarded and encouraged, being cold, distant and aloft were signs of strength; any appreciation and respect from others always came from the power one possessed and the effectiveness of its usage. The shy kid, who avoided employing her telekinesis for offense and asked her bullies to stop instead of attacking them (despite having the power to do so), was only a prey deserving of being picked on and her “fault” was appearing weak and refusing to use her innate talents “correctly”. Fubuki only started gaining respect and admiration from others when she embraced Tatsumaki’s advice and used her telekinesis against others or as a display of power - as we see in high school. Therefore, in the flashback, Fubuki is doing nothing but putting into practice what she learned back then, following the same “reasoning” (retaliating to an incoming threat) and applying the same method of taking care of the problem (force) that the world taught her. Consequently, Fubuki then concluded: “Psykos is my enemy and enemies must be destroyed”. After rationalizing the situation, identifying her vice-president as her enemy and remembering how to deal with threats in the only way she knows, Fubuki confronted an insane Psykos in the club room. The vice president, still in the middle of her delerious rant, tried to find Fubuki’s support against the other members of the club. In the club room, instead, Fubuki proceeded to fight, defeat and seal her powers, leaving Psykos screaming in pain and vowing revenge.

[EDIT 13/06/2025: I decided to rewrite the following paragraph]: A fitting backstory for an arc where the dichotomy between humans and monsters, heroes and villains, is questioned and explored. However, there is one more thing I still want to add about Fubuki’s monologue, because I believe that her actual reason to protect the “weak” is a bit more complex and nuanced than what Fubuki lets out, especially when we consider her characterization. First of all, Fubuki thwarting Psykos’ plans due to the vicepresident starting to rival her in power (including the part about Psykos catching up in telekinesis) is something brought up solely by Psykos and seems to stem from Psykos’ subjective perspective: if that were truly the case, Fubuki would have already dealt with the vice president by that point (like at this time, obviously set before their clash), and yet Fubuki decided to act only when the latter proposed to genocide humanity. Furthermore, Fubuki doesn’t even acknowledge this statement but, in her explanation, mentions instead that she stepped in because Psykos was going to eliminate “the weak”: this, I believe, is the significant part, because it’s deeply tied to one fundamental element of Fubuki’s characterization. In almost every facet of her character, in fact, Fubuki puts up an act, trying to present herself as a cold and superior person (though, at times, her true self slips through said facade): as we have seen, this is the result of a toxic upbringing and negative life experiences that taught the esper to always present a ruthless and haughty exterior, and that empathy, kindness and human connections are a weakness. Suffering also from isolation and a friendless background, Fubuki grew longing for human bonds that were missing in her life, but, due to the aforementioned education imparted to her, she was conditioned into never showing herself vulnerable - coincidentally, even Tatsumaki avoids showing any signs of weakness in front of her younger sibling (Chapter 104): in this reality, strength, brutality, and egoism are the only values Fubuki was encouraged to embrace. As a result, Fubuki subconsciously rationalizes her need for others under the guise of asymmetrical dynamics and power imbalances between individuals, since only under those terms, with her at the vertex, are human connections permitted in her psychological-moral system, which “protects” Fubuki at the price of being her true self. In her monologue, I believe that Fubuki is exactly doing this: with Psykos threatening to eliminate all humanity, Fubuki, who actually deeply longs for human bonds, decided to stand against the vicepresident and protect innocents, but, in order to abide to her upbringing, the esper justified her actions under an egoistical and calculating agenda like preserving the masses in order to stand at the top. It’s strikingly similar to these moments with her group, where, behind a stern and aloof front, Fubuki hides her true feelings. But it goes further than subordinate/followers, since Fubuki resorts to the facade with all the people she cares for, like Saitama (see Chapter 50, mentioned previously in the post), and even her colleagues and people in general; so the fact Fubuki expresses her reasons for the flashback actions in these terms, by talking about asymmetrical dynamics and faking a self-serving agenda, is already a clue of her true psychological habits - the fact that common people discriminated her and that Tatsumaki holds extreme life views on this topic (Chapter 99), later internalized by Fubuki herself (Chapter 50), might also factor into this. Besides, for how egoistical she claims to be, in the MA arc Fubuki didn’t hesitate a second to risk her life for a person that was hostile to her pretty much the entire time (Genos), and, always in this battle, her first concerns were directed to the innocent lives endangered by Rover; in general, nothing she did in this arc was for her own gain, without mentioning in the next one. Furthermore, the fact that Fubuki chose to become a hero in the first place and risk her life for the sake of others would be at odds with that statement, unless we consider the above: applying the same psychological defense mechanism she resorts to for human connections even to heroism would be perfectly consistent with the mentality of the character. Nothing more than a headcanon, but for me it’s specifically this high school clash that marked the moment Fubuki chose to be a hero. Also, another important detail to keep in mind is that Fubuki never showed any interest in ruling the world from the dark or similar egoistical stuff, even though these should be up her alley if her words were to be taken at face value. In any case, don’t get me wrong: this doesn’t mean that Fubuki isn’t capable of being actually egoistic and ruthless - see how she dealt with Psykos in the flashback and her fight with Saitama: she is, solely not to the extent she pretends to be. By the way, none of what I wrote above negates the previous paragraph, but simply complements it: actually, this unresolved inner conflict is the core of Fubuki’s characterization.

As for the flashback itself, ONE interwines it inextricably with the battle occurring in the present, as Fubuki and Psykos’s recollection of the old days is shown to us through glimpses, hints and fragments of the past from the point of view of both Fubuki and Psykos. 

This apparently innocuous panel perfectly translates visually what Psykos is stating in the balloon text, i.e., the difference in raw power between the two espers, favoring Fubuki at the time, which is symbolized by Fubuki walking far ahead of the vice president of the “Society for the Study of Supernatural”. But it underlines another, more important element: the distance on a human level between the two (but then again, future updates can always add more context to this and disprove anything written here), even before the Third Eye incident. Fubuki never pays attention to the vicepresident and she doesn’t show any interest in Psykos and what she is saying. Actually, Fubuki never talks to Psykos in the flashback, and the one above, contained in the section from Psykos’s POV, is also the only panel where the two are together and their sole “interaction” in the entirety of the flashback. What this window into Fubuki’s past reveals is a reality inhabited not by close bonds, friends or personal relationships of any kind, but only by followers, underlings and rivals. And as much as Psykos fangirls over Fubuki, throwing praise and rambling about the latter, her admiration for the president appears to come exclusivey from Fubuki’s telekinesis: every time Psykos talks about Fubuki, she is actually only talking about Fubuki’s psychic powers, never about Fubuki herself, as a person - see, for example, the panel above. It is worth adding that Psykos, even in the present, only refers to and addresses Fubuki as “president Fubuki” or simply as “the president” (“会長”), which is Fubuki’s formal title in the Society for the Study of Supernatural, and never by her name alone (not a negligible detail, I think) - it’s the same as the members of the Fubuki group, who always refer to their leader as “Miss Fubuki” and variants, but never in a more direct and informal manner. Fubuki, meanwhile, infantilizes Psykos and demeans her (for example) by employing a harsher and more hostile version of the speech patterns she employs in her interactions with her subordinates, the Fubuki group - it is worth noting that Tatsumaki does the same with Fubuki herself. All this confirms a trend in Fubuki’s life: that power is the sole value a person possesses, strength is what grants respect, recognition, and adoration from others, and hierarchies, titles and ranks serve to underline the gap between human beings. People started showing interest and respect for Fubuki (as in high school) specifically because of her abilities and because, in the case of other telekinesis users like Psykos, Fubuki’s telekinesis eclipsed theirs. Adding fuel to the fire, as mentioned before, Psykos began catching up to Fubuki in terms of psychic output around the same time she went insane and threatened humanity (probably, as a result of the Third Eye and whatever contact she might have had with the entity known as God), which surely cemented in Fubuki the perception of others as constant threats, ready to take anything from her at any given moment, especially when the gap in power is reduced.

A couple of words need to be said about the art:

ONE does a terrific job at conveying through his drawings the unsettling and creepy atmosphere surrounding this battle. The panels with Fubuki, never so witch-like, overflow with an eerie and malevolent aura, emphasizing how intimidating she must have appeared to Psykos: like in the panel above, a figure standing on the battlefield enveloped in an ink black dress, seemingly molded out of the solidified darkness of the night, a curtain of shadows and hair strands covering her face save for the void and glowing eyes. The “because I’m an egoist” panel is also very visually striking: an almost monster-like close-up of Fubuki’s face that reflects the unheroic undertone of her speech bubble. ONE’s style, morphing to max out what the single panel is striving to express and characterized by visceral and raw, nervous, lines, perfectly translates on these pages the personal conflict at the center of the sequence. Other choices, like the near absence of other people in Fubuki and Psykos’s flashback, outside of the members of the “Society for the Study of Supernatural”, drawn as indistinct and impersonal silhouettes, and the mysterious shadowy figures of the “Invisible Hand”, drive home a sense of isolation, emptiness and alienation pervading the recollection of these characters’s lives. The lack of dialogue or real human interactions is also further reinforced, in the flashback, by the panels containing only one character at a time - with the exceptions mentioned above, like in the panel where Fubuki is seen walking far away from Psykos, giving her shoulders to us and the vice-president - and empty or human-free backgrounds, which reflect how disconnected these characters are from other human beings, too absorbed in their own cumbersome individuality that they can’t even share, in the panels, the same space with someone else. [EDIT 28/05/2023] I was re-reading the wc and I noticed how, when a character suffers alienation and estrangement, other human beings are consistently portrayed as vague silhouettes, especially when this happens in flashbacks: aside from Fubuki, it occurs with Genus (Chapter 9) and Garou (Chapter 54: the entire flashback really, but for examples 1 and 2) [end of the EDIT]. Fubuki, surrounded by a white and void background that underlines her estrangement from the rest of the club and the concerns of its members (who lack individual features), is deeply immersed in thoughts far removed from the protests of the shapeless crowd she apparently doesn’t share (not in the same way, at least) and is separated from them, in the only panel where they are together, even visually. When she is not fangirling about the power evoked by the president’s telekinesis, Psykos rambles on and on obsessively about her delusions of world domination and the recounts of her accomplishments against mysterious esper organizations: there is no actual dialogue with the person she is talking to (Fubuki), but an interminable and uninterrupted monologue that never receives a reply or a response of any kind from the silent interlocutor. The narrative doesn’t shows us the vice president hearing Fubuki’s responses - if there were any - and in general Psykos is portrayed to be paying attention only to herself, babbling about her goals and telekinesis, with Fubuki representing solely a symbol of power to her and not an actual person; as their battle demonstrate, Psykos was so caught up in herself and her schemes that she didn’t even listen to Fubuki’s lesson about flexibility and innovations as a fundamental component of telekinesis mastery, and focused more on simply increasing her telekinesis - which, ironically enough, led to her defeat against Fubuki. In general, the way the flashback is presented reveals that there was no dialogue, communication or interactions at all between the two, despite Psykos being the vice president of the club: Psykos was doing her own thing, regardless of Fubuki's actual opinions, while Fubuki herself left Psykos to her own rants and took notice of the vice president only when she directly conflicted with Fubuki’s own interests. Psykos utterly shocked and surprised reaction when, in the club room, Fubuki answered to her question by ruthlessly retaliating and attacking is quite indicative of this: Psykos never actually knew Fubuki nor suspected, despite the apparent disinterest shown by the president, that Fubuki wouldn’t have agreed with her plans - to be honest, Psykos also believed that the rest of the members of the club would join her too. This distance also explains why Fubuki didn’t even try to communicate with her follower and talk her out of the plan, but resorted to violence and dealt with her colleague with no hesitation - note the logical progression from her childhood flashback where Fubuki didn’t use force but asked her bullies to stop, to teenager Fubuki following her sister’s lesson and freely using her powers. This flashback is ultimately a wasteland of real human bonds.

Now, let’s observe how Psykos works as a foil to Fubuki and how the two parallel each other, starting with their appearances. 

The black color-themed B-Class Hero versus the Monster Association leader in white.

(love how the onomatopoeias highlight the difference in power and demeanor between the two espers: wider, “louder” and more aggresive for Psykos while smaller, “quieter” and less chaotically disposed for Fubuki)

This is no casual choice in an arc staging the most archetypal of battles, “heroes versus monsters”. Since the MA blurs (on the surface) the line between the heroes and the monsters, in this fight that is reflected both from a writing and visual standpoint; for the former it has been discussed above, while for the latter, the white versus black aesthetic of “good vs. evil” is swapped between the hero and the villain. While a white-dressed “villain” facing a “hero” wearing a black outfit surely isn’t a new concept (it really isn’t), here it is applied for the battle between a non-final antagonist and one of the members of the main cast - in Garou versus Saitama, the black and sketchy appearance of the villain fighting a white and plain caped hero reverts to a more traditional iconography. It perfectly highlights their nature as a foil and opposition. But there is more: the visual appearance of the two espers is also a callback to the chessboard allegory for the Monsters vs. Heroes battles raised by Psykos herself in Chapter 71 (and earlier by Garou in Chapter 54) and therefore here we have the clash between the white queen and her black counterpart. And just like in chess, where white moves first, Psykos appeared on the surface before Fubuki; likewise, by showing up when she did, the B-Class ended up protecting the (literal) King ( “キング”) of the HA, right when the MA Cadres were about to checkmate him. 

On the telekinesis side, the two once again differ by adhering to opposite “schools of thought”: 

Psykos’s high school obsession for raw power didn’t fade in adulthood, and overwhelming her enemies with direct and brutal displays of sheer psychic output is her go-to way to dispose of them. Psykos’s confidence in victory at the start of her battle against Tatsumaki, for example, hinged on the tremendous psychic powers she posses (which, she believed, were in the “territory of the Gods”); the moment she saw Tatsumaki’s actual might and how far it surpassed her estimates and telekinesis, Psykos lost her cool and started panicking (Chapter 62). That said, Psykos doesn’t exclusively rely on brute force and the webcomic proves how the leader of the Monster Association can use her mind in battle. When Garou blocked her direct attacks and found her weak spot, Psykos resorted to a distraction before instantly squashing the martial artist (Chapter 59: 1 and 2); after the initial shock, Psykos exploited Tatsumaki’s fatal flaw and took down the Hero Association trump card (Chapter 71). Furthermore, as specified several times already, Psykos is a fairly competent leader and the only one capable of leading the other Cadres effectively by coordinating her subordinates. Still, in the years between the high school clash and the battle of Z-City, Psykos focused more on increasing her telekinesis than to refine it, and and the only time Psykos’s technique is praised (or commented on at all) is in regard to the similarities it shares with Fubuki’s (Chapter 62: 1 and 2). As Fubuki versus Psykos showcases, this has three corollaries: 1) even after all these years and her new immense powers, Psykos was still inferior to Fubuki as far as telekinesis mastery goes; 2) Psykos didn’t (or was unable to) develop her "signature style”; 3) back in high school, Fubuki was already a skilled psychic, capable of teaching others about telekinesis (well, after all, the name of the club, “Society for the Study of Supernatural”, already implies this and shows how Fubuki was an experienced telekinesis user even at the time), insomuch that Psykos’s is still very much reminiscent of hers. Psykos (or the high school club in general) isn’t an isolated case: Fubuki also taught telekinesis techniques to the Fubuki Group (Chapter 99). Lastly, as a testament to the similarities between the two espers’s telekinesis, in the battle against Tatsumaki (1 and 2), Psykos uses a technique that, later in the Esper Sisters arc, will also be employed by Fubuki against her sister (Chapter 100: 1 and 2) - “Hell Cluster”. 

In contrast, Fubuki, while certainly no slouch power-wise (once again from this post), prefers a more refined and sophisticated use of her psychic abilities, as evidenced by her mastery of Psychic Whirlwind. Instead of trying to match the vastness of her sister’s powers, Fubuki researched more into innovative applications of her psychic abilities in an attempt to nullify the gap between her and the older sister. As the battle proves, much to Psykos’s dismay, the MA leader’s stronger output falls short against Fubuki’s Psychic Whirlwind, and the B-Class esper’s unnerving calm adds to her frustration. 

From the comparison, it’s evident how Psykos lacked originality and was always dependant from others since didn’t have the creativity or ingenuity to improve her abilities by herself, whereas Fubuki honed her skills and became an expert telekinesis user on her own, without anyone else indicating the way. Psykos is an imitator, a follower who lacks her own identity and solely driven by her desire for more power, and this is perfectly reflected in her telekinesis. All in all, Psykos preferred choice is to rely on others and follow the easiest path. Fubuki’s victory against Psykos is another example of the series proving how struggling and pouring effort into something without taking the easy route will always pay off, while using a shortcut and parassitically piggy-backing on others will backfire in the end.

But let’s keep moving forward.

Even their body language reflects their characters: 

lost the smugness along with the glasses (Chapter 74), Psykos is left with uncontainable anger and staggering confusion. Psykos’s gestures are heavy and ungraceful just like the telekinesis she employs against Fubuki: her body bends forward with both arms raised in the sheer effort of keeping up the offensive with taxing psychic attacks that leave the esper more and more exhausted (examples). 

On the other side of the ring, the B-Class is totally in control, and her postures range from relaxed to vigilant (these panels, for example), in an esper-like equivalent of a martial arts guard, while also flaunting a cocky and overly confident attitude like in the image above.

And so does the content of their speech bubbles: Psykos erupts in an endless catalogue of insults and death threats, declaring that, while their previous battle in highschool ended with her defeat, things won’t go the same way this time and Fubuki will be the one that will end beaten (actually, “destroyed”). The B-Class responds with taunts and cryptic ultimatums, requesting from the MA leader an immediate surrender, as if the outcome of the battle was already decided; Fubuki shows no outward surprise toward Psykos’s achievements but only contempt and dismissal, as if dealing with the kid Psykos once was, a follower and disciple that never grew up, in spite of all the years that passed - which infuriates Psykos. The temperament they exhibit here is perfectly reflective of their telekinesis’ philosophy and their characters in general. There is also how Fubuki skillfully employs her words for achieving victory. Instead of trying to justify herself or negate the true, Fubuki openly admits that she twarthed Psykos’ plans and ruined her life simply because she vicepresident was threatening the “weak” (and so Fubuki’s agenda), in order to exploit the latter anger and inferiority complex that, promptly, fall for the trap - and Fubuki expresses relief at having successfully tricked her. All the other taunts and mocking remarks also fulfill the same purpose: unnerving Psykos and inciting her into a careless assault.

But what about their respective allegiances and the role they play in them? Additionally, how do these two compare as leaders? First of all, as obvious as it is at this point, Fubuki and Psykos are tied to warring factions that mirror one another, which goes to reinforce the dualistic nature of their confrontation and how Psykos represents a narrative foil to Fubuki. Moreover, considering the position the two hold in their respective organizations, it’s clear how the tables have turned since high school: now Psykos is at the helm of an organization she founded, whereas Fubuki is only one of the many “employees” of the association she works for, the top-ranked Hero of Class B and the leader of the Fubuki group sure, but still not one of its higher-ups or key leading figures of the HA. As for their subordinates: for Psykos they are nothing more than assets (she sacrifices the Demons against the S-Class as cannon fodder in order to gauge the invasion force’s strengths and weaknesses before devising the Dragon match-ups) and there is no other relationship between her and the monsters, who are unaware of her real identity prior to Tatsumaki’s defeat; consequentially, the moment Fubuki undermined Psykos’s leadership, the MA esper was immediately abandoned by her allies, who followed Psykos simply for reasons of opportunism and not out of loyalty; similarly, in high school her genocidal plan met the protests of the members of the club (while the Third Eye made her more insane than how she already was), which goes to show how Psykos was always unable to inspire loyalty in her underlings, who abandoned her at the first disagreement/difficulty. This couldn’t be more different from Fubuki and the members of the Fubuki Group (Chapter 105) (up until now, at least), who actually matter to Fubuki on a personal level beyond her reasons to stay in B-Class, form a faction and the psychological reasurance that comes from a group; even if their relationship is still a hierarchical boss/subordinate dynamic instead of friendship, nonetheless, it is still a healthy and positive bond, as clearly shown in the Esper Sisters arc; in regard to her highschool club, Fubuki was the one the member of the “Society for the Study of Supernatural” turned to, asking to intervene against the vicepresident and deal with her mad plans. 

If, instead, we consider what they accomplished for their respective factions, both espers did quite the heavy lifting for their parties. Fubuki and Psykos, in fact, turned the tides from a seemingly unavoidable defeat by taking out the worst asset from the enemy line-up when no one else in their place could have done it. I already talked about the impact Fubuki had on the arc, and when we look at Psykos, her actions achieved the same for her faction: if it weren’t for the esper, the Cadres wouldn’t have defeated Tatsumaki by themselves. By sneak attacking the S-Class psychic, Psykos basically gained the other half of the arc for the Monster Association. Later, when Fang eliminated Fuher Ugly and Gums in a matter of seconds, it was always Psykos who made possible the defeat of the powerful hero (Chapter 72: 1 and 2). Lastly, the one who managed to calm down and convince the Cadres to launch a coordinated attack against King was once again the psychic (Chapter 73 and page one of Chapter 74, already linked before). As we can observe, even in the role they played in the battles, the two espers mirror each other, and without them, their respective factions would have suffered defeat much earlier in the arc.

But Psykos’s nature as a foil doesn’t stop there. While Fubuki chose to stay in B-Class, Psykos, who started as a way weaker follower, became a Dragon Level esper and formed a powerful organization of 17 between Demon and Dragon Level Threats - the reason she became stronger and was later capable of reuniting such force, though, seems to be linked to the Third Eye and God more than to her own merits, and this “blessing” came with rampant madness, but nonetheless, the point still stands. Not yet ready and fully operational, her forces brought the HA’s strike team to its knees. Psykos demonstrates how resourcefulness and determination can lead someone from a humble starting point to impressive results, which provides the perfect contrast to Fubuki, who, talented and blessed with abilities as she is, is stifling her potential and her career under a too cautious and risk-averse mindset. Sure, there are outside factors at play, but the series criticizes Fubuki’s unwillingness to challenge herself, and her character arc (from her introduction up until the Esper Sisters) constantly pushes Fubuki out of her “bubble world”.

Conversely, Psykos represents a cautionary tale for Fubuki, her egoistical ambitions and her obsession for power, if the B-Class were to give in to her worst sides. Even before the Third Eye came into play, in fact, Psykos already intended to “rule the world from the dark” and always sought to acquire more and more power, using the club for her goals, which included submitting other rival esper groups. On the subject of world domination, whether or not Fubuki agreed with her is left unanswered, but, by looking at what is shown, it’s very unlikely that she did. From what the chapter reveals, it’s only Psykos who keeps bringing up the “world domination” plan and Fubuki never shows any interest in this topic or Psykos’s rants in general - to the almost comical degree that Fubuki ignores Psykos entirely. We know that, in the present, Fubuki is trying to build up an organization that could aid and shield her from her sister, but that’s pretty much it: it would be a massive and baseless stretch to ascribe Psykos’s goals to this, as if Fubuki was following the same plans of the vice president before the latter became insane. In regard to the reason behind the creation of the “Society for the Study of Supernatural”, while it’s mostly up to speculation, I believe that Fubuki founded the club partially because of her sheltered childhood and complete lack of friends, employing for the first time here the same hierarchical dynamic that we will see later on with the Fubuki group, and, also, as an organization that one day could aid her against her sister (hence why they were studying psychic powers); but again, this is more my headcanon than anything concrete. Considering how things went and how Fubuki grew up from this experience, I would argue that the fiasco and the kind of people that joined the club cemented the negative life views that Fubuki already possessed from childhood, doing additional harm to Fubuki’s already scarred outlook on life. For example, in the flashback it’s mentioned that Fubuki made people join her club simply through talk, whereas Psykos believed that wasn’t enough and that it was better to rely on telekinesis to expand the club’s numbers and submit other psychic groups with force, to the degree of actively hunting them down. It wouldn’t be absurd to conclude that Psykos further confirmed to Fubuki that human beings only interact on the basis of power, violence and hierarchies, gathering around those they consider superior and always aiming to gain more strength at the expense of others. It’s ironic, though, how Fubuki ended up applying this lesson against Psykos herself. Speaking of bad influences, many seem to be under the impression that Fubuki was manipulating and using Psykos in high school. I honestly can’t see this at all. First, because Fubuki doesn’t even interact with Psykos in the flashback - she doesn’t talk to her, much less coerce, exploit or use her in any way - and also because Psykos is shown doing things out of her own volition, while Fubuki has zero interest in her activities and appears to have no say in Psykos’ own goals. So no, Psykos doesn’t seem to have been under Fubuki’s influence, much less manipulated by the latter; Psykos was actually following her own personal, questionable goals independently from Fubuki’s will and opinions (which is, admittedly, just like the entire sequence, a great subversion of clichès on ONE’s part). All in all, the very reasons Psykos and Fubuki sought for more power greatly diverges: before becoming a mere puppet, Psykos wanted to dominate the world and rule it from the shadows, whereas Fubuki gatheres people and resources to free herself from Tatsumaki. For one power is the end-point, for the other it is a mean to an end. In any case, Psykos’s quest for more power led her to acquire the Third Eye, the ability to peek into the future. But that came with a price. This new ability turned Psykos into a ruthless and bloodthirsty vessel carrying on the will of a mysterious entity beyond her comprehension, which left Psykos, once defeated and unable to realize this obscure mission, a husk of her former self, whom Fubuki, in her attempt at solving this mystery, is trying to recover as of Chapter 134. It’s rather poetic how Psykos, who was a follower driven by her own particular agenda, became nothing but a puppet, a subordinate that could only follow her master’s bidding. Psykos’ search for power and her obsession for it led her to fly too close to the sun, too close to a source of power that consumed her, reducing the vicepresident to a mere instrument of an obscure design. Her fate is the result of the key differences between Psykos and Fubuki: for all the warped views she possesses, in fact, Fubuki never forsook humanity, and her self-driven will and ego would have never let her become a servant of someone’s else scheme (for now, at least). This is what truly sets them apart and why Psykos represents a dark mirror to Fubuki with none of the morals to placate an insatiable lust for power (she is called Psykos for a reason, after all).

Since both Fubuki and Psykos play a major role in this arc and their battle represents one of its most significant moments, I believe that a comparison between them and the two most important characters of this saga, Garou and Saitama, is warranted, as it reveals interesting analogies, parallels and correspondences between them, not only by highlighting the similarities between the duos of foils of Saitama and Garou and Fubuki and Psykos, but also between the hero (Fubuki/Saitama) and the monster side (Psykos/Garou), while we also take into consideration how the esper sideplot mirrors the main storyline and reinforces its overall narrative. 

Before going into the comparison itself, a little introduction to Saitama and Garou’s dynamic/relation is needed - Saitama-Garou’s dynamic is a topic in itself and I can’t cover it all here as this post is about Fubuki and it’s alreay long enough, so I will keep it brief. Down to their very appearances, Saitama and Garou are polar opposites in an archetypical sense, Saitama as the white-caped hero and Garou as a horned monster immersed in shadows, both inspired by a cartoon they both saw as kids, which led them down to the path of the hero as a serious “hobby” and a monster capable of overturning the traditional narrative and re-shape the world, narratively and ontologically “arch-enemies”; in this pursue, both of them followed an almost suicidal “training” in order to achieve their dream, but while one was an ordinary young man with no particular skills or abilities, the other was a genius martial arts talent; and while Saitama always stayed true to his childhood dream, Garou compromised his desire for fairness and justice, taking the “easy” route in order to fix the rotten world by choosing the side of the monster, which, in his mind, is synonymous of “underdog” and “emarginated”.

Now, onto the comparison. First of all, the two espers, Fubuki and Psykos, were introduced trying to recruit into their organizations, respectively, Saitama, the protagonist of the series, and Garou, the main character/antagonist of the saga, who, up to that point (and, to be fair, even after that) were forging their personal paths without any sort of affiliation (Saitama works for the HA, sure, but he didn’t pledge allegiance to any of its numerous factions but kept minding his own business). In regard to the circumstances where these characters first met, ONE flips the conventions. On the “hero” side, after the failed recruit attempt, Fubuki fights Saitama over factions and ranking; for the “monsters” it’s the opposite: Psykos sends her subordinates to Garou’s rescue when the Hero Hunter is cornered by the heroes and about to succumb. On the one hand, we have heroes infighting and, on the other, “monsters” providing assistance to each other. The two sides are one the “inverse” of the other, playing and subverting the tropes usually associated with the archetype they represent (”heroes”, “monsters”) and the traditional narrative templates that usually accompany those. As if we were witnessing the events unfold from Garou’s point of view, we observe first the issues of the HA that render its service to humanity imperfect and flawed, proving him right about the shortcomings of the hero system and its members, who seem to not behave like actual heroes but rivals ready to take down the competition, more worried about ranking than anything else, while the cooperative and organized monsters, with their providential intervention, at first seem to live up to Garou’s childhood expectations.

Nevertheless, things are destined to change, and, in a way, the roles the “recruiter” and the “target” (Fubuki and Saitama, Psykos and Garou) play in these two dyads are reversed between the two groups in the chapters following their first meeting: Saitama and Psykos represent, in fact, a turning point for Fubuki and Garou’s characters arc. While Saitama plays a more personal and character-charged role in the development of the esper, in the case of Garou, Psykos’ entanglement in the hero hunter story completely changed the course of Garou’s hero hunt, and her meddling - the very existence of the MA, Garou’s rescue, Psykos’ offer to him, Royal Ripper and co’s ambush, the fight between Psykos and Garou that trapped the latter in the depths of the base, etc. - all shaped Garou’s journey, leading, albeit inadvertedly, into the final stage of the MA arc. In this sense, Fubuki and Garou’s involvement in the war between heroes and monsters was determined by having crossed paths with, respectively, Saitama and Psykos, who provided, for a matter of fact, the circumstances under which these characters were present at all during the events of Z-City - Fubuki, who, drawn to Saitama’s group, stayed at the apartment, from where she and the others later joined the battle, while for Garou everything that followed the intervention of the MA on his side, and, later, the kidnapping of the ugly kid, forced him to be part of the Z-City war as a third “party”. Coincidentally, both Saitama and Psykos reside in Z-City, the epicenter of the conflict: Saitama living alone (prior to Genos) in the unhinabited area of the city; Psykos deep below the sourface and under the monster lair, in a secret chamber unacessible to anyone but her. Interesting enough, both Saitama and Psykos are behind the creation of the two organizations: the HA was created because Saitama saved the butt-chin kid, which inspired his grandparent to come up with and fund the HA, whereas Psykos is the founder and leader of the Monster Association. Despite that, the true identities of both of them are unknown to the members of the respective organizations: one is considered by most an unremarkable troublemaker rookie hero, while the monsters are only aware of Psykos’ coverture, the one-eyed psychic monster, and don’t suspect real her identity as a human being. But let’s go back to comparing the relation between these characters by putting side by side the two dyads of foils (Fubuki and Psykos, Saitama and Garou), which is probably the more narratively meaningful angle from where to look at these foils and the configuration that brings out the most parallels and similarities between them, as well as how these affect the story and play into the underlying themes of the arc. As mentioned before, the espers, as leaders of organizations trying to recruit them, play a similar role in Saitama and Garou’s storylines, which serves to further portray the hero/monster factions (both, as Garou laments in Chapter 76, very disappointingly human) as far distant from the ideal concepts the latters have of these archetypes, thus highlighting the distinct nature of Saitama and Garou themselves in comparison to said factions and their members (the majority of them, at least). And while Saitama has already experienced the flaws of the HA before (and several characters embody these in even more pronounced ways), nevertheless, Fubuki and her recruitment attempt, given its placement in this saga, brings up again an endemic issue within the HA, creating a deliberate and direct correspondence between Saitama and Garou’s storylines, as her precedent is soon followed by Psykos’ own introduction and her desire to make the Human Monster join her forces. These encounters end up prompting Saitama and Garou’s criticism for, respectively, Fubuki (for her obsession with ranking, factions, and status) and Psykos’ monster association (which is completely alien to Garou’s notion of monsterhood, as later remarked in the aforementioned Chapter 76) - Saitama and Garou are also not amused by their telekinesis too (but to be fair, in Saitama’s case, this is a recurring gag he has with any psychic user he comes across). The parallel between them is further reinforced by both the “rookie” hero and the wannabe monster finding themselves standing against their colleagues’ opinions, when said colleagues will push them into committing a murder: the ultimatum the monsters set for Garou, in order to prove his monsterhood, consisted of killing the ugly kid after the Human Monster didn’t murder 100 people as per their first request and failed to take down a passerby hero (who happened to be Saitama) (Chapter 56); Saitama is pressured by the majority of the still stand majority of the heroes into delivering the final blow on Garou (Chapter 94). Linking these two moments there is, once again, the presence of the espers, who express the views of their respective factions: Psykos, who asks Garou to prove his monsterhood by killing 100 people (a stark contrast to the kind of monster Garou aspires to be), while Fubuki advocates (like the other heroes) for the elimination of the Human Monster (Chapter 94). Against this unfairess, both Saitama and Garou do not sacrifice their integrity by abiding to the decisions taken by the majority. Instead of going against their personal beliefs and moral system, they keep carving their path on their own accord, even when it means being the only voice of reason or fighting against overwhelming odds. Interesting enough, this careless attitude is antithetical to Fubuki and Psykos’ spirits; the espers avoid reckless actions, relying instead on groups (though, in Fubuki’s case, has a particular reason) and only picking battle they could win (or think, they could win) - Fubuki’s character arc hinges in part on the character is confronting this, when it becomes a limit and prevents her potential. If Garou and Saitama are characterized by following an ideal, a romantical view of the archetypes they aspire to, Psykos and Fubuki are more pragmantical and utilitarians, less concerned with abstractions and more functional in their approach to the path they chose. By the way: in regard to Fubuki, what I stated above refers mainly to her introduction arc and how she is presented in it, and less about her as a whole, though certain elements still apply to a certain degree. 

In regard to the confrontations, for what concerns one of the leitmotifs of the saga, namely “skill” versus “raw strength”, Fubuki versus Psykos is the opposite of Saitama versus Garou: in the esper showdown, “the good-aligned” character wins thanks to wits and superior technique against the “power-oriented build" of her opponent; in the final battle, instead, the absolute power of the caped hero prevails effortlessly against the martial arts of the “monster” prodigy. No matter the plans they devise, the power-ups they gain, their determination and their previous astonishing accomplishments, whether it is pure brute force or refined techniques, in the end the villains are destined to lose ”unfairly” against their designated “heroic” counterparts in the decisive duel between them; this predetermined outcome rhymes with the “the hero always wins and the monster always loses” motif that permeates the whole saga (evoked in Garou’s monologue, mentioned at the beginning of this post). After overcoming the biggest hurdles on their path (the S-Class) and right when their victory was at hand, the unexpected and out of nowhere appearance of their “nemesis” (coincidentally, two B-Class heroes) denies Psykos and Garou the chance of achieving success. Over the course of their respective battles, both the leader of the Monster Association and the Human Monster slowly realized this: Psykos, as her telekinesis is repelled by Fubuki, starts to fear that her battle against her former president will have the same outcome as the previous one in high school; Garou steadily recognizes he is battling an hero embodying the world’s “unfairness” against whom his martial arts, fighting prowess and power-ups all fall short, unable to overcome that very outcome he always strived to subvert and that now seems to await him too, as a “monster” that can’t escape his fate (Chapter 88; Chapter 91; Chapter 92). Both Psykos and Garou are defeated not by traditional heroes, champions of morality and paradigms of virtues, but subversions of those: an egoist driven by warped world views and a jaded man who became a hero just for “hobby”. [Updated 11/03/2024: I was unsatisfied with the previous conclusion I wrote for the paragraph, so I decided to completely rewrite it and hopefully clarify my original point] The fact that this sideplot and the two espers, considered either individually or in relation to one another, parallel and mirror Garou and Saitama’s story beats is not a random choice. Dichotomis, dualisms, and contrasts are all heavily featured in the arc (human/heroes vs monsters, individual vs society, strength vs technique, the dualistic visual motive of black and white present in both the esper and the final battle as noted earlier, etc.), with foils and mirrors being one of the many ways those concepts are manifested along the course of the story. This is a precise writing decision that reflects the irresolved identity of the protagonist of the arc, Garou, a young man who wanted to change the world and eliminate unfairness but, feeling unable to do so as a "hero", compromised and decided to become its opposite, a “monster”. His inner turmoil and his spirit torn between these two "roles" reverberate throughout the saga and its plot and characters, assuming a concrete shape, plot-wise, in the form of two battling organizations (the Hero Association and the Monster Association) that are a manifestation of the archetypes Garou's perceives in perpetual opposition between one another, heroes and monsters. Therefore, the entire arc lives and thrives on the conflict spawned by these apparently irreconciliable opposites, before the cathartic resolution of the arc overcomes this opposition and brings new-found unity to Garou, when, after his defeat, Saitama reveals that, in reality what Garou really wanted be was a a hero but chose the path of the monster. This, and the appearence of the ugly kid, brings resolution to the saga and represents a new blank, starting point for Garou, now free to figure out who he really wants to be and choose his own path.

Before moving on, there are a few other topics I want to address:

starting with how Fubuki and Psykos’s story intersect with Garou’s. The backstory of the two espers resembles in a way Garou’s summation of the unfortunate villain’s tale (Chapter 46), since it follows its plot and features all the parts required for the play to be represented: Psykos, the hated “Villain/Monster” opposed by the “Majority” (the members of the “Society for the Study of Supernatural”) and defeated by the intervention of the “Hero”, Fubuki, who stands in defense of the current social landscape. And no matter how she tried to surpass Fubuki after the high school fiasco, in the events of the MA arc Psykos still loses again, beaten by an “egoistical” subversion of a hero supported by society - which is all very reminiscent of 1, 2 (Chapter 46). But this story doesn’t stop at simply mirroring Garou’s monologue because it directly connects to the Human Monster plotline. In fact, as the recollection ends and the clash between the espers concludes, with Psykos falling on the ground and Fubuki looking from the distance and questioning Psykos about what made her change, the one who emerges from the night is none other than Garou. The Hero Hunter’s reappearance at the end of the battle couldn’t be more fitting since Fubuki victory over Psykos follows, once again and like in high school, beat for beat the narrative scheme of “the hero fighting the monster/villain” loathed by Garou. No other scenario would have provided a better setup for Garou’s return other than this specific battle. While his kid self powerlessly observed the “tragedy of the monster/villain” occurring on screen countless times (Chapter 46, pages linked above), now, from over the rocks and behind a new frightening appearance, he similarly stares over the conclusion of the esper battle - another iteration of the hero and villain’s tale - before intervening (Chapter 77), facing the hero. Garou is obviously not “vindicating” Psykos, but his return following Fubuki’s victory, seems to almost break, meta-narratively, the “curse” of the “villain/monster” losing unfairly to the heinous “hero” (re-evoked in the psychic battle), since his arrival renders (apparently) meaningless all the victories and the efforts Fubuki and the other heroes obtained against all odds and through immense struggles up until that point, as a new, unstoppable threat emerges from the shadows of the night the same moment the leader of the Monster Association was finally defeated. This reappearance also underscores how far Garou’s progression as a character has come: if in his first appearance Garou declared his resolve to become “the strongest monster ever”, with this entrance, the Hero Hunter has seemingly reached (or at least is on the verge of achieving) that goal, the “Disaster Level God” (”Absolute Evil”), the being capable of changing the status quo. For these reasons, it’s quite symbolic that Garou, in his new “transformation”, is standing above two associations (embodied by Fubuki and Psykos) that mirror each other as two faces of the same coin (see what I wrote about Fubuki and Psykos’ appearances, Psykos being a foil to Fubuki and what purpose this serves as a storytelling device), which also echoes Garou’s rumination from Chapter 76 (1, 2 and 3). Furthermore, this scene perfectly bridges the first half of the arc, the hero versus monster battles, which culminate with Psykos’ defeat, into its conclusive phase, where Garou takes center stage and emerges as the ultimate threat to the two battling organizations. There is another common detail between the espers and Garou, which is to say the setting of their flashbacks: school, also recurring in the other Fubuki’s flashback featured in Chapter 99. In school or its immediate surroundings, those three characters all experienced a crucial event (or, for at least two of them, Fubuki and Garou, the culmination of a process ONE decided to encapsulate into specific turning points) that will affect the rest of their lives, leaving traces and prompting reactions that constitute the basis of their characterization in the present of the series: Fubuki’s pivotal childhood flashback took place near school and involved her classmates (and her sister); Psykos’s first clash with Fubuki occurred in high school; the experiences with his classmates and the school personnel (Chapter 54), mixed and overlapping with the television cartoon villains he rooted for as a kid, led Garou to his current crusade against mob mentality. Far from being mere scenography, in every one of these sequences, “school” is framed as a microcosm that already exhibits forms of inequality and discrimination that plague society as a whole (like herd mentality), marginalizing and oppressing those who do not conform with the popular opinion of the majority or are, simply, “different” (like in Fubuki’s case). Despite their formative function, schools fail in OPM at their pivotal purpose of preparing the new generations for the roles they will take in society, and the school personnel, as well as parents and adults in general, are either absent, like in Fubuki and Psykos’s flashback(s), or actively enforce and promote injustices, as in the case of Garou.

Considering how Psykos refers to Tatsumaki as Fubuki’s arch nemesis and the fact Tatsumaki “connects” Psykos to Fubuki solely for the similarities between their telekinesis (and not because she has any recollection of Psykos herself), it wouldn’t surprise me if the club was a secret thing Tatsumaki wasn’t aware of; this is actually 100% consistent with what is stated in the Esper Sisters arc. When we remember how taken aback Psykos was by Tatsumaki during their clash, as if she had never witnessed her powers before and had only a vague knowledge about the older Witch Sister’s capabilities, it is fair to say the two hadn’t ever met before Chapter 62. Moreover, Tatsumaki never “recognizes” Psykos: the connection Tatsumaki draws between Fubuki and Psykos is strictly based on their telekinesis; taking into account the Esper Sisters arc (where Tatsumaki keeps referring to Psykos as a monster) and how Tatsumaki never refers to Psykos as a Fubuki’s acquaintance from highschool she remembers, it’s safe to assume that she didn’t know Psykos at all and wasn’t aware of her existence or Fubuki’s highschool club in general; if she actually knew Psykos, then the story would have conveyed this information clearly and directly (through dialogue, or by showing Tatsumaki looming somewhere in the flashback or in another manner), instead of outright omitting to mention something of this importance - and that because Tatsumaki didn’t know Psykos before the Z-City incident. As for “Fubuki’s friend” (“友達”) (Chapter 62) that is how Tatsumaki always addresses people orbiting around and/or seemingly having a (even remote) connection to Fubuki (panels from Chapters 101 and 102). Additionally, Psykos, while still pretending to be a monster, ouright addresses herself as “Psykos” in front of Tatsumaki: if the two knew each other, this would be a very stupid thing to do, as it completely invalidates her disguise and basically tells Tatsumaki to search for her real body; moreover, Tatsumaki doesn’t react to the reveal, meaning it didn’t ring any bell, and connected the two espers solely thanks to their similar telekinesis. So, I think is rather clear that the two never met and Tatsumak was not aware of the existence of both Psykos and the club in general. Besides, during the flashback, we only see Fubuki in a school environment or wearing a school uniform, never in other scenarios; she isn’t present when Psykos recruits and submits other espers groups, which is strange given how Fubuki always leads her subordinates and likes to assert herself as the leader/strongest - at the same time, Fubuki never expresses any interest on the world domination stuff and the other esper groups, so there is that as well. In fact, even though Psykos mentions Tatsumaki as Fubuki’s nemesis, she clearly sees the older esper as an obstacle to her actual goals as the dialogue clearly implies whereas for Fubuki Tatsumaki is clearly a threat to her freedom and future and not to a secret evil ambition, so the two things don’t align at all. Furthemore, in the panel I posted before (followed by my thoughts on that topic), the only one with Fubuki and Psykos together, both of them have a school bag and are wearing a school uniform, indicating once again that the only place where they interacted, and where Fubuki interacted with other people in general (which is to say the other members of the club), was school and its immediate surroundings, and nowhere else - another subtle proof of Fubuki’s isolation and sheltered existence, all things the Esper Sisters arc delves into and explicitely addresses. The part of the flashback that shows the activities of the club is also entirely from Psykos’ POV, not Fubuki’s, who is basically absent for the majority of it. From this, I can infer a couple of things: it’s as if something, or better yet, someone, was restricting Fubuki’s freedom and preventing her from having any contact with the rest of the world outside of school hours; at the same time, this could be another evidence that submitting other esper groups was Psykos’s exclusive interest that Fubuki did not share; or, better yet, a combination of both. The only time (that we are aware of) the Fubuki Group acted on their own (fighting and defeating a rampaging monster classified Tiger Level Threat, if not above) without being led by their leader occurred in Chapter 134, when Fubuki was too busy trying to contact Psykos telepathically. So, I wouldn’t be surprised if Tatsumaki only allowed Fubuki to attend lessons and school activities, while, for the remaining time, she was under strict surveillance. The fact she had also no interest on this activity and Psykos’ own goals probably gave even less of reason to Fubuki to partake in these actions as well, which were conducted entirely by Psykos.

So these are Fubuki’s accomplishments in this arc. But not everything goes well for the esper.

After all, the Monster Association is the ultimate reality check for the Hero Association and the majority of the cast. Considering how this arc is filled with thematic comeuppances and poetic matchups with characters being subjected to the “rule of contrapasso” and suffering instant karma as a result of their mistakes, what has been specifically reserved for Fubuki?

For starters, as it was already observed, Fubuki, who prefers to avoid unnecessary risks and is unwilling to throw herself unprepared into a situation, is catapulted with little to no infosmations and without plans into a war between the top heroes and a group of Dragon Level Threats - and the heroes are losing the battle. Despite all her efforts to play it safe, a chain of unforeseeable circumstances pushed her out of her comfort zone at the epicenter of a disaster. This is incredibly ironic in itself.

Furthermore, in the battle against Psykos, we also learn that the technique Fubuki mastered through hard training, Psychic Whirlwind, was already perfected by Tatsumaki. Outside of a typical example of ONE’s humor, this clarification by the narrator will have dramatic repercussions in the next arc, when the two sisters will collide. It also ties to the theme of unfairness: despite Fubuki’s efforts, hardship and ingenuity, her sister was capable of achieving the same result solely thanks to her natural-born psychic potential.

During the arc no one who was helped or rescued by Fubuki thanks or acknowledges her. Genos didn’t change his standoffish attitude toward the esper after the Overgrown Rover battle and, while trapped under the debris, he dismissedively replied to the B-Class telling him to not reach the surface (Chapter 71), the place where her sister was battling the MA. When Fubuki appeared just as the Cadres were about to attack King, the B-Class esper reassured the S-Class Hero that she wasn’t going hinder him (Chapter 74), despite having actually saved King and the whole situation. In Chapter 94, Fang asked King to free him from the rocks and in turn King called for Fubuki’s help; once freed from the boulders by the esper and in response to the fellow S-Class’s concerned question, the martial artist only thanked King. Now, make no mistake: this is not meant to depict Fubuki as the poor Woobie surrounded by ungrateful snobs guilty of mistreating the totally innocent psychic sweetheart; all these characters have good reasons for treating Fubuki like this. If anything, what I’m trying to say is the opposite: in her mini-arc, we learned how much Fubuki regards rank and status as manifestations of individual value and, therefore, how focused she is on securing and improving her standing. Now, in circumstances warranting public recognition as a reward for her prominent role in the war, these efforts go unnoticed, and Fubuki’s chances to shine, as in being recognized by other characters, are negated. It’s another splendid example of the “law of contrapasso” being applied in the arc. It’s solely in the next one that Fubuki will be rewarded for her actions and determination: Tatsumaki will acknowledge her strength (Chapter 101: 1, 2) (well, before going full psycho), Saitama will help her against Tatsumaki (I talked about this here), the members of the Fubuki group will express their gratitude for the way Fubuki took care of them (Chapter 105: this page and the following ones) and Fubuki will, finally, move to A-Class (Chapter 107).

[EDIT: 11/12/2023] I now realize that I didn’t include perhaps the most important consequence of this fight: well, time to correct this mistake. Once the esper battle ends with Psykos being defeated and laying on the ground, Fubuki comments that Psykos was never a strong “child” (she was a weaker esper than Fubuki, after all), and that something must have changed the vicepresident in order for her to acquire vastly more powerful telekinetic powers, with the side effect of twisting and corrupting her mind even more than it already was. I want to clarify that the kanji “強” and the expression “ 強い” refer to “power”, “strength”: Fubuki is questioning how someone who was weaker than her acquired Dragon level telekinesis (Fubuki is therefore referring only about Psykos’ telekinesis, not her personality). Fubuki then wonders if this unnatural change was the result of the Third Eye, the power Psykos obtained when she came up the plan of wiping out humanity. It’s at this point that Fubuki realizes that Psykos’s plan in high school wasn’t dictated by her own agenda, nor was it another case of Psykos’ personal brand of crazy (like world domination), but the result of something sinister and external, something that threatens humanity as a whole. What was an episode from Fubuki’s teenage years she promptly dealt with and then forgot about, with the only consequence of cementing an already disastrous outlook on life, is now re-entering her life in the form of an unsettling mystery heralding the apocalypse. From this moment on, Fubuki priorities change: her previous concerns, including the source of her traumas, Tatsumaki, all pale in comparison to what this discovery represents. And while Fubuki, as a hero, feels responsible for Psykos’ current state and wants to help her, Psykos is also the key to deciphering this mistery, and so, learning more about the future Psykos saw and the entity that looms over mankind will be one of Fubuki’s main drives in the upcoming chapters, like in the Esper Sisters arc (Chapter 99: 1, 2, 3) and in the following events (Chapter 134) [End of the EDIT].

The lowest point for Fubuki during the arc, though, is represented by Garou: by crossing paths with the self-proclaimed human monster (1, 2, 3, 4, 5 and 6), Fubuki finds herself in the predicament Saitama foreshadowed back in Chapter 48. 

This sequence isn’t the umpteenth instance of a character being used for a meaningless gag, but a turning point for the story and Fubuki herself. After all, it marks the return of the saga’s main character after we left him alone over the rubble of what once was Z-City, questioning his humanity the moment his body seemingly started failing him for all the accumulated injuries of his previous battles. Garou’s triumphal reappearance requires, therefore, its due pathos to set the tone for what has to come, reestablishing the main character/antagonist of the arc as the ultimate barrier in front of the heroes in a way that conveys the tonal shift this development carries. Consequently, ONE dials up the “horror” factor by drawing Garou’s exterior as a distorted demon-like figure standing menacingly in front of the tired and caught off guard esper (1 and 2). His new terrifying appearance perfectly embodies Fubuki’s fear of overwhelming power that leaves no possibility of victory or success to those who try oppose it. Any hope to win, any chance at overcoming this new threat vanishes in the face of the strength beyond reason that he radiates, reminding to Fubuki how her struggles and efforts were all for nothing. As I mentioned in one of the previous paragraphs, his appearance seems to nullify Fubuki’s success, to render pointless and meaningless everything she achieved moments after the tides were turned - as we know, Garou didn’t take away from Fubuki’s contribution of the arc, but, narratively, his role in the final phase of the arc seems to throw into despair what the heroes conquered through their battles, representing an invincible final boss no one can defeat.

The Hero Hunter, in fact, makes his entrance right in the moment of her victory against the leader of the Monster Associations and overwhelms any preparation, connection, power and technique Fubuki could have ever employed against him. If the encounter with Saitama gave Fubuki a taste of the unsustainability of her short-sighted mindset, Garou completely shatters the illusion of fulfillment and protection her bubble world gave her. Remaining in an environment with no bigger fish than her, dodging dangerous situations, creating a group and securing the highest spot she could in the HA’s hero score - it was nothing more than administering a palliative instead of treating her real issues, and Garou, as the overwhelming “monster” Saitama predicted, exposes that as such: all Fubuki’s attempts at escaping her own demons crumble against the Human Monster and Fubuki is left with profound despair. Fubuki fear is also effectively used to frame the terror that Garou brings on the battlefied after he effortessly takes down the S-Class.

For several chapters we are left wondering what actually happened to Fubuki and Garou even claims to have killed her in Chapter 83. Solely as Garou viciously beats the last S-Class, we find the B-Class profoundly shocked, delivering (to King) the answer to what Garou previously asked her (Chapter 84: ”What do you see?”): “Fear”. 

But Fubuki did actually try to fight Garou. As already stated above, not even a few moments after taking down a Dragon Level Threat, Fubuki was suddenly confronted by the appearance of a new formidable opponent. Left with no other option than to defend herself, Fubuki attacked the demonic silhouette with Hellstorm (1 and 2). By that point, though, very few heroes (or monsters, for what it matters) could face Garou head-on, let alone defeat him, and so the Hero Hunter easily deflected Hellstorm’s rock-barrage with martial arts powered up by his newly acquired “lighter” and stronger body.

As for what “fear” actually means to Fubuki and where the roots of it come from, we have to look at her fight with Tatsumaki in the next arc. Against her older sibling, the same sensation Fubuki felt in front of the Hero Hunter resurfaces once again, filling Fubuki with despair (Chapter 100). It’s the fear of having to battle an overwhelming power that, no matter all her efforts and her struggles, squashes her chances of success and leaves her at the mercy of her adversary. The fear of being powerless in a world where power and strength are the only languages universally understood, what determines right and wrong and the fate of an individual. The hopeless sensation of being forever the “weak”, completely harmless against an opponent that trascends her strength.

In Fubuki’s encounter with Garou there is also a nod (or should it be called a foretaste?) to Fubuki’s childhood flashback from the next arc: as her trauma kicks in, Fubuki instinctively assumes the same “defensive” position her young self took against her bullies as shown in the Flashback from Chapter 99; it’s noticeably distinct from the fetal-like posture of Darkshine, demoralized and trapped underground, or from any other character reduced to a distressed or depressed state during the arc, and seems it was drawn like that on purpose for character-related reasons. Be it intentional or not, it’s a great detail, especially because while the panel seems to convey, at first glance, everything required of it in the context of the sequence, it acquires a deeper meaning in the light of a flashback contained in the next story arc, retroactively adding an ulterior and more personal layer to Fubuki’s reaction here.

As much as the esper is affected deeply by what she just experienced, however, Fubuki doesn’t turn into a damsel in distress or comic relief. ONE doesn’t ridicule her with misplaced gags nor does he downplay her fear for cheap laughs, but uses this sequence (and, to be honest, nearly every panel involving the character) to advance and progress her story and flesh out her characterization. Beside, nobody saves Fubuki, uplifts her morale, or helps her overcome that cloud of terror. King, who found her and stayed with the psychic up until the end of the arc, didn’t bring the B-Class out of that state, because Fubuki will have to do that by herself in the Esper Sisters arc, where the B-Class, confronted by the same feeling of hopelessness and fear, will have to fight back the very source of her traumas, Tatsumaki. Here we have the other purpose this fight fullfills, beside realizing Saitama’s prediction: the encounter with Garou serves as a meter of comparison for a similar, hopeless situations Fubuki will find herself in the next arc, this time, during a much more personal confrontation, where, instead of reasignation and despair, Fubuki will find the courage to stand against an immensely powerful threat. Thanks to the precedent of Chapter 78, the growth she underwent and the way she will face bravely a similar, desperate situation become all the more powerful and impactful than they already are.

Worth mentioning is that the actual threats of the MA arc, in the sense of those aiming to kill the heroes and the kid, aka the Cadres, never reduced Fubuki into a damsel in distress: only Garou represented for her a “death” scenario, if Garou wasn’t, well, Garou, but, in that case, the same would apply to every other character in the arc not named Saitama. By the way, the “fear” sparked by Garou didn’t stop Fubuki from proving her usefulness even at the very end of the saga: in the last chapter of the arc, although still shocked by the Human Monster, Fubuki lifted the builders trapping Fang, freeing the martial artist from the imprisonment Psykos and Homeless Emperor confined him to. 

Always in Chapter 94, we find out that Fubuki, alongside King and the few conscious S-Class heroes, witnessed Saitama single-handedly defeat the Human Monster who almost took down the HA. The same hero who “foresaw” the scenario Fubuki found herself in was also the one who put an end to Garou’s rampage. With his victory against the “Devil” (Chapter 94), Saitama proves to Fubuki and to several other characters as well that he is not simply “very strong” but one of those incredible beings that defy any common sense. This development will have major consequences in the setting and in the following arcs. With the end of the battle and Garou’s disappearance, the Monster Association arc finally comes to a close.

So, when we look at the bigger picture, what does Fubuki gain at the end of the Monster Association? Not a promotion, not a power-up, not an improvement in her relationships with her colleagues - nothing. Instead, Fubuki has to carry the burden represented by Psykos and the consequent sense of responsibility for her state, the looming mystery of what Psykos saw in her vision (the “Source of Madness”), and, as aforementioned, the realization of Saitama’s “prophecy” in Garou. Despite her impressive achievements for the HA, Fubuki’s participation in the battles didn’t improve her condition; if anything, it worsened it. Defeating Psykos leads Fubuki right to the worst-case scenario she could think of: a direct clash with Tatsumaki. The Esper Sisters’s arc is kickstarted specifically by that battle.

Aftermath.

We reunite with Fubuki a few days after the conclusion of the MA arc (Chapter 96). She is heading to what we will soon discover is the HA’s prison, where Psykos is imprisoned. Her mission is desperate: learn about the vision of the future and, eventually, rescue Psykos, the only person who posseses any clue about this nefarious future, from Tatsumaki, who intends to execute the MA leader on the spot. It’s a race against time and the odds are stacked against her.

Fubuki’s arrival at the HA’s parking lot (Chapter 98) is a clear callback to her introduction arc, with Fubuki in a reversed role: she is the one who, unintentionally, interrupts a fight between Saitama and a co-ranker, much like Genos and Sonic put a stop to her “fight” with Saitama when the latter was still a B-Class. On this occasion, bumping into Saitama is not her objective but a lucky coincidence that will assist her down the line. It all goes to show how much things have changed for the character since her first appearance and how different Fubuki’s goals are now. If the MA arc threw Fubuki into danger without warning or preparation, the Esper Sisterts’s arc has Fubuki taking action not for egoistical reasons and within the restricted mindframe of her own benefits, as she did in her series debut, but for the sake of Psykos’ current status, her human connections and humanity’s future. Fubuki’s priorities and concerns are no longer the foolish obsession with her own status, the power dynamics of B-Class and the petty competition for ranking, but the quest to learn more about the impending doom that threatens humanity as a whole and the selfless (and thus heroic) volition of rescuing Psykos, who becomes the embodiment of the responsibility Fubuki will have to take care of as a leader and a hero; a burden that will get even heavier later when the Fubuki group as well will become the target of Tatsumaki’s wrath. For their sake, Fubuki will have to take a stand against none other than her sister.

But let’s see what happens next.

Having run into Saitama, Fubuki manages to convince him to follow her, and the two enter the structure. This leads to one of my favorite Fubuki moments, her “dialogue” with Saitama in the elevator:

Just to be clear, not for pairings and stuff, but exclusively for what this represents for Fubuki and her story. I do not ship any character in this series (nothing wrong with shipping though) and I’m not implying any kind of romantic undertone in what follows.

Up until this point, Fubuki kept her “leader” act on like she usually does (Chapter 98). On this page, though, the same Fubuki who in her series debut antagonized Saitama and went even as far as to rookie-crush him is now praising him, who now as an A-Class outranks her (the very thing Fubuki originally wanted to avoid), for being stronger than her - which, on these terms, is a massive compliment and form of acknowledgement coming from Fubuki. The same person that fought the B-Class rookie out of fear of being surpassed by him is now openly recognizing the accomplishment of this “rival” and showing Saitama her respect. The same Fubuki, who always tries to appear strong in front of others and conceals her weaknesses and limits, is now telling Saitama that, after having fought Garou herself and then witnessed their battle, she recognizes the newly promoted A-Class as one of the individuals who stands above the rest, and, even more significant, Fubuki adds that she can say that despite having renounced doing it herself (“reaching the top”).

For Fubuki, lowering her “denfenses” and opening up to another person is extremely rare, if not unique. Serious situations (like the Hero raid against the Monster Association) or unexpected turns of events (like Garou) can temporarily wear off the aura she tries to cover herself with, but these are extreme scenarios with outside factors at play beyond her control. As soon as she can, Fubuki immediately reverts to her usual persona. In downtime and without direct external pressure, it is even more unlikely for the psychic to be genuine and sincere toward someone else when the preferable option of her façade is on the table, shielding and protecting her from exposing too much and coming across as “weak”. Previously in the series, every time Fubuki admitted a limit or complimented someone else, she did it only reluctantly, when in difficult situations (e.g., the Overgrown Rover’s fight) and/or discussing someone who was not present; she never did so of her own volition or in a scenario that didn’t necessarily require it.

For this reason, Chapter 98 is so significant. Sure, the threat of Tatsumaki looms menacingly over Fubuki, but the situation hasn’t gone south yet, and by bumping into Saitama, Fubuki has found an unexpected source of help that evens the odds, if only by a little (from the “in-universe” perspective of the character). Furthermore, with Saitama already accompanying Fubuki, her words here can’t be interpreted as flattering with an ulterior motive. On the contrary, what Fubuki is doing here is a sincere and outward manifestation of respect for Saitama and what he achieved, while, at the same time, an open admission of her “weakness” to someone who has surpassed her, in rank and power. Those are sincere, genuine words prounenced with no other intention but to pay respect toward someone she values as a person. The events of Z-City - meeting Saitama and his circle, the HA-MA war, the pivotal battle with Psykos, the “Source of Madness” and the fear awakened by Garou - made Fubuki realize that her concerns about being “number one” and her attempts at achieving a sense of illusory accomplishment were nothing more than an immature delusion in a world devastated by frightening monsters and villains, especially after learning of a threat looming on the horizon, and realizing that Saitama’s words, from when they first met, were indeed true. Hadn’t all of that occurred in the way it did, this page wouldn’t have contained such a poignant showcase of growth for the character that wraps up a plot thread that began back in Fubuki’s introduction arc, when Saitama warned Fubuki about her way of life.

And this is only the start of the Esper Sisters’s arc. What lies beyond is another crucial chapter of Fubuki’s story, representing the culmination of her process of growth and maturation up until this point in the story.

[ravnicaforgoblins]

Ravnica for Goblins

The Azorius Senate

History: Founded by Azor I, the Sphinx responsible for writing a majority of the original Guildpact, the Azorius Senate had a big part in organizing Ravnica’s government and maintain it to this day. Theirs is the most complete history, as its members are scrupulous about keeping records. Recording and preserving history is a core tenet of the Azorius Senate, not just for themselves, but for all of Ravnica. As a result, if you need to find a book or a piece of information about the past, the Azorius should have it. Criminal records, personnel files, building blueprints, personal histories; it’s all here. It’s just a matter of getting to it.

Organization: More than any other Guild, the Azorius Senate is meticulously organized. Its three Columns are represented on the Guild’s symbol:

The Sova Column (judges, arbitrators, legal aides, librarians, lawyers, etc) are in charge of making rulings in legal disputes. They decide what’s legal, what isn’t legal, and provide mediation for tough calls. Their word is final and carries serious weight.

The Jelenn Column (scribes, elocuters, notaries, lawmakers, legislators, researchers, messengers, etc) write the laws. Every member dreams of one day adding a new law they’ve written to the Guildpact. Their knowledge of Ravnica’s laws is second to none.

The Lyev Column (lawmages, hieromancers, arrestors, nullmages, investigators, enforcers, soldiers, etc) uphold the laws. They patrol streets, issuing warnings, carrying out warrants, making arrests, and function as eyes & ears on the streets. They are equipped for the job of detaining, pacifying, or incapacitating lawbreakers from any Guild.

Alignment Spectrum: Azorius are lawful if nothing else. The Guildpact is the single most powerful magic on the plane of Ravnica and the Azorius’ knowledge of it is unmatched by that of any other Guild. Laws are literally the source of their power, so having any other alignment can be a serious hindrance to an Azorius member. Ideally, the Azorius are Lawful Neutral, concerned with enforcing the laws as written, with no favoritism for anyone. Lawful Good are those who want to use the law to make life better for others because they believe in it. Hero cops, basically. Lawful Evil are those who use the law to their own means. Dirty cops, basically. Thing is, as long as an Azorius has the law on their side, their Guild will back them up. There may be repercussions, however.

Signature Elements: Since Guildpact magic is as powerful as it is, Azorius don’t have many other requirements besides a strong commitment to carrying it out. Azroius is largely populated by humans, as well as a good number of Vedalken, and their fair share of Giants. Being primarily booksmart, Azorius are very likely to have high Intelligence. They wear white & blue uniforms based on their rank & position, have notebooks & writing implements on them at all times, ride horses or griffins, and standard issue armor & weapons for those out on the streets. Azorius magic is law magic and typically takes the form of runes, symbols, floating letters, and glowing bonds/chains. It is firm & iron-clad, but always more focused on detainment than injury. That said, a 4′11″ Azorius can stop a rampaging 25ft tall Simic Krasis with a word and a piece of paper. That’s not just metaphor, I literally mean a piece of paper and clear annunciation can have that much magical power. Combat-wise, Azorius prefer weaponry that discourages unlawful behavior, such as spears, shields, and hammers. It only hurts if you insist on fighting. Magically, Azorius prefer to nullify threats with spells like Command, Hold Person, and especially Counterspell. Take away a mage’s spells and they might as well be a normal civilian.

Your Role in Ravnica: Patrol the streets, research the Guildpact, follow your orders, and above all, maintain order. That last one is the single most important aspect of being an Azorius, but it doesn’t have to be as constricting as it sounds. “Order” in Ravnica has a different meaning than it does on other planes. If a Rakdos troupe is putting on a disturbing knife display involving blood magic at one of their venues, your job is not to stop the show. Your job is to make sure it doesn’t get out of control and spill out into the streets. The status quo is balance, not utopia. If a Guild is building up an army, your job is surveillance, if a Guild is overstepping their boundaries, your job is to put them back in their place. If a threat to the city or its inhabitants emerges, your job is to neutralize it.

Your Territory: Within the Tenth District, the Azorius are most heavily focused in the 1st, 2nd, and 5th Districts. 1st District, being central within the city and home of the Guildpact, is patrolled most regularly. 2nd District, being the site of the Azorius Guildhall New Prahv, has the highest concentration of Azorius in the entire city. Not just patrols, but living quarters, barracks, airship stations, stables, legal offices, as well as prison compounds. It is among the most heavily guarded & fortified structures on the plane. The 5th District contains Prism University, Ravnica’s most highly esteemed educational college, as well as the Ismeri Library, the largest collection of knowledge & information in the city. While not strictly Azorius, the Library is generally filled with lawmages, researchers, students, and bibliophiles, all commonplace amongst the Senate.

Your Guildhall: New Prahv is the single largest building in Ravnica. A trifecta of titanic pillars towers atop a fortress prison nearly a mile wide and a thousand feet tall. It is an impenetrable reminder of the Azorius’ presence within the city. It’s not particularly subtle, but that’s very much the point. Azorius might be annoying out on the streets, but here they are absolute.

Your Guildmaster: The Azorius Senate has been through many Guildmasters, some longer than others. Like many real governments, most of the Guildmasters have been elected to the position based on legal merit/standing as opposed to physical strength. Most have been human (Konstantin I-II, Leonos I-II, Lucian I-III, Augustin I-IV, Lavinia I), with one Vedalken (Dovin Baan) and a couple of Sphinx (Azor I and Isperia). Their role is to issue final judgements, much like a supreme court judge, as well as to oversee the operations of every branch of the Senate. It is exceedingly rare for them to leave their posts, and almost unthinkable to see them out on the streets or in a fight.

Why You’re Awesome: Azorius know a lot. Not just about their own Guild, but about every Guild. To them, knowing literally is half the battle. The Azorius Senate are that one kid in class who actually reads the textbook and raises the collective average of the rest of the class by at least one letter grade. Not only that, but you have one of the largest & most impressive arsenals on the plane backing you up. Your job is to maintain order in a city with Psycho Murder Clowns, make no mistake, Azorius are built to hold fast against any threat, no matter how big. Paladins, Clerics, Wizards, Bards, Airships, Giants, and Griffins. Azorius are best equipped for dealing with threats that rely on only their strongest skill. Thugs, berserkers, raiders, beasts, etc who can excel at physical combat but dump Intelligence or Wisdom stats. Wizards and Sorcerers with massive repertoires of spells at their disposal but no backup plan for having every spell countered or nullified. Seeing the expressions on these individuals’ faces when they realize they don’t have a contingency for such situations is priceless.

Why You’re Problematic: To call the Azorius unpopular is a bit of an understatement. The general consensus about them among the other Guilds ranges from pity to annoyance to outright hatred. The Azorius are unyielding and non-negotiable, and read way too many gods-damn books. There’s also the matter of Ravnica’s own legal system being your greatest weapon as well as your greatest hindrance. Part of your job is to record all crimes you see, jaywalking through illegal detonation of a Purple Wurm, and there are utter mountains of paperwork attached to report. In addition, your Guild moves at what could generously be called a snail’s pace, requiring any major changes or decisions to go all the way up the ladder before any action is made. Worse, many of the other Guilds know this, and have learned how to subvert and dodge legal ramifications over the millennia. Orzhov specialize in finding creative loopholes in specific laws, whereas your job is more of a broad understanding of them. Last, but almost certainly not least, the Azorius Senate strives to be the pinnacle of law & order within the city, but the system is far from perfect. Mistakes are made, and the consequences can be alarming. Azorius strive towards a Greater Good mindset, and some of their actions in pursuit of this have been downright unforgivable.

Myths: You're boring.

You have a stick up your ass that could crack an Orc skull.

Laws are stupid and you’re stupid for following them.

You are required to be a Rules Lawyer.

You can’t do anything in a real fight.

You have to play a high Intelligence character.

No one likes you.

Reality: You’re dependable.

They’ll thank you for keeping notes someday.

Law Magic is the strongest on this plane, only a few Guilds actually learn it.

Lawmages specialize in rules, Arresters specialize in enforcement.

Your warhammer isn’t for show.

You only have to be smart enough to know who you can hit and who you can’t.

You didn’t join this Guild to be popular.

[teatimecrumpetsandsugar]

ethereal (voltron fantasy/royalty AU) (set up; part zero)

Heyo! It’s your friendly neighborhood Voltron fanfic aficionado- now your friendly neighborhood Klance writer but that’s honestly besides the point I don’t even know why you’d bring up my increasing obsession with them in this Klance fanfic that I swear everyone else will be in, too-

Today, I’ll be writing from a fantasy royalty AU with my favorite show cast ever, even though it may or may not be solely because I want to put water elemental!king!Lance in pretty dresses and makeup and just go crazy with my descriptions of gowns and other things.

I imagine, here, Lance would be from a kingdom with strong ties to Pidge’s kingdom, who has strong ties with Hunk’s kingdom, making them a powerful trifecta. I also imagine that Keith and Lance’s kingdoms are on very thin ice with one another, so Pidge encourages Lance to sit down with fire elemental!king!Keith. 

I also imagine that Pidge’s kingdom is closely allied with Allura’s and that the two of them grew up together, while she didn’t meet Hunk or Lance until she became queen. Also, I’d like to have my beloved Ruler Pidge go by she/they pronouns, simply because I see a lot of myself in the way she dresses and carries herself and I actually believe that these pronouns would fit her, alongside all pronouns.

Hunk and Lance likely grew up together in a very close ally ship and continue to be close friends well into adulthood because that’s just how they are. I can imagine Lance is very vaguely aware of Allura’s kingdom and would never dream of picking a fight with hers since, by default, allying with Pidge made him allies with Allura, but he probably doesn’t know her very well pre the canon timeline because I kind of want to build that relationship from the ground up to make up for what the show did to me-

Keith is definitely allied with Shiro, and Pidge and Shiro were always friends through her older brother, who, along with her father, abdicated from the throne and joined an adventurer’s guild instead (because they believed that Pidge would be a better fit for a ruler and decided that, given how they are, reconnaissance and exploration fit them better. She agreed with this insight, deciding to rule the kingdom the best way she knew how). Shiro, being a much more experienced king and friends with their brother, likely prepared them for the role as they grew into it; the two are on friendly terms, but allied isn’t exactly the right term as none of the people in their alliance knew Keith, so they weren’t sure they could ally with him. 

Lance met Keith at a gala years into his reign; they did not get along.

The system of Magic here will likely be dictated by what element one is born in the kingdom of, (i.e., Lance’s kingdom being the Aqua Kingdom, Pidge’s being the Spiritus Kingdom) and the strength of it in each person will be chosen based on a random set of variables that usually depends on the mood of the Gods corresponding to each element.

Lance- Water (Aqua Kingdom)

Keith- Fire (Ignis Kingdom)

Pidge- Life (Spiritus Kingdom)

Hunk- Earth (Terra Kingdom)

Shiro- Moon (Luna Kingdom)

Allura- Light (Lux Kingdom)

I imagine the reason an alliance is called for with Keith and Shiro’s kingdoms is because a traitor to Allura’s kingdom, either Lotor is planning on starting an entire mutiny with the ranks he’s managed to gather and then, consequently, conquer all of the rest of the kingdoms by force in the name of a long-dead kingdom- the Tenebris kingdom. His parents having died in the midst of a total economic crash caused by a codependent relationship with Allura’s kingdom whilst it was under her father’s rule, he was taken in by the state of Lux by Allura’s request, since they grew up together; unfortunately Lotor held lingering feelings of resentment- towards Lux, for causing the destruction of the only thing he could’ve ever considered his own by right, and towards his parents for always making him feel as if he was of no worth. He wants to conquer the entire world just to prove to himself that he is worth something, though, unfortunately, he’s on a path straight to death.

Might redeem him, might kill him off, might exile him- who knows at this point?

Hunk, I imagine, was a commoner who won the title of king through a series of magic-based trials (upon the death of the last ruler) and now keeps his entire family in the palace with him, using his title to take care of his family and citizens as a benevolent ruler. This likely happened when he was quite young- likely when he was 9 or 10, since magic is an innate thing and, in this kingdom, it’s tested in the youngest members of the kingdom in order to deem who is the most connected to their Goddess Terra.

Allura inherited her title when her own father died in the conflict with Tenebris- he went to battle with the people they’d unintentionally doomed in order to protect his daughter and his people, and died in the process; similar to her story in Voltron except her kingdom survives and Lotor and a select few survivors of the Galra become refugees.

Keith became king by beating the previous king’s son in a battle- his mother, being one of the higher ups in the government, sent word to him that the prince didn’t want to be king, so Keith wound up challenging him for the title. He won, successfully making his way into the world of prestige and getting closer to his mother. The prince left the kingdom shortly after- it’s believed that he ran away to be with someone, but no one is quite sure. All anyone knows is that he’s happy.

Lance wound up being king at a really young age- I’m imagining that, prior to his reign, his kingdom was incredibly strictly patriarchal. The previous king likely only had daughters, and the day of his death, Lance was born with incredibly powerful water magic. As a result, at the age of 6 years old, he was forcibly taken from his poor family and raised strictly to be a perfect king- however, he still saw his sister Veronica frequently in secret, the two of them sneaking around to eat baked goods and try on dresses together. When the palace staff found out, they tightened security and warned Veronica that she was no longer allowed to see him unless she wanted to be publicly executed. After his coronation (at age 8), however, he started making drastic changes to the laws that made the laws against commoners interacting with royalty more lax, and, once allowed to dress himself, started wearing dresses and makeup because it reminded him of home and made him feel as beautiful as he knew he was. He gets quite homesick quite often, and he’s still battling to get his family into the palace with him- he has, however, stripped the kingdom of its strict patriarchy. He constantly tells the kingdom that he hopes to one day pass the throne down to his own future daughter and still keeps the three princesses as his trusted advisors because he believes what happened to them was horribly unjust. The story will be told primarily from his perspective.

Shiro became ruler of his kingdom by fighting his way through gladiator ranks when he was only thirteen, winning the entire kingdom by brute force alone and leaving him with a lot more experience and trauma than he’d have liked. Being the oldest of the current generation of rulers and having inherited a kingdom that was closely related to Pidge’s and Keith’s, he guided them both through the process of becoming a ruler and the process of ruling, no matter how difficult it gets. It’s taken far longer with Keith than it has Pidge, since Pidge was raised a royal and has an innate sense of leadership and Keith is... interesting at the whole being a royal thing. Shiro, having grown up with Keith’s mother on the streets of the kingdom of Tenebris, was more than happy to take Keith under his wing- it helps the both of them come out of their shells more, so they have a mutual appreciation for one another.

I imagine this world will be vaguely futuristic and medieval at the same time- they’ll be able to have video conferences and reach other via communicators, holographic calls, things of that nature; but they’ll also be pretty old-fashioned in their manners of dress, their social systems, their currencies, and the vast majority of their laws. I hope that makes sense.

I wonder if it’s visible here that I spent three hours winging this and started getting more and more into it as I went, or if it’s obvious that I spend most of my time working with really obscure fantasy concepts. 

BAHDHAAHAHA I HOPE YOU ALL ENJOY THIS- 

If you’ve got any suggestions for relationship dynamics (platonic, romantic, or otherwise), any pitches for traits you think the characters may have based on their slightly altered backstories, or any feedback in general, feel free to share- I hope you all find this as fascinating as I did while I was writing it!

Also, @keefsteefs It’s happening, I’m doing it, it’s gonna be so fricking awesome-

[yellowlaboratory]

Valerie, a director, posted the picture of jj with the cop being interrogated or whatever and said it's from her episode which is episode 5 which is the darkest hour so I think like her season 1 episodes it will be a jj heavy episode and it will be when the pogues get all these charges for running away from cops and stuff aka their darkest hour. Tada I've solved the mystery of the darkest hour

you don’t know the can of worms you opened by mentioning my girl Valerie. 

for real, I think @hmspogue and I are one (1) step away from creating a Director Valerie Fan Club (for those who don’t know, Valerie directed episodes 7 & 8 of season 1 - aka she’s responsible for both the hot tub scene and the sex church scene, which I think are two of the best directed scenes in the show). 

I can totally see the Darkest Hour hinting at all the shit catching up with the Pogues - the police, whatever Jarah B is up to, and Luke. Which. Valerie’s handling of Luke and JJ’s relationship has been heart wrenching so far. so. I’m ready to cry. I guess it’ll also depend on which writers and editors are on that episode - which. yes. I keep track of that kind of thing. Alex and I may or may not have a scoring system where we rank all of the off-screen creatives. Valerie, Sunny (video editor), and Kathleen (writer/story editor) are The Trifecta. my absolute favorites.

[grootpoepjeplasjehoofd]

Jesus Christ I literally never want to hear anyone talk about the growing preponderance of Strasserism on the left ever again lol. Look at this, there have got to be like, a few dozen Strasserists around at most not counting the 4chan edgelords who adopt it as an aesthetic. Source

The Strassers wanted a utopian form of feudalism without monarchs or nobles, and opposed hereditary privileges where they actually existed. They also, for the most part, came to despise the Junker officer class which they saw as embodying a kind of aristocratic decadence, wrapped up in the defense of an order which was dying, and indeed must die. Hostility to the Prussian establishment can be partially explained by Bavarian chauvinism, as well as Otto Strasser’s canny appeal to English prejudices during his period of exile. But regardless, this contradiction, in which anti-aristocratic and anti-bourgeois attitudes continually canceled each other out, was resolved by a coalitionist appeal to German workers as a mass base for what was, in reality, a movement for feudalism, in which workers would be “rescued” from their proletarian misery by becoming landed peasants and craftsmen. In reality, theirs was not a rescue mission, but an effort to pin the restless proletariat in place, like insects in a display box. The old feudal mold was to be reshaped and fitted over a re-agrarianized Germany.

Now turning to the Strassers’ primary writings, we see that the feudal character of Strasserite “socialism” is clear and unmistakable. Otto Strasser reveals it explicitly when he writes that “…capitalism is ideologically linked with liberalism, prior to the dominion of which there was an entirely different economic system ideologically akin to socialism, though of course differing from socialism in form.”29

The watchword, and main task, of the supposedly socialist and pro-worker Strasserite project, is de-proletarianization. The urgency of this task is justified on the grounds that the proletarian condition is incompatible with independence, and is only made possible by “finding possessions for every German,” to give him “independence of thought and development.” Strasser does not mean by this private property, however, which is to be turned over to collective feudal self-management—for ownership belongs to “the whole of the German people”—but rather the land and tools required for small production.30

In order to accomplish this, Strasser proposes the apportioning of land and means of production on the basis of Erblehen, which can be translated as “hereditary fief” or “inheritance loan.” In agriculture, the state’s role is to loan land as usufruct, through peasant councils, which are passed down to male offspring after death, or else are re-allotted if no male offspring can be found. It is worth mentioning that this was implemented as National Socialist policy, if in a more limited form, with the Hereditary Farm Law of September 29, 1933, which had as its goal the preservation of the peasantry through the “ancient German method of inheritance as the blood source of the German people.”31

In the case of an industrial enterprise, workers and managers are assigned from their respective vocational councils in fief to a “factory fellowship.” The managers would constitute a “functionary aristocracy” that, Strasser assures us, is much different than a class of capitalists, since it cannot buy shares of any industry, but only inherit their portion from the state. Naturally, the manager’s share of the profits is much lower than that of the workers, since such “copious profit-sharing may foster [an] … overdriving of the means of production and the neglect of improvements.”32 Agricultural workers were to be converted into peasants, and workers not assigned to “factory fellowships” will join the ranks of petty proprietors, craftsmen, and professionals, who are organized into guilds.

Strasser meets the objection that a return to small production would create massive grain shortages by proposing de-urbanization as a complement to de-proletarianization: urban workers from the cities would be resettled as peasant-producers, particularly along the eastern frontier, while the capital of Germany would be relocated to a small town in the central part of the country; Strasser suggests Regensburg or Goslar (population in 1940: about 40,000). For, Strasser adds, “life in our huge tentacular towns is a danger to the human race.”33

To this de-urbanization and de-proletarianization, Strasser rounds out the trifecta with de-centralization. In Germany Tomorrow, Otto Strasser states that administration will be subdivided into 12-14 regions and adds that “the recognition of the necessarily unified character of the German State is not an acceptance of the ideal of liberal unitarism,” and that the German state is “not to be ruled centrally from one spot,” as to reflect the “geopolitical, religious, and cultural differences within the German people.” This reflects the earlier program developed at Hanover, which specifies that only financial and cultural policies were to be pursued uniformly at all levels of government, with all other policies to be implemented at the regional level, comprising 12-14 regions “according to their particular historical and tribal traditions.” As a general rule, the Strasser Program concludes that there should be “division of authority between centralism and federalism with … an organically structure system of corporations.”34

[quarantineroulette]

2020 Releases that I listened to more than once / stuck with me in some way.

Excuse my pessimism, but 2020 was a year in which finding solace in music was of little use to me. I also had less time than ever to listen to music. I spent the worst of the pandemic displaced and with limited internet access, then moved to another city and switched careers, two changes which I still haven’t fully comprehended. I also spent 98% of my free time feeling too anxious about the future as a whole to do any sort of listening, focused or passive. 

Things eventually got settled enough that I could at least check out what various music publications were fussing about in their year-end round ups. Not the most ideal avenue for discovery, but this has been a hard, tiring year and, despite some very promising releases and trends, I still feel a bit hopeless. I can’t even really be bothered to do any sort of ranking or make things even with a “20 for 2020,” so instead here’s a summary of some music that stood out to me. I can promise there are at least 15 releases mentioned - you can do a “choose your own adventure”  and rank them as you wish. 

Without a doubt, the only 2020 record that truly elevated me to a place where I stopped stressing out about things was Protomartyr’s Ultimate Success Today. These guys are by far my favorite band right now and their fifth album gave me so many new reasons to love them, from the propulsive “Michigan Hammers” and its stock footage masterpiece of a music video to elegant closer “Worm in Heaven.” Saxophonist Jemeel Moondoc, cellist Fred Lonberg-Holm and multi-instrumentalist Izaak Mills were deployed on most tracks and, rather than merely serving as a garnish for songs, their contributions added as much tension, heft, and brutal beauty as Protomartyr’s core members. Add in Half Waif’s Nandi Rose guesting on the Very Sad “June 21,” and you have one genuinely faultless release. In a similar vein, Algiers released their third and arguably strongest full-length, There is No Year, back in January and it served as a powerful, prescient (the title alone!) and just plain awesome reminder to keep fighting in even the darkest of times. 

This year I occasionally found myself praying for disco and I’m pretty sure Doja Cat’s sorta Chic-inspired “Say So” was the song I listened to the most in 2020 (yes, shame on me for a million different reasons). But little did I know 2020 was such an abundant year for mirrorball-indebted releases. Kylie Minogue’s Disco was a given, but what especially thrilled me were Roisin Murphy’s Roisin Machine and Jessie Ware’s What’s Your Pleasure? Murphy’s outstanding “Murphy’s Law” especially sounds like a lost classic from the ‘70s, while Ware’s titular “What’s Your Pleasure” is as fitting a Donna Summer tribute as any you could come across in the past 40 or so years. Ware’s record became slightly less cool when I realized she’s a podcasting mom who is friends with Adele, but What’s Your Pleasure?’s irresistible procession of Great Pop Moments solidifies it as one release I’ll keep coming back to. 

(Bonus: if you favor a no-wave / post-punk spin on disco, then look no further than Public Practice’s Gentle Grip). 

Ware and Murphy have been particularly prevalent on many of the major year-end lists, but I still carry a bit of skepticism about such things. Therefore, discussions such as this sub-Reddit (sorry) thread on regional picks has been useful in thinking outside the US and UK-favoring ranking systems (although there’s still a lot of anglo shit listed there as well). I’m hoping to listen to more releases from oft-overlooked countries thanks to some of these Redditors’ suggestions, although I’ve already spent a bit of time with Einsturzende Neubauten’s Alles in Allem and remain Team Blixa (if such a team exists). Despite my aforementioned trepidation, The Quietus’  list did compel me to check out the wonderfully somber offerings of Closed Circuits. This Portuguese artist describes himself as “Leonard Cohen being bothered by Coil,” and if that doesn’t entice you, I fear you may be a lost cause.  

This year we moved to Philadelphia, which means...A lot of things, but relevant to this summary, we found ourselves driving past some provocative graffiti stating “Make America Nothing Again” numerous times. Eventually I put two and two together and gave Nothing’s The Great Dismal a listen. Having not expected much beyond the clever marketing, I was pleasantly wowed by the quartet’s moody post-shoegaze offerings. I can barely discern any of the lyrics, but on vibe alone, The Great Dismal perfectly captures the heavy despair that permeated 2020. Add in Korine’s gloom-pop The Night We Raise and I can confidently say that Philly’s music scene is in good hands. 

I might have lied a bit at the start of this post - in saying I didn’t listen to music throughout 98% of the pandemic, I’m overlooking the many car rides spent revisiting Fontaines D.C.’s brilliant 2019 debut, Dogrel. While it didn’t impress me quite as much, this year’s A Hero’s Death was a mostly worthy successor, interspersing a few tranquil moments among the band’s more confrontational offerings. Not all of those moments worked for me, but these new directions were enticing enough for me to officially consider Fontaines a Band To Watch, if that’s still something people say. Oh yeah, and the video for the title tune slams. 

Speaking of music videos, I don’t usually rely on this medium for discovering bands, but that changed this year with Dehd. The trio’s videos are vibrant, conceptually clever, and relentlessly fun. Thank goodness that the music lives up to Dehd’s visual knack, with Flower of Devotion at times recalling The Jesus and Mary Chain and Roy Orbison in equal measure (especially on the stunning “Letter”). Emily Kempf’s versatile singing reminds me of everyone from Jana Hunter of Lower Dens to Carla Bozulich of The Geraldine Fibbers, yet it’s still bracing enough that every word she sings sounds utterly gripping. Who knows when gigs will happen again, but Flower of Devotion rocketed these folks to the top of my post-Covid gigging wishlist.  

Sparks is one act I can happily say I’ve seen numerous times. They are never ones to disappoint but, nearly 40 years into their career, the Mael brothers owe us nothing. Yet A Steady Drip, Drip, Drip is somehow an instant classic. It’s nothing short of astonishing that, at 75, Ron Mael can crank out a song that is equal parts insanely catchy, effortlessly humorous and deceptively sad, but he yet again nailed this trifecta with “Lawnmower,” to name but one. Russell Mael’s invincible vocals are in full effect throughout, particularly on the straight up lovely “Pacific Standard Time.” I would never even entertain the idea of using the term “pop / rock juggernaut,” but if it was regarding Sparks, I would at least not dispute it. 

(PS, special shout out to another singular duo of relatives, Prima Primo, who this year released my favorite song about Madonna since Sparks’ very own Madge tune, featured on 1988′s Interior Design.)

Finally, this list would absolutely be incomplete if I didn’t give mention to Bob Dylan’s fabulous Rough and Rowdy Ways. More than ever, 2020 felt like a year rife with stupid decisions, stupid actions and praise for mediocrity. A return to form from perhaps the greatest lyricist of all time is something many of us probably didn’t know we needed, but boy am I thankful for it (not as thankful as I would be for a second stimulus check, but still - next best thing). Dylan also gave us the fun bonus of having Fiona Apple guest on the outstanding “Murder Most Foul,” and of course Apple’s own Fetch the Bolt Cutters both featured her dogs as percussion and further solidified her place in the socio-political songwriting canon. Maybe there is something to be said for music after all!