#trying to learn how to simplify faces more!

[stormarts]

a little style exploration with the skrunkliesss

[blood-starved-beast]

Wish ppl would stop watering Melinoe down to simply a "goodie two-shoes" as a way to like idk contrast Zagreus. Cause that's simplifying her character a lot.

Melinoe fights Typhon cause she wants to. Hecate gets angry at her face for it, and Mel isn't even perturbed. She goads Promethus implying he's here (fighting Mel) cause he wants to get thrashed by a witch (herself). If Mel defeats Chronos early enough, she mocks Nem, and after a number of runs she's like "oh it's hard I knoow" at her. She's not at all put down by Nem's insults, only mad at the womb comment, that Nem herself takes back in the end. She jokes with Dora about sticking Eris's corpse in a trash can. She raises fear and subjects the land to it cause she can. Like she's devious af and simply saying she's some goodie goodie isn't actually how the story portrays her.

She's driven, self-rightoeus to the point of arrogance. She's knowledgeable, biased, and open to listen when she wants to, cause she's pig-headed like that. She's sometimes confrontational for no reason (even Nem is baffled that she has beef with a musical group; Mel tells Chronos to Fuck Off essentially upon meeting him). She's hardworking and single-minded the way Hades is. Like this is a core part of her character. All and while managed the working of the Crossroads (she hires Dora to restore it when she cannot do it herself) and is often compared to a Royal at work.

She's not defined by being a child or student. She's not like naive the way Zagreus was at the start of h1. Like Zagreus knew so little guys he asked ppl things cause he does not know; whereas Mel always comes to a conversation with an opinion of her own, or prods for knowledge to reaffirm her own biases.

Like that's the thing. Mel's arc isn't like Zag. It's not about her learning the world is more complex than it is. It's about her being challenged in her beliefs that she herself holds. In order for her to be challenged, she has her own knowledge, biases, etc. She's grown and established. She's the Goddess of Nightmares (in-game acknowledged and she does not fret or contest) and has a life in order. This job is shaking that. But unlike Zag who starts out not knowing where he is and thus trying to make something of himself with this one goal, Mel is already set. She's even got her lovers (plural, past) whom she took out to the woods to enjoy. Eris even acts like her ex. The story therefore, complicates an already established woman.

Anyways this is my rant complaining about the almost infantilization around Mel's character. The permanent "baby sister" a portion of fandom puts her in.

[tawnysoup]

I ADORE your art and how well you match the ISAT artstyle. I've been being alot of studies to try replicate the style and draw characters 3d but stylised. Are there any tutorials that have helped you, studies you do, or things you keep in mind whilst drawing to make the characters look so 3d?

Oooaaahh thank you!!! This is a really good question. I say that because I feel like I "2D cheat" ISAT art a lot. It's very comfy to draw bc my normal art is like that too, with angles that shouldn't be able to exist but look right bc it's 2D so your brain forgives it. Design of the art > accuracy of the anatomy, y'kno?

The hair kind of gives it away in most cases. It's meant to be such a specific shape, it kind of stops looking like the character if it gets too 3D? But drawing it more 3D has huge utility too, especially for animation n stuff. It's just something I've noticed about the style! It's very designed for 2D. It's very "the shape of the lines" > "the shape of the 3D object"

It's helpful to remember that ISAT characters are all made up of really simple shapes. Like Siffrin's head is just a ball from nearly any angle but the side. Their body is a cylinder but one end is wider than the other. Odile's face is a ball but the bottom is long, like an oval. Isa's is a ball but his chin is square, it has soft corners. Even Bonnie's face is a ball you just add a cheek bump. Etc etc.

^Notice how i can't simplify the hat down into a consistent 3D shape bc otherwise it just. kind of. doesn't look like Siffrin's hat LOL

If you have the simple 3D shapes down then the rest of it is all 2D cheating and focussing on details! Having character refs nearby at all times especially when ur tryna figure out how to draw the character is KEY so you can keep looking at it and comparing. Try to pay attention to the little quirks of the art style that differ from yours and try to mimic them. But don't be afraid to let your style infect it a bit if it helps you to create something more dynamic looking.

It helps that i've been drawing for ages. I know 'practice' is the age old advice but here's my spin on it: just draw, keep drawing what u want no matter if it looks bad or if some professional artist tells you you're doing it wrong. So long as you keep drawing you are learning. Indulge and draw what you want so you get to keep all the motivation and keep going.

oh and PUSH YOUR POSES/EXPRESSIONS!!! By this I mean, draw it once, and then lower the opacity and draw it again on top but pushing everything a little bit further. If a pose feels stiff this tends to fix it.

uhmmm i rambled on for ages but i hoped it helped u Tea (or anyone else reading)! thank u for the excuse to draw a bunch of funny isat doodlies :D keep going you have GOT THIS!!! THERE IS NO WRONG WAY TO MAKE OR ENJOY ART! YAY

[physalian]

How to Make Your Writing Less Stiff 8 | "to-be" and auxiliary verbs

Part 7

Part 6

Part 1

As I go through editing my latest manuscript, I'm faced with the dilemma of when to drop a to-be verb, but also when to keep it and how the differences between the two in any given situation can make just a little... a little *garnish* of a difference.

To-be verbs:

Am, is, are, was, were; a subset of auxiliary verbs

Auxiliary verbs:

To do, to be, to have (simplified)

Auxiliary verbs tend to indicate tense, but we use them more often as crutch verbs, filler verbs, because you can just conjugate the verb itself to the proper tense without the need of the auxiliary verb.

The advice generally goes to remove these, as they count as filler words when followed up by a second verb. Versus the TBV or AXV and an adjective.

He does look / He looks She is cooking / She cooks They were standing / They stood I am fishing / I fish She does cry / She cries We have slept / We slept

vs

He is afraid / He fears She was sorry / She regrets They were happy / They cheered I was confused / I hesitated

The verb+adjective combo can't so easily drop the verb without changing either the tone, the flow, or the actions of the characters, because one is an act of doing, and one is a state of being (for the most part, 'fear' is one of those exceptions in English).

You would have to rearrange the sentence, e.g. "I was confused by this" to "This confused me," to elimiate the TBV. Which, most of the time, does help the narrator feel less passive in the story, but, again, we're here for flavor text, not an MLA formatting guide.

So, sometimes the inclusion of the TBV or AXV adds subtext to the action itself.

"He does look" has slightly more urgency and weight than simply "he looks" because the AXV emphasizes that this is an action the actor might not have taken otherwise, for better or for worse.

In the silence, she stands there huffing, voice wrecked from crying as he heads for the open door. “Don’t you walk away from me.” He turns, face impassive. “There’s nothing left to be said.” vs He does turn, face impassive. “There’s nothing left to be said.”

The latter indicates that this might be hesitation or regret on his part, as opposed to a decisive, quick action, or that this is an action that she, the narrator, didn't expect him to take.

It also helps convey the tone of voice (or at least the general direction of the level of emotion in a voice). This absolutely varies on a case-by-case basis and the context of the action and should not be abused.

One of the juicier verbs for subtext here is "try"

He tries to coach her through how to do it properly. vs He does try to coach her through how to do it properly.

The former is direct and simple. He is attempting (he attempts) to help but through the act of "trying" and not "doing" there's an indication that she isn't getting it.

The latter is a little more hopeless, where he and she both know that whatever she's attempting to learn, she won't succeed, but he's doing it anyway. Maybe because he cares or he feels bad, or, that he wasn't going to help her, but something changed his mind.

Deciding when to use these helps convey the inner thoughts of non-narrating characters without head-hopping, and also shows the biases of the narrator.

Hope this helps!

[ask-the-pioneer]

"I sure do! Watch this..."

"I can make explosive spears and throwables, just like my mom did. I can also propel myself in the air by whipping my tail very fast, which sets off the same flammable compound in my tail surface for an explosive boost. Very handy for movement, but also very loud… not great if you're trying to be stealthy. And yeah, my sibling could do that too, but he was always more interested in doing other things. An energetic but very scatterbrained kid that he was."

[She takes aim and throws the spear somewhere far away. It ignites and explodes with a loud dull bang that shakes the ground slightly]

"I can't do that too often, though. Maybe a handful of times in quick succession before my muscles tense up and burn as if scorched by flames. One time it got so bad that I lost consciousness and couldn't move for a couple of minutes after waking up. That was scary, and hurt like hell... since then I've been more careful. That said, I wonder if there are more slugcats with similar abilities to mine out there? I have not met that many scugs in my life to begin with, if I'm honest..."

"Of course I remember my family, how could I not! My sibling's name is… hmmm, right, let me explain this first. Slugcats have very good sense of smell. Usually, we know one another by our unique scents. They are incredibly complex, but can be written down as series of letters, if you map those symbols to the corresponding scent proteins and other chemical compounds. For example, my scent name would be:"

"Addmitely, this notation method is very over-engineered – a slugcat just knows you are you if they smell you. From what I learned, scugs don't really use a coherent writing system.. of any kind. I think the colonies may use pictograms? I uh, I've never been a part of a colony, so I'm missing a lot of info here. Still, what I wrote on the wall – I have used an Ancient script, which I roughly mapped to key compounds that make a scent. As you can see, it's incredibly long, it can also change over time, parts of it can be masked with non-organic aromas to hide your identity, so on and so forth. To simplify even further, these long strings of letters can be shortened to just the last three or two characters, and this is what scugs may choose to use to refer to one another. Here, my scent name is MGV."

"Then, there are names that resemble the form that the Ancients would use. It's considered more refined, and more common in big colonies where people adopt their preferable roles. Those names are viewed as a kind of «gift», because you receive it from your community. It's a symbol of how they see you, what you mean to them. Of course, my closest family was never a part of a colony… but my mom would still give me and my sibling those special names. I was named «Blue», which is the color of the sky above when it's not raining, and the color of clear water. My brother's name is «Bryn» after a very fragrant medicinal plant that relaxes your muscles when consumed. I always found it funny, as my brother was often the one getting in trouble and giving our mom heartaches."

[She pauses for a moment, thinking intensively]

"Hmm, I never thought of asking my mother about her name. I wonder if she had one? To me and it was always just «mom»…"

"My other parent? I never knew him. Must have left just before or right after my mom had me, because there is literally nothing I remember of him… or them… whoever they were."

[She takes some pearls out from her bag, and inspects them one by one just to keep her hands busy]

"Mom would never talk about him, as if he never existed. And I never questioned her, I was too young to understand and simply accepted everything at face value. It was just the way things were. Would I want to meet my other parent? Maybe, but I doubt it'd make a difference. What would I even say to them? «Thanks for abandoning mom and leaving her to fend for herself»? "

"I don't know. Maybe I'm too harsh. Maybe he was a hero who sacrificed themself to save my mother. That could explain why he was never seen or heard of again. But… I have no way of knowing for sure. It's the life I won't be getting back anyway."

// In the second drawing, I've used logographs from @ikayblythe's Standard Hegemonic Dialect

[theoldkyokodied]

Hello! I really love your art! I was wondering if you have any tips on how to capture the person the facial features of the person you are drawing so well?(!) Your Billy and Stu are is amazing! Although it is in your style (which I absolutely adore) you still keep their likeness/resemblance which is very hard for me to do when trying to draw them in my style! (Sorry if the wording is confusing, any tips?) Thanks!

Ah thank you so much and sorry for taking so long to reply, but I needed to figure out how to answer this.

I have put some general tips together, but I need to point out that none of these replace the time investment of learning art. It is merely a suggestion of direction for practice, and I don’t want anyone to feel discouraged if any of these tips don’t immediately make them into a master of arts. Art practice is not easy and it can be frustrating to not be up to your own standards yet, but you will get there! :) In the meantime: be kind to yourself!

That said, let’s get to the tips I can share:

1) Use references!

I usually create a reference sheet for any character I want to draw more often, with their face in lots of different angles. Being able to know how, for example, someone’s nose looks like from the side and from the front can be essential when it comes to recognition. You basically want to be able to create a 3 dimensional object with these references. I tend to need the references less the more I draw the character, after a while i just memorise their key aspects for drawing them from most angles :)

2) Figure out key-features of a person

Try to figure out how to simplify someone in a drawing. What are their most striking features that NEED to be included? Sometimes it helps when you try to think of what features a caricaturist would accentuate in a caricature of them. Here you have some features that I personally try to focus on when I draw billy:

As mentioned in the bottom right corner, the placement of these key-features is also important. Try to figure out where things are placed in relation to other facial features and mind their size as well. this becomes easier the more you do it!

If you struggle to find out what features are important you can also look up other fan-artists stylised work you like and try to see what they chose to highlight :)

3) Do studies!

4) focus on values and contrast before considering color

doing a study without a sketch by blocking in shapes can help you figure out the planes of a characters face

as you can see here, stu’s eyebrows kind of blend in with the shadows of his brow bone, which is why I usually draw his eyebrows pretty light/in a color that doesn’t have high contrast with the skin tone, it makes him instantly more recognisable in my opinion

5) Draw (a lot)

I have been drawing basically every day since I was a child, but my ability to actually draw someone recognisable has only developed in the recent years. And I don’t think I’m done with learning. In the undying words of Bob Ross: “Talent is a pursued interest. In other words, anything that you’re willing to practice, you can do”.

I hope my tips can help a bit and and perhaps lend you some motivation for the never ending practice that every artist has to face :’) <3

[beardedjoel]

💗🎉💗CONGRATULATIONS ON YOUR MILESTONE!💗🎉💗

I’m so happy for you! I found you through Closer, and I couldn’t be happier about it. You’re an amazing writer and such a lovely person!

I’m wondering… what about one of these?🌹the prompt number 1. I love your writing and I cannot stop myself from asking. Perhaps with Joel, or Frankie, or Pero…I’m not picky, I’ll be happy with whatever the inspiration leads you.

Alsooooo… Is it too much if I add a little bit of 💌? I’m curious about your writing process. How do you do it? Is it linear, or do you jump around, and later “paste it”?

wym, you're so sweet and i love sharing this space with you my friend 😘 thank you for sending in this prompt and allowing me to do something special with it. thanks for your patience as i have been painstakingly slow with making my way through this backlog of requests! i'll answer your thoughtful writing question at the very bottom of the post after the one shot, if that's alright!

axel and ember — joel x f!reader

request: "overwhelmed, but happy crying during sex". sent in as part of my 5k celebration! i decided to use this one for something very personal to me. as someone who has dealt with vaginismus, this was challenging to write the last few days but it felt like the right direction for me to go in with this prompt. in no way does this describe the experience every person with vaginismus has (nor 100% true to mine), and it is a lot of hard work to help your body and mind learn to work with the sexual obstacles that come with it. i simplified things for the purpose of this story but still found it really gratifying to write so much from personal experience and feelings that i have dealt with. i highly encourage anyone who has not heard of vaginismus to do a little research as it's something that many, many women deal with in silence or is ignored as much of women's sexual health is. happy reading 💓

wc: 2.9k

warnings: 18+ MDNI, reader has vaginismus, unprotected piv

“Maybe… maybe it just doesn’t fit.”

You’d said the words, exasperated after trying for the third time that week.

“I don’t think that’s how that works, darlin’,” Joel teases the words playfully, his hair hanging down into his face as he holds himself perched above you. His smile brusquely fades when he sees that you’re genuinely upset. Some days, it hadn’t been that big of a deal, you’d been able to shrug off the frustration. Today, however, you felt frayed and emotional, pissed off that your body couldn’t just behave like a normal body should. It’s infuriating, living in a body that won’t cooperate with your mind, seeing others do with ease what you never could. What you could only have as a fantasy. 

“Hey, it’s alright.” He leans down, kissing you softly before moving from where he’d been stationed on top of you to lay at your side.

Another dream of finally having sex with your boyfriend tonight slipped away in an instant. 

“What if I try the dilators again?” you ask desperately, meeting Joel’s gaze. His warm eyes look back at yours with empathy, and he shrugs.

“If y’want. But maybe you should jus’ rest. We already had our fun, yeah?”

He’d gotten you off, you’d gotten him off. Fingers and tongues and mouths, which admittedly were great, but you craved to know what more of him felt like, more than just the one, sometimes two fingers you could handle without soon wincing in discomfort.

You wanted him inside of you, wanted your bodies joined in the way that you were so cruelly being denied by the universe.

“N-no, you’re right. It was fun.” You flash him a somewhat forced smile, grateful for his patience and love when he wraps his arms around you. Joel had been such a constant with you, so wonderful, and that only made it hurt more that you couldn’t give him this. He’d never pressured you, never made you feel at fault these last five months you’d been dating. In some ways, it had brought you closer, not being able to rush into sex, but it didn’t mean that he’d stick around forever if it meant he couldn’t get the one thing you know men always want.

“We’re gonna get it one of these days,” he reassures you, stroking your hair. “You’re workin’ hard at your sessions and here at home. Don’t tell you enough that I think it’s great, seein’ you tryin’ all of that. But don’t do it for me, okay? Do it ‘cause it’s what you want.”

You stare at him for a moment, dumbfounded. You were of course doing all of this work for yourself, so that you could freely enjoy something that should come so naturally to your body. Yet you knew that deep down the pressure was mounting, wanting to give Joel the sexual satisfaction you assumed he craved, something that your hands and mouth couldn’t give him. It was putting up a block between you and your sexuality, making each interaction that much more strained and distressing. You’re surprised Joel caught on to all of that when you’d been trying to put on a brave face for him. 

“I - I know,” you concede with a sigh. “I’m afraid sometimes. That I’ll never be enough without this piece of me.”

Joel’s deep set brow furrows further, looking hurt - for you or for himself, you can’t quite tell. His lips set into a firm line before they part, readying to speak. “I think you’re pretty damn amazing the way that y’are. I want that for us, ‘course I do. But I’d rather jus’ have you, whatever, however you are.”

“You would?” you ask sentimentally, your eyes stinging with unshed tears. You laugh slightly, wiping under your eyes, knowing your question is ridiculous but still needing that extra validation that he’s sure. That he’s okay continuing to try this with you, even if it never results in anything. 

“Yes, silly. Why do you think I’ve kept you around all this time?” 

“‘Cause I find us all the good TV shows to watch?”

He laughs, his burly chest shaking with it. “Quit bein’ a pest, I’m tryin’ to be serious with you,” he quips back, trying and failing to hold back his chuckle.

“I know. I know what you’re saying, Joel. I -“ You swallow, your face falling, pulled back into the seriousness of the moment. “I appreciate you. So, so much.” You reach and wrap your arms tightly around him. You relish in the feeling of being close to him, your naked bodies melding together, the heater-like quality of Joel always comforting to you. 

“You’re all the good in this relationship, baby.”

“Who’s being a pest now?” You flick his chest, sending the both of you into a fit of laughter again, giddy at the late hour and the tax of this evening leaving you emotionally spent.

The voice deep inside your mind taunts you as you slowly listen to Joel falling asleep next to you, his breath falling to a rhythmic pattern interlaced with tiny, endearing snores. You hold back tears that come in the dark, feeling so small and alone in this moment, knowing that despite his reassurances, he could never truly understand how this feels for you.

The next few weeks go by with much of the same - you’re busy with life, work, friends, and going to your physical therapy sessions. It was awkward at first all those months ago, laying there bare underneath the sheet while a woman practically had half her hand inside of you, but you got used to it, even started to look forward to hearing about her life and her kids. 

You and Joel try a few more times to no avail, your body once seeming to have a breakthrough before promptly making you inhale sharply in pain, shaking your head dejectedly. 

You try to let it go, let all of it go. Learn that life doesn’t surround this, it simply can’t if you don’t want this pressure, this hole in your heart that you think you need to fill, to eat you alive. This cannot mean that you’re broken, that nobody could want to be with someone born with their factory settings just a little bit off. 

You see it on Joel’s face and in his demeanor, proudly taking note of the change within you. You start to pounce on him every chance you get, fueled by trying to feed this new, insatiable mental freedom you’ve allowed yourself. If you couldn’t have the sex you were dreaming of just yet, you figured that in the meantime you may as well make the sex you are having something new to dream about.

Joel, as predicted, is highly receptive to your new outlook, hands and lips all over you more often than not the second you step through his door to spend the night with him. You find yourself laughing with him when you’re being intimate instead of focusing on that pit in your stomach that worries if this time could finally be the time. You’ve done away with taking it far too seriously to even enjoy when your gracious boyfriend is buried between your legs like it’s his favorite thing. Now, you can appreciate all of it for what it is - a way to connect with Joel, to share something special and fun and sexy together.

You lie in bed with Joel this evening, cackling as you two take turns narrating excerpts from a friend’s most recent read in the romance department that she’d lent you. For inspiration, she’d teased, saying it might help your mind and body become more open to connecting with one another on the topic of sex. You’d taken it with a grain of salt but now it was the evening's top entertainment. You had to admit that she had a point - it did feel nice to read about characters that were so sexually open that anything seemed possible for them.

“The people in these books are unreal,” you manage to get out through your laughter, wiping the stream of tears that coats your cheeks. Joel wipes at the corners of his own eyes, still chuckling.

“Wouldn’t mind givin’ some of these a try one of these days, bet you’d be sexy flipped upside down or whatever the hell they were doin’,” Joel says, propped up on his elbow, his handsome eyes smoldering in your direction. The implication that many of the acts the fictional couple are doing involves things that your body hasn’t been cooperating enough to even go near makes you stiffen for a moment. Maybe a month ago, the comment would have wrecked you, sent you spiraling or feeling self conscious about this perceived insufficiency of yours, but now you let it slide right off your back.

You scrunch your nose at him, letting it fall into a sly smile as he flicks his eyes over you in appreciation. “Shush,” you tease. “We need to find out what happens next to… whatever their names are.” This had all been in good fun, and their names seemed secondary to the juicy details of their sex lives. 

“Axel and Ember.” Joel cuts in, like it’s the most obvious thing in the world.

You deadpan. “Right… Someone has been paying attention.”

“Go on, then…” Joel insists with sass, his hand motioning expectantly to the open book in your lap. You smirk before focusing on the page and continuing where you left off. You two read until both of your eyelids get heavy, the words muttered slower and slower, your bodies buzzing hotly with arousal from the content yet far too tired to do anything to make a move on the other person. 

“Tomorrow,” Joel utters in your ear just as you’re moving into that cozy, floaty, drifting sensation before it all goes black. “Tomorrow I’m gonna Axel your ass into oblivion.”

You’re awoken by a kiss, feather light upon your lips. Your lids flutter open to see Joel, his scruffy beard and unbearably cute bed head up close and personal with you. It’s barely light out, the room bathed in the pale blue glow that comes right before dawn. Your skimpy camisole strap has slid off your shoulder, the entire thing askew and leaving one of your tits bared to him. Joel’s eyes seem to be glued there before flicking back and forth between your now perky nipple and your face. His lips close around it, gently sucking, and you writhe, your body turning towards his.

“You’re so fuckin’ sexy,” he mutters against your hot skin, breath ghosting over your sensitive nipple. You shudder, your skin prickling with anticipation, the space between your thighs desperately empty. Going to bed so unsatisfied seemed to have done a number on the both of you as you’re now acutely aware Joel pressing up against you, his cock already hard and leaking.

“Joel…” you whine, hips bucking towards him.

He dives in, his lips devouring yours, shifting his body to straddle yours, grasping the sides of your face in his hands. His tongue laps into your mouth and you arch your back into the way his hips start to grind into yours, burning desire low in your belly. You’re already so damn wet from his teasing, more than you’ve ever been, built up longing spilling over from last night.

“I… want to try right now,” you finally manage to gasp out as his lips separate from yours for a brief second. He pauses, looking down at you, his heavy lidded eyes sincere as they dance over your features.

“You sure? It’s okay if we jus’ -”

“No. I’m sure,” you tell him. “I feel so good. I want to feel good with you.” Your fingers dig into his bare back, urging him on.

He only nods, his throat bobbing as he swallows. He places gentler kisses on your lips before moving to your neck, then down your body until he reaches the waistband of your sleep shorts. Tugging those down along with your panties, he moves with certainty and care, adoring your soft skin in every place along the way. 

He touches a gentle finger to your slit, so sensitive and swollen now, and you suck in a breath.

“Holy shit. God damn, baby,” he muses with awe, fire burning in his dark eyes.

You chuckle shakily, feeling your cheeks flush as you avert your eyes shyly. “I - I know. I need you.”

“Can practically feel her puslin’,” he growls, licking his lips, desire clouding his mind.

Your cheeks only grow hotter at his dirty words, pulling your lip between your teeth. “Taking a page from Axel’s book, I see,” you tease him breathily.

“Nah. This is all Joel Miller, baby,” he replies just as he uses his whole hand to cup your slick cunt, the both of you groaning quietly. Joel starts to shimmy his briefs down, leaving him completely stripped underneath the covers with you. You wait for him to climb back on top of you, carefully removing your top and taking you in.

“Perfect.” He smiles, and you wrap your legs around his waist, a silent signal that you’re ready. Joel reaches between your bodies, bringing his cock to your cunt, lazily moving it through the folds until he’s coated in your arousal, each stroke making your hips buck, your need climbing to an unbearable level.

“Please…” you whine, feeling the emptiness inside of you, craving that full sensation you’ve been romanticizing time and time again in your mind.

“I got you, baby. No matter what. I’m right here, ‘kay?” You feel him line himself up, trying to manage your expectations as you nod for him, swallowing down your nerves. Even if it doesn’t work this time, it’ll be okay, you’ll be oka -

The tip of his cock pushes past your entrance, and you gasp, eyes going wide. You both pause, staring at each other in an optimistic, full silence, breathing heavily.

You nod again, mouth agape. “More…” you whisper softly, taking a deep breath, trying to relax your body.

Joel smiles, pressing his hips into you the tiniest bit more. He still slides in with ease, the smallest pinch subsiding when he takes a beat, then pushes a little more, repeating the process a few times. You feel the stretch, the slight burn as your body adjusts, your mind racing at the miracle that’s occurring, barely even able to register it right now.

“Oh my god,” you mutter, starting to shake. Joel leans down to kiss you, a comforting move, but it only pushes his cock in another bit, making you gasp softly at the fullness.

To your shock, when he pulls back the sensation begins to near something pleasurable. “Sorry,” he quickly spits out, his concerned stare meeting yours.

“No. It’s good. A-again. Do that again.” You start to smile in earnest, a toothy grin that you can’t help but feel spread across your face. 

“What… this?” he asks coyly, more overt with the thrust inwards as he pulls his lips into yours. He buries his face in your neck, breathing you in and kissing the sensitive skin there. “You’re so wet, so fuckin’ tight, baby. You feel incredible.”

You shudder underneath him, moaning softly as his words travel right to your core, burning with a new kind of eagerness you’ve never felt before. “You feel so good,” you echo back to him as you pant.

Joel starts to move, testing the waters with slow, steady movements. You keep breathing, terrified that any minute the ball will drop or this will have been a dream or some cruel trick your body is playing on you. But the sporadic bursts of discomfort subside with each new roll of Joel’s hips, blooming into something pleasurable and sweet, pulling up from deep inside of you.

Emotion bubbles to the surface before you can even tame it, your eyes brimming with tears when Joel bottoms out inside of you, pulling back and pushing in to the hilt again. It feels good, amazing even, to be so full of him, to celebrate this victory, even if only for today.

“Shit. Sweetheart, you’re okay, right? Are you hurting?” Joel freezes when he sees your watery eyes, every muscle coiled stiffly, his face screwed up in fear.

You shake your head, fighting the urge to sob, but Joel’s faithful, genuine concern puts you over the edge. Tears spill, rolling down your cheeks in profound little streaks, every bit of your frustration and pain and anger from the last half of a year pouring out into this beautiful display of pure joy.

“I swear, I’m happy, I’m happy,” you cry out, immediately cradled in Joel’s arms.

“Good,” Joel breathes out in relief. “You’re happy, I’m the happiest fuckin’ guy in the world.”

His words make the tears flow faster, but you start to laugh amidst it all. “Stop making me cry harder!” you chastise him, hugging him tightly around the neck. 

“Joel…” you say after a long, tender embrace, the two of you soaking it in. His cock still throbs inside of you, reminding you of the pleasure you’d started to chase moments ago, lost to the emotion of the moment.

“Hm?” he asks, pulling his head from where it had been buried in the crook of your to look at you.

“Please fuck me now.”

He grins, the movement lighting up his entire face with a lusty glow before he eagerly crashes his lips with yours again. When you see his eyes again, you swear they’re a shade darker, his cheeks tinged with the color of desire. Low and gravelly, he finally speaks. 

“Grab your god damned vibrator, sweetheart.”

to answer your 💌 my writing process is a little all over the place! i used to write mostly linearly, that was what worked for me and i kind of thought of everything in order. but lately i have been doing a bit more doc hopping when i get stuck. maybe writing a later scene that i have ideas for and feel like it's more fleshed out or going back and polishing older paragraphs and such. i definitely am not a big outliner and plotter, which i'd like to get better about! but mostly everything just lives in my head and gets blobbed onto the doc once i have time to write it, which sometimes leaves things forgotten hehe

(divider by @/saradika-graphics!)

[justladders]

Hello! First of all, I love your drawing style. IT'S SO COOL AND IT INSPIRES ME A LOT. Now, my question is, how do you make your style so similar to Disney's? I'm asking so I can practice it too. That's all Thanks for reading!

That's very nice :> And learning to style characters like a Disney movie is more than just "a quick tip I can give," but I'll try to summarize it in this main point: shapes, but 3D.

Real life anatomy is very complicated, but you have to understand the rules to know how you can break them. Individual styles can vary a lot from Disney movie to Disney movie, but the through-line is always that characters are represented by strong and memorable shapes. You have to understand what makes up a real face, then what can be visually appealing/unique -but still readable- when stylizing a face, and then how that can be drawn for an animation - of course, that doesn't just apply to faces, it applies to all of the body. You have to understand how the complicated stuff works in order to simplify it (especially if you're trying to make your own designs).

Really getting the hang of form and depth is a key aspect that I find a lot of people skip over: it's easy to look at a still from a movie and draw the character in that specific shot; the problem is that people will then shortcut it and think of the character like a flat image, memorizing how the eye or nose or chin looks at that specific angle. What you have to understand is that, even though the character is 2D, it's only a 2D representation of a 3D form.

There are these models called maquette sculptures that animators would have on their desk while they were working. It provided a quick example of the forms of their character when they needed it. You can see just how shapey the characters come across even in 3D, but you'll also notice that the 3D models don't quite feel the same as their respective 2D drawings. That's kind of the key you have to learn to make characters feel like they're from a classic animated movie - they are forms with depth and mass, but you have to break the rules a little to be able to play to the camera.

[tesseractrave]

Any tips/tricks for people who are starting to draw Egon or any of the ghostbusters?

The key to capturing the likeness of an individual character in your art is identifying features and proportions. Just like how general stylization or exaggeration of art can't be achieved without knowing the basic fundamentals of it (the "you've got to know the rules to break them" deal), you can also study the fundamentals in specific character's appearances to capture likeness and differentiate between them!

It really just comes down to studying them and their individual features and figuring out how to translate them into your style. I'll use Egon as an example in a little tutorial/rundown on that below the cut:

I've made this mostly unstylized study of his (Harold Ramis's) real proportions and features so we can learn the rules before we break them.

(If you guys want me to make a study like this for the other three, I can! :])

First, I identify the character's foundational shape to assist in stylization. Egon has very rectangular shapes in his appearance.

(For the other Ghostbusters, I'd say Winston is diamonds, Ray is circles, and Peter is squares.)

Then, we spot the most defining facial traits to help us out. For Egon:

Tall face

High-angled jaw

Squared forehead

Long, hooked nose with high nostrils

Flat, thin lips

Small, dark, deep-set and downturned eyes

High-arched eyebrows with low ends

Things like moles, freckles, dimples, and wrinkles can also help a lot as either just features or to convey age. Egon, for instance, has dimples when he smiles! :)

You can add whatever other creases and scrunches you deem necessary. I personally also enjoy the undereye crease for that "mature" flare.

Things like hair and accessories can be included as "identifying features," but they're two of the very few things we can easily change about our face, so unless it's essential for identifying the character (like it is for a lot of anime styles) or you're planning on never drawing them in situations where they don't have them, try not to use them as a crutch!

(I say this because I tend to draw Egon with his hair messed up or without his glasses, and I like him to still be recognizable.)

My style tends to simplify curves and angles to create a more interesting silhouette, and I emphasize and exaggerate features and apply a lot of shape language, but I do my best not to lose the identifying traits that make the character look like themselves.

It's sort of a balancing act, and it's never perfect (people's faces are squishy and can look slightly different from angle to angle and depending on what facial muscles are being used) but I hope this at least helped a little bit!

[movail]

How do I learn to draw characters in interesting poses that aren't just "facing the camera directly"

if you've got not mucch experience with arts, definitely i'd recommend learning techniques that relies on drawing dolls or simplified skeletons as your start point. looking up references for poses, wether if they're irl or drawn pictures is always good to study and learn how the body works and intereacts in different situations lastly, the most important part is to let yourself get out of your comfort zone and just get to try more complex stuff, and if it looks bad, take a break and try again later, but don't justgibe up on it, remember no time is ever wasted on a piece unless you never finish it

[blueikeproductions]

I learned there’s a Transformers One RPG book.

There’s a catch though.

While it expands a bit on the universe…

…a lot of it is internally considered non canon due to not wanting to interfere in any possible continuations of the movie.

Like … why. Why does this exist then if most of it is considered non canon to Transformers One, that’s what the grifters call “anti-marketing”. This universe barely has anything and could use anything it can get to expand on itself better than those forgettable stop motion shorts, and the best thing we have is technically non canon and mostly a regurgitation of ultra obscure nerd trivia from the TFWIKI. -rubs temples-

I’ll admit I wound up not liking TFONE very well upon repeat watches, but I do think this is unfair for fans that did like it and got into Transformers through it and want more. The “more” being packaged in this contradictory way is kinda insulting, especially when a previous RPG book in this series got the RiD15 writers to collaborate. I guess the TFONE staff couldn’t be reached to add proper insight to some things.

So just for the sake of simplifying it, anything that’s considered non canon (and skews into broad multiversal jargon) is canon to the movie because this is the best we got, and I’m just gonna roll with it.

Zeta Prime is apparently considered similar to his IDW self, even having the Vamparc Ribbon as his signature weapon, (I guess were going to ignore his axe), as well as being an “ambitious commander with a penchant for nation-building.”

The Primes have visited Earth before, and inspired humanity’s legendary, mythological figures. What this means for the Energon supply on Cybertron when the Primes went on a road trip I dunno.

Besides the 13 presented in the film, The Arisen, Logos Prime, Autonomous Maximus and The Guiding Hand of IDW are considered Primes also. While Mortilus seems to be his own individual, Adaptus and Solomus are aliases of Amalgamous and Alpha Trion… With how often the two are paired off, I’m kinda surprised Hasbro hasn’t just retconned Amalgamous’ name to Adaptus; it’s certainly much easier to pronounce.

Mini-Cons (and Micromasters) exist via a hypothetical scenario, which at least gives Micronus SOME relevance. If it wasn’t for Hasbro suddenly acknowledging Armada again both in social media and upcoming toys, I’d assume they were trying to erase Mini-Cons with Micronus as a weird hold over.

Other origin stories (presumably for the war) use comics like War Within, IDW Unicron and IDW Megatron Origins. Origins is closer to ONE, but the rest don’t really jive with the vibe of the film. On the topic of origins, while the movie point blank says Primus exists, became Cybertron, and created the species, the book also offers the Quintesson origin, the Allspark origin and bizarrely the addendum Beast Machines offered by Cybertron originating as an Earth like planet before being terraformed. Also especially bizarre, is the inclusion of the IDW Go-Bots origin story, a story that states the Guardians & Renegades were originally built on Earth by human scientists, before an apocalypse started by Cy-Kill eventually saw the Go-Bots and Go-Botron evolve into the Transformers and Cybertron after Leader-1 and Cy-Kill die on the final battle. Earth was cradled inside Go-Botron and humanity partially devolved into tribal cave men btw, which I don’t see being part of any future TFONE lore. A similar apocalypse happens in Marvel G1’s IDW continuation, triggered by Megatron but humanity persisted and with the help of the Autobots and Nebulons, ushered in a new era once Megatron died.

None of the above really fits with TFONE, and I stand by Quints building TFs in modern lore only works if Quintus Prime was a vanity project, so if we’re to take this and the earlier visit to Earth by the Primes at face value, I can see the Primes be inadvertently responsible for the fall of Rome or Atlantis, with a horrified Solus, Quintus and Prima trying to help the humans pick up the pieces.

Pyra Magna and Windblade are name dropped, but considering that immediate benching of the Torchbearers and Windy’s own benching in favor of Elita, these two may only exist due to Jim Sorenson since it feels like Hasbro otherwise is trying to keep Pyra and Windy at arms length from current media as of typing.

Emirate Xaaron (I always thought his name was pronounced EX-Aaron) is also referenced, as a politician in Iacon, and he makes a bit more sense in context of TFONE. Windy and Pyra, by how TFONE operates, would probably be young Miners, and the way the books describe them suggest they’re colonists or just regular Cogs rather than Cogless, so…

Other antagonistic factions besides the Decepticons are referenced, and only Jhiaxus’ G2 mooks and the IDW Functionists fit with the tone set by TFONE. I wouldn’t be shocked if Sentinel himself in movie was a Functionist considering things. The Unicronian acolytes don’t really fit due to the movie being dodgy about Unicron’s role in things. Adding Unicron into a story not really about him thematically doesn’t feel right, regardless if the robots are just weirdo cultists.

And finally, the “surface beasts”. This actually feels more sincere to the story, and answers something I was curious about.

According to the book, the deerbots are the most common surface beast, and are able to eat the organic plant life growing on Cybertron, which explains how they survived without Energon. What this means for other animals isn’t specified, but the deer are considered a very delectable prey item, tasting way better than Energon.

The abundance of plants and deer droids certainly helps in filing in how other life may have survived in an Energon devoid environment.

This heavily implies the Jets probably ate deer bots in addition to whatever Energon they could scavenge. I feel like we missed a joke about Starscream trying to unsuccessfully hunt a deer droid and to get kicked in the face by one.

Aerobolt’s inclusion in concept art implies bird bots exist so Laserbeak is somewhere too, just not owned by Soundwave yet I guess.

A vapor squid, buzz boar and techno thylacine are said to exist too.

I suspect a buzz boar looks like this…

…and Transforms into this.

[lilislegacy]

I'm not a big fan of Percabeth. But, I'm still open to see different sides of a thing. So, I would like to ask what do you see in the couple? What made you like Percabeth? Was the ship important to you when you were a child/teenager? Can you list the positive things that you may remember about Percabeth, please? If you can't, it's okay too. For the last one: What is the thing you love the most about them?

Oh my god I could go on and on about this question. I will try to keep it as short as possible. Basically, I just love how deep their relationship goes. There are so many things about them that makes them such an incredible pairing to me

1. There is so much mutual respect and support between them. They are battle partners. They respect each other's strengths and capabilities to the highest degree. Annabeth deeply values Percy's bravery and loyalty, while Percy deeply values and admires Annabeth's intelligence and strategic thinking. They support each other no matter what. No one respects Annabeth more than Percy, and no one respects Percy more than Annabeth. They trust one another explicitly. And that deep-rooted trust and respect is what separates them from so many other pairings.

2. They perfectly complement each other. Their contrasting personalities balance each other out so beautifully. Percy is impulsive and unpredictable, and Annabeth is thoughtful and strategic, which makes them an incredibly strong team. In any situation, whatever one of them lacks, the other has in abundance. Percy gets angry and worked up easily, but Annabeth can calm him down. Annabeth overthinks things and stresses herself out, but Percy can simplify things and bring her back down to earth. They keep each other level on a deep mental/emotional level. And the biggest one, in my opinion: Annabeth’s biggest fear is being betrayed and abandoned, and Percy’s defining trait is unwavering loyalty. They are like two different puzzle pieces that fit perfectly together.

3. They’ve been through so much togeher. The two of them share a history that no one else could possibly understand. They have learned and grown so much together. They started going on dangerous quests together when they were little baby 12 year olds, and have been fighting by each other’s side ever since. From going on quests, to being part of a prophecy, to dealing with the complexities of their identities as demigods, the challenges they’ve faced have impacted them both tremendously. And no one else would understand exactly why they’re the way they are. And you know, there’s the fact that they literally walked through hell together. Their experiences deepen their connection and understanding of each other more than words can describe. No one else could possibly understand them like they understand each other.

4. The chemistry is off the charts. The heat and attraction between them is abundantly clear, which adds a layer of realism and excitement to their relationship. In PJO it’s mainly tension - that’s clear in their banter and arguments and angsty thoughts - but when they’re older and together, it’s shown more through attraction and physical affection. Let me give some examples. When Annabeth touched his back in TLO, Percy says he feels as if jolts of electrify course through his body. In the demigod diaries, Percy mentions how beautiful she looks while in combat. There’s also a scene where he can’t focus because he’s literally staring at how her camp beads lay against her throat. Annabeth is constantly wanting to hug him and be in his arms. When she sees him in MoA, she literally has to restrain herself from continuously kissing him. And when they are about to fall into tartarus, to either death or torture, her dominating thought is how handsome he looks. Throughout all of HoO, they are super touchy and affectionate with each other, always touching and cuddling and kissing one another whenever they can. And of course, I have to mention the time that they literally made out in front of Piper in BoO, and Annabeth makes “grunt-whimper” sounds. I just love how down bad for each other they are. No one who can read can deny it. There is so much heat and attraction and affection between them.

5. Their loyalty to each other is unwavering. They consistently prioritize each other's well-being over anything and anyone else. They always have each other’s backs, both in battle and verbal interactions. They quite literally go across the country/world to find each other when they each get kidnapped. No distance, no person, nothing will stop them from finding each other and protecting each other.

6. They are equals. Given they are both legendary greek heroes who will go down in olympian history, it’s hard to find someone who compares. But they are both so equally extraordinary. Sure, they have different strengths, but neither is better than the other. They are both incredibly brave. They are both super witty. They both would do anything for their friends. They are both leaders. They just GET each other. They are on another level - and it’s the exact same level.

There’s more too. I could go on and on and on. (And on.) There is so much I didn’t say. But all of those elements combined is why I love them. They were made to love one another. They choose to love each other, every single moment of every day.

And my favorite thing? Probably that above all, they are best friends. There are all the things I mentioned above, but at the foundation of their relationship is an unwavering friendship. They just love being together. They love joking around together and hanging out, but also holding each other when times are rough. They take care of each other. I love that they are BFFs. Two besties who also happen to be soulmates, together against the world.

Ugh I just love them. I need to stop talking

[linkspooky]

The Supreme King Judai vs. Dark Deku: How To Do a Dark Deconstruction of your Shonen Hero!

Think of this as less me complaining about My Hero Academia, and more me taking a closer look at the writing of the Dark Deku arc and why it failed to achieve what it set out to achieve.

I like to look at writing on a deeper level than Thing Bad, and Thing Good. Imagine a story is a car engine that won't start, in order to find the problem you've got to disassemble all the pieces and look at them one by one to see what pieces aren't working. That's the kind of criticism I'm talking about, break storytelling down into different tools like parts of an engine, plot, world, characterization, ideas, actions and consequences and then look if the author is using those tools effectively to sell a story.

In other words we're talking about the difference in ideas and execution. All works of fiction have ideas, even bad anime can have good ideas inside of it. The idea in question is Judai's case is can exploring the dark side of a hero. Can a hero's positive qualities also lead them down a dark path? Yu-Gi-Oh Gx answers this in a satisfying way, and My Hero Academia I'm going to argue does not.

IDEAS VS EXECUTION

One piece of writing advice I heard from Brandon Sanderson of all people that always stuck with me is "Ideas are cheap. You can always come up with more ideas."

All works of fiction have ideas and themes no matter what the Game of Thrones guy say, but some works are better at communicating their ideas than others. I want to quote a Homestuck Ending analysis of all things to explain what I'm talking about.

When you are a writer you can write anything you want. But if you want to write a story that people want to read you have to follow the rules of good storytelling. There are reasons why storytelling rules exist. A story is a bond between author and reader, readers to other readers. It is a communication between humans and humans work in a certain way. Storytelling rules are rules of communication. Rules for handling expectations and saying what you intend to say without it being misheard. Rules for tugging at emotions and pulling heartstrings in a good way rather than a bad way. Storytelling rules are lessons learned by authors of the past that failed to communicate what they needed to. They are not that subjective.

Chief among these rules is buildup and payoff. In fact one of the most basic techniques of storytelling is foreshadowing, in screenplays you usually foreshadow one important twist, then add a reminder so the audience doesn't forget, before finally paying it off.

To simplify build up and pay off I like to refer to it as question and answer. Usually a story will ask its audience a question, and usually by the end that question is answered, unless the point is to leave that question unanswered / ambiguous.

Character arcs are examples of buildup and payoff too, a lot of characters, especially in serialized media are sold on their potential future development. Here's an example, how may people got invested in Dabi years in advance because of the Dabi is a Todoroki Theory? That's an example of good buildup and payoff, because the author sewed just enough hints to build up an audience expectation and then paid it off. People became invested in the story, because they thought their investment and theories would pay off eventually and it did - so hooray!

Both MHA and YGOGX dedicate an entire arc to trying to deconstruct their main protagonist. They also seek to deconstruct the "Hero Complex" or "Saving People Complex" that each protagonist has, and ask the question if those traits are really a good thing.

This post puts it better than me so I'm going to quote tumblr user rhodanum.

‘Hero complex’ or 'saving people complex’ — an obsession with rescuing people in the face of danger, often to the exclusion of all higher thought processes. All too prevalent among shounen main leads, especially hot-blooded shounen main leads. Yuki Judai is certainly no exception. What is interesting in his case is that the writers follow the consequences of his rash, reckless, often thoughtless actions all the way to their heartbreaking logical conclusion. For those not fully in the know, it involves spiky black armor, an army of sycophants and a fall from grace that caused as much damage as a thermonuclear bomb. Don’t make perky, happy shounen protagonists snap, people. First rule.

I'm going to quote another video too, to add onto the above quote. It's from this video, starting at around 39:52

"GX is kind of famous among fans for taking its happy protagonist and stripping him down to all of his worst qualities. And that's fun. So Judai is a character who's really interesting. He's definitely open to a lot of interpretation, and you know we're gonna be leaning on my interpretation of him. Sorry. It's my video. I think he's commonly referred to a "very typical shonen protag" probably one of the most shonen protag of the yu gi oh protagonists. He is headstrong and loud, and (makes punching noises while air boxing), he is a type of character who's like I'm gonna be the best and brings everyone along on the ride. He's the kind of protagonist that everybody loves him they're all fighting over him, and Yu Gi Oh Gx really puts him up on the pedestal, of like THIS GUY. THIS GUY DOES IT ALL. Then season 3 rolls around and dares to ask: but what if that's selfish behavior?"

That's the question both MHA and YGOGX are asking in Dark Deku arc and Season 3 respectively, what if all of those behaviors that make them the typical hot blooded shonen protagonist are actually selfish? Is their hero complex really a good thing?

Each arc is tasked with exploiting the main character's flaws, until they reach their emotional breaking point and lowest point in the story. Let's see how each story treats their main character and from comparing that I want to make a point about what makes effective storytelling.

The Supreme King Haou Arc

Instead of recapping the entire arc to you, I'm going to touch upon what ideas the story setup in regards to Judai's character and how it paid off those ideas. What are the questions the story asks and what answers does it give us?

I'm going to focus on the two questions I outlined above. Is their hero complex a good thing? and What if this is selfish behavior?

Yu-Gi-Oh GX is an anime where instead of using super powers, the main characters fight each other with a magical trading card game. Besides that fact there's a lot of similarities between GX and MHA. They both take place in an academy setting where the main characters learn about using their quirks, and playing the card game better respectively. It is a shonen battle anime where almost everything is solved with a shonen fight, they just use cards instead of flashy superpowers. The main characters are all students who have to grow up and enter the adult world.

Judai and Deku are both characters that deconstruct the "hero complex" of shonen main characters. Judai is themed entirely around heroes, he has an elemental hero deck where every hero is based off a hero that appears in popular culture, he is the best duelist in the school and the one everyone calls on to save the day over and over again. As stated above he is the most Shonen Protag to ever Shonen Protag, he's a warrior therapist who makes friends and saves the day because he's really good at the card game, and will always show up to fight for his friends.

For the first two seasons Judai is built up on this pedestal of the ideal Shonen Protagonist, and praised by basically every single character for being "childish" and "pure of heart" however when Season 3 comes around the narrative stops heaping endless praise on him and starts to challenge him. However, this doesn't come from nowhere there are signs of these personality flaws of Judai, they just get swept under the rug the first two seasons.

There are several moments such as the climaxes to season 1 and season 2 where Judai fails to grasp the stakes of the situation, saying things like "Oh, this card game is really fun" when he's dueling with lives on the line. Judai in fact has a pattern of "only wanting to duel for fun", he fights because it's fun to him not because it's the right thing to do. However, he's continually forced into high stakes situation where he has to fight for others just because he's the strongest character - and constantly having to carry that on his shoulders starts to weigh on him after awhile. Judai will show up to fight and save his friends every single time they need him, and that's the source of his hero complex because after a certain point his friends start relying on him too much.

In general he also doesn't have deep thoughts of what heroes are, he admires heroes but it basically boils down do "Heroes are cool." He's kind of like Goku where he doesn't really fight for any idea of justice or to save others, just for the thrill of fighting itself. He also has a tendency to be insensitive to other people's feelings and take things for granted. For example, in Season 2 like three of his friends get possessed and Judai doesn't even do anything about it for half a season because he's too busy participating in the dueling tournament.

In general though it's a pattern of Judai only wanting to "duel for fun" and him being forced to duel to save others instead, and be responsible for other people. Judai will show up to fight for his friends, but even then he falls back on just "dueling for fun" because always having to fight for others is too much responsibility to put on his shoulders.

There's a lot of hints of Judai's flaws, but they also tend to get brushed off because shonen protagonists are just like that. Like, Judai can say some insensitive things to his friends sometimes and be oblivious to their feelings, well he's just a book dumb shonen protagonist. Judai should be taking this fight seriously, well he's just being a happy go lucky shonen protagonist, etc. etc. A lot of these things are also just swept under the rug as him just being a child, a boy-at-heart like most shonen protagonists are supposed to be.

However, season 3 starts looking at Judai not as a shonen protagonist but as a person, and it all starts with the suggestion that maybe Judai remaining a child at heart is a bad thing, especially when his friends around him are all growing up. It all starts with the introduction of this guy right here - Johan Anderson.

Johan shares many things in common with Judai, he can see spirits, he's a duelist who loves to duel, he has a strong connection with his cards. However, the more you compare them the more you notice that Johan has a lot of things that Judai lacks. They are so similiar that they become almost instant best friends, but even then Johan himself notices there are a few things off about Judai's behavior.

Sho: Bro... I thought you would have something to say to me. Johan: He seems lost. I think he just wanted you to give him some advice. Judai: SHo will be fine. Johan: Judai, you're colder than I thought.

It takes someone completely new to the dynamic between Judai and his friends, who likes Judai but hasn't spent the past two seasons idolizing him to realize that some of his behaviors are kind of off. That Judai isn't really the most empathic, or even that good at understanding other's feelings.

Johan is the one to point this out because he has the emotional intelligence that Judai lacks. We've been told Judai is our shonen protagonist for two seasons, only for the real shonen protag Johan to step up out of nowhere and show them how it's done. Johan is good at seeing other people's emotions, and he becomes a near instant pillar of emotional support for Judai. More than that, he also is the first person to treat Judai like an equal, he never asks Judai to save him like all of Judai's friends do, if anything they both save each other.

Johan also exists to show what Judai is lacking, mainly a reason behind why he fights.

Judai: I do it because it's fun. Or because of the surprise and delight, I guess. Well, I guess that comes down to "because it's fun", huh? Sorry, I guess that's an awkward question to ask out of nowhere. Johan: What's wrong, Juadi? Judai: Nothing, really. Johan: I have a proper goal. Judai: Don't tell anyone. Even if people don't have the power to see spirits, they can still commune with them. That's why, for those people as well... (I want to be a bridge between humans and spirits).

Judai is someone who will always show up to save his friends when he is asked, but he doesn't really have a concept of what being a hero is or the repsonsibilities it entails, he just admires heroes in a pure hearted way. Johan on the other hand has a reason to fight and that's to help humans and card spirits get along, and Judai expresses admiration for Johan because he has a goal.

At the same time this is happening, Judai gets picked apart by two villains for his lack of reason for fighting. Judai has been praised to death for two seasons for being pure of heart, but now the villains are challenging him by saying he has no "darkness of the heart". That without it the reasons that Judai fights are superficial and frivolous.

We have something that you lack. Judai: That I lack? Yes the darkness of the heart that slumbers deep within a duelist. The burden that a duelist bears in his heart. Judai, you have none of that. Judai: A burden in my heart. I have nver, not even once, dueled for myself. I doubt someone like you, who only thinks of himself could udnerstand that. Judai: What would be fun about a duel like that? It isn't fun at all! You must bear other's expectations while remaining strong. That is what it means.

Judai is a bit of a blood knight, he will be dueling with his friends lives on the lines and stop to go "Wow, this duel is really fun" and it's usually just dismissed a shim being a shonen protagonist until suddenly it isn't.

I'm gonna draw a deliberate parallel between Deku and Judai here that I'll reference later on, they both don't understand "darkness of the heart" and they need to understand it in order to grow as people.

There's also the underlying notion that being a hero is not all it's chalked up to be, to be a hero, to fight for other people's sake means also taking on their suffering. As noble as that may seem suffering is suffering.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels. Cobra: You are certainly a talented duelist. But you have one fatal flaw. Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory. Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match. Judai: I... Cobra: Afraid aren't you? Right now, you have nothing to support you.

In the context of this scene, Cobra has told everyone that he's currently enacting his evil plan out of the vain hope that he can somehow revive his son from the dead.

As insane as "I think I can revive the dead" is as a motivation, fighting for the sake of your dead son is a much stronger motivation than "I think duels are fun."

Judai doesn't have an appropriate answer as to why he fights when he's questioned by the villains, and instead of coming up with his own answer he relies on the answer Johan provided for him.

Johan: You idiot. Why are you so shaken Judai? You think you have nothing on your shoulders? Give me a break! You always bear other's expectations on your shoulders. When you have other people's expectations riding on you, it means they've trusted you with their hopes! Don't you always carry those? If you lose what will happen to us here?

Johan's words snap him out of it, but this isn't Judai coming up with an answer himself it's just taking the one that's provided for him.

This is also the point where we get start to develop an answer to our question. Is Judai selfish?

In action he's not. His actions are selfless. Judai is always fighting for others, even when he only wants to duel for fun. He will show up and fight if you ask him too.

However, in motivation he is selfish. His motivations are selfish. Judai isn't fighting out of some selflessness, but because fighting for the sake of other people gives him a purpose. He keeps fighting for his friends, because he's built all of his friendships around being the one to solve their problems. It's why he Johan's answer suits Judai so well, because he thinks that's how friendship works that he has to keep carrying everyone's burden for them.

Not only does it lead to unhealthy friendships (he sees his friends as burdens) but also it's unhealthy for Judai himself (he can't keep carrying other people's burdens without getting weighed down).

Judai's hero complex, this pressure he feels to save everyone around him arises from two things, it gives him friends when he'd been a lonely child before that, and it gives him purpose. Playing the hero is how he made all of his friends, and now it's how he keeps them.

However, in spite of doing all this to keep his friends, Judai's relationship with his friends is so all give and no take that he's practically fighting alone until Johan shows up. Judai doesn't form a healthy and stable relationship with Johan however, Johan just becomes a crutch.

In Summary:

Judai's actions are selfless.

His motivations are selfish.

Judai's purpose is to carry everyone's burdens on his shoulders.

Judai's friends exist to be saved by him.

The following arc is roughly divided into four sections. Everything I've covered above happens in the first section the Cobra Arc.

Cobra Arc

Zombie Survival Arc

Dark World / Supreme King Arc

Oh Shit, Yubel's Back

The cobra arc is the introduction and it sets up the basic ideas of Judai's character that I listed above, in addition it focuses on the question of if Judai is selfish, and the idea that being a hero is a burden. There's also the third question where Judai is called to understand darkness of the heart, something Deku will also be called to do.

The Zombie Survival arc is an arc where the school is teleported to another dimension and they have to survive for several days with a limited food supply, everyone fighting, and an outbreak of zombies.

The main setup of this arc is to show how everyone is working well together as a team, even in a high stress situation. Alexis, Judai, Misawa, Kenzan, all pull together with the help of new students Johan, Austin O'Brien and Jim Crocodile Cook.

However, I'm brushing over this arc because Judai doesn't actually do much this arc. If you analyze who does what, it's mainly Johan and Austin O'Brien who are in charge of the entire school. Johan demonstrates leadership skills, calls on everyone to pull together in a time of crisis, and most importantly emotionally supports Judai all throughout.

Even when Judai is confronting the main villain of this scenario Yubel, it's Johan who shows up to support Judai, and it's Johan who wins the duel at the sacrifice of his own life. Everyone gets through the zombie arc unscathed, but it's because Johan is the hero of this part of the arc, not because of anything Judai really did.

Judai who having gone on so long carrying other people's burdens to the point where he's made saving others his purpose, has for the first time experienced someone helping him carry those burdens only to disappear and Judai does not react well to it.

This is when the story has finished setting up all the dominoes that are about to fall. We have one mini-arc drawing attention to the dark side of Judai's personality and how he doesn't understand his own darkness, and one mini-arc showing Johan being a much more effective hero and leader than Judai, demonstrating everything Judai lacks.

You Either Die a Hero, or You Live Long Enough...

Yadda yadda you know the rest. A character being undone by the same traits that made them a hero, is classic tragedy 101. It's called the Hamartia or the fatal flaw. A character's greatest strength in some situations can be their greatest weakness in others. The Supreme King Arc is a masterclass in showing how the traits Judai had that led to his success in the first season, can lead to his total ruin, and even to him becoming the villain of his own story.

Hero and Villain are much closer than you'd realize, and this becomes especially true in the relationship between Judai and Yubel. Judai shares an extremely close relationship to his antagonist foil, just like Deku does with Shigaraki.

However, in Judai's case he's the reason that Yubel turned evil. While it's not entirely his fault, Judai's decision to abandon Yubel when he was a child, made Yubel go through ten years of painful torture all alone, which is the reason behind their current madness.

To summarize Yubel and Judai's story briefly. Yubel is a card spirit, the thing that Johan wants to serve as a bridge between card spirits and humans. Judai had an incredibly close relationship with Yubel as a child, but Yubel was overprotective and used their powers to harm anyone who came near Judai. Judai launched Yubel into space hoping the righteous space rays of justice would calm Yubel down (I know that sounds stupid just go with it) but instead Yubel was hit with the light of destruction a corrupting force that made them endure years of torture. They called out for Judai's help in their dreams only for Judai to eventually forget about them with a psychologist's intervention. Eventually the satellite they were trapped in made it's way back to earth, and they almost died burning up on re-entry. When they finally crawled their way back to Judai, they found Judai had been living the past ten years happy and surrounded by friends, while they had been tortured in space and nearly died all alone.

At which point Yubel snaps, hard.

While it's not Judai's fault entirely because he was a child and he didn't know what was going to happen, he still made the decision to abandon Yubel and stuck them in that situation. Judai's actions creaeted Yubel, and now Yubel is here broken and hurt and determined to hurt all of Judai's friends.

Judai doesn't know how to cope with the guilt or responsibility for either of these things. Both for creating Yubel, and for the fact that because of Yubel Johan might now be dead.

I'm the one who made her what she is!

This is where the show starts demonstrating that understand in darkness of the heart is necessary, because Judai can't understand two things, number one the fact he might have hurt Yubel, and two how to deal with the sense of responsibility he feels towards Yubel becoming what they are, and for Johan's apparent death.

He just feels a lot of guilt, and as someone who's only been the carefree hero up until this point he doesn't know how to deal with that guilt.

Judai makes a very similiar decision to Deku. He decides to go out and hunt for Johan by himself, leaving his friends behind so he won't risk their safety. Unlike Deku however, his friends immediately follow and insist on coming along.

This is when the problems start appearing, because the second everyone enters the Dark World to look for Johan, the show starts demonstrating clearly how different Judai's leadership is from Johan.

All of Judai's flaws start popping up, he's tactless, self-centered, and doesn't consider others feelings, and most importantly of all he doesn't look before he leaps. These behaviors that could earlier be swept under the rug, just become aggravated in a high stakes situation where everyone's lives are on the line. Judai came together with everyone to look for Johan, but he keeps acting like he's alone.

Another user's meta post here summarizes Judai's actions in the Different Dimmension, more succinctly so I'm going to quote them.

Shit Judai’s friends signed up for when they went into the Different Dimension with him:

searching for Johan

working as a team

deciding as a group what risks they’re willing to take

risking their lives together, on an even playing field

Shit Judai’s friends didn’t sign up for when they went into the Different Dimension with him:

having their input thoroughly ignored

being left behind while their friend recklessly charged ahead

having essential information kept from them (Judai didn’t tell them about the fatal consequences of dueling in Dark World)

being kept from dueling without their opinion on the matter ever being taken into account

having their physical, mental and emotional well-being be completely ignored by the de-facto group-leader

being relegated to secondary importance in comparison to Johan, in Judai’s eyes

having their group leader outright break the promises he made to them

To name a few things Judai does while in the different dimmension. Almost immediately after entering the dimension he runs away from the rest of the group, forcing Austin O'Brien to follow before anyone has even gotten their bearings or investigated where they are. Make an agreement with everyone to rest and wait for Dawn to search for Johan, only to run off into the middle of the night without telling anyone. Run off ahead of the group leaving several of their members behind, and when O'Brien tells Judai that members of their group are missing and that he should go back and search for them, Judai asks O'Brien to just do it instead.

Judai doesn't see the flaws in this behavior because it's how he's been acting all along, he always runs off into danger head first and he always fights on his own. Judai's never been good at considering the feelings of others though because he's a tad socially impaired, so he just doesn't seem to notice everyone's growing concerns with how he's acting.

Once again we are asked the question, is Judai's behavior selfish?

Judai deliberately abandons his friends three times, and the third time everyone stops to discuss his behavior.

Kenzan: True, we did come to this world to save Johan, saurus... Fubuki: He did find some minor clues as to Johan's whereabouts, so I suppose it's only natural, but... Asuka: But right now, I feel something is different about Judai. Menajoume: That's right. He got us all riled up about this, and now he's totally forgotten the comrades who came along with him. Kenzan: That's really irresponsible, Saurus. Fubuki: I don't mean to be a wet blanket, but I wish he'd realize the anguish he's putting us through. Asuka: Judai isn't doing this for Johan or us now. It's for himself. He just seems to be rushing forward, headlong, to forget the responsibility he bears on his shoulders.

The answer now is yes, his motivation is selfish because it's no longer about saving Johan, but just to stop himself from feeling guilty.

The stress of the situation is aggravating Judai's worst qualities yes, but Judai's always thought about himself first before others, he's always viewed his friends more as burdens / people to be saved rather than equals.

This all leads to a situation where Judai messes up big time. The same way he abandoned Yubel, he abandons the rest of his friends to run ahead and search for Johan.

They are all kidnapped - and it's Austin who notices they are missing Judai isn't even paying attention. Austin says they should head back and look for the others, but Judai asks Austin and Jim to handle that alone so he can keep searching for Johan.

Jim: The others haven't arrived yet. Something might have happned to them on the way. Judai: I see. Sorry, but could you go back and fetch them? Jim: What? You mean you don't care what happens to them? Austin: Don't forget these are the friends that are in this with you. To fulfill our objective in this dimmension we need everyone working together. You wait here until we return. Judai: Okay, I will.

Austin and Jim agree to go back and search for the others, if Judai promises to wait for them here instead of going on ahead. A promise which Judai immediately breaks.

Which is how Judai walks right into a trap.

Judai abandons his friend so they get kidnapped. He doesn't go back to look for them, so he misses out on a chance to save them. He doesn't wait for Austin and Jim to come back, and because of that he wanders all alone into a trap.

That trap is a sacrifice ritual where the leader Brron challenges him to a duel, and every time Judai attacks one of his friends are sacrificed. Judai is forced to attack and each friend dies one by one.

Judai didn't want to attack, he didn't choose to sacrifice his friends, but he did make every decision leading up to that. The trap was easily avoidable if he 1) didn't leave his friends behind 2) went looking for his friends after they were left behind or 3) waited for Jim and Austin to come back.

Judai didn't mean to sacrifice his friends, but it's a result of his own bad decisions. It's the culmination of an arc where he's been selfishly taking his friends for granted. It's a consequence for Judai just choosing to recklessly barrel forward because he can't cope with his guilt.

Judai's lack of darkness of the heart really dooms him here, because he was blind to his own flaws until it was too late. This isn't even the part where Judai does the bad thing, Judai's careless actions lead to four of his friends dying but he doesn't learn from his mistakes. He snaps, hard.

Judai: But at least I avenged them. Sho I'm really glad you're alive. Sho: Those words... they're just lip service. Bro... bro, you're selfish. Before now, I thought of you as the sun. Someone who gave others energy and made the impossible possible. But, I was wrong. All you care about is getting your way. You don't care who you sacrifice. You'll do anything in the name of your goal. Avenging them won't bring back the people you sacrificed. You're just dueling to satisfy yourself. Judai: O'brien! Austin: I thought I told you to wait. Judai: Are you saying what I did was wrong? Austin: Think it over for yourself. Judai: Why? What did I do that was so wrong? I... I did the right thing! And yet... everyone keeps leaving me! What... What is wrong with me? Supreme King: Yuki Judai. To be willing to be evil to defeat evil. This world exemplfiies survival of the fittest. It must be ruled with power. Judai: Power? I don't have that much power... Supreme King: You hold the Super Polymerization card in your hand. Defeat the spirits that stand against you. Breathe their lives into it and complete that card.

After this point Judai decides to sacrifice everything else for power, and to complete the Super Polymerization card he's already sacrificed four friends four.

It's the culmination of an arc where Judai's only been praised for his strength and his ability to win duels. Where he constantly has been called to win duels to solve problems, until that stops working. When everyone is gone, all that's left is his strength. He had to keep winning to keep people safe, but even that wasn't enough, he was still missing something.

He knew he was missing something, that there was something wrong with him and he didn't know where to look.

Conclusion?

He needed power. If he had power, then he wouldn't have lost. If he had power then everything would have turned out alright. He didn't have the strength to carry everyone's burdens for them, that's why he lost, so what he needs is more power. He's been demanded to win, win, and win again so now winning is all that matters.

Now we have our second question: Is Judai's hero complex a good thing?

That's a definite no, because the pressure to always win, to always save everyone and carry their responsibilities has now completely broken Judai. To the point where he now believes that the only thing good about himself is that he's powerful, but he now is willing to sacrifice others to gain more power.

My name is the Supreme King.

Now here's the best part about Judai actively having a villain arc.

He does bad thngs. He does a lot of bad things.

It turns out when you're abandoned and left alone to suffer you do bad things, crazy that, I'm sure Yubel would have a lot to say about that.

Judai is also not being possessed in this scenario. They state it several times. You could say he's Shadow possessed in a Jungian sense. The supreme King is the symbolic embodiment of all of Judai's flaws that he's been ignoring until now. You could say Haou is representative of Judai's subconscious that has been repressed for so long until all those flaws finally surfaced, and that the Judai we see on a day to day basis is his ego, that the relationship between the two is a metaphor for conscious and subconscious.

Jim does a deep dive into Judai's mind, where we're shown a symbolic sequence of what the inside of his head looks like. Judai witnesses his friends appear in mirrors before they shatter one by one, all while he mumbles about how he needs to get stronger.

These are all storytelling devices to show Judai's fractured psyche, but Judai is still in control of his actions. Judai talks and responds to questions when he's addressed. Judai's friends confirm that it's still Judai, he's not a puppet or possessed.

Misawa says later to Judai's face that he and the supreme king are the same person. Judai later is able to use the Supreme King's powers and maintain complete control, because the Supreme King isn't a split personality. Judai even says when Amon is sacrificing someone he loved for power, that he was doing the same thing as the Supreme King, sacrificing everything for power.

We later learn that the ritual that sacrificed four of Judai's friends was a part of Yubel's schemes, but that's the only thing Yubel set up. Judai made every bad irresponsible decision that led to his friends being captured. Judai was the one who snapped and decided to complete Super Polyermization after it was completed. Learning Yubel was behind the sacrifice ritual doesn't take away any agency from Judai at all, because Judai is responsible for his own decisions.

What it does do is create another parallel between them, because we learn the reason Yubel set up the sacrifice was to make Judai walk the same path that they did.

Judai is hurt, abandoned and isolated and in that situation he ends up lashing out at everyone around him in a similiar manner to Yubel. When Judai is put through similiar trauma, he doesn't overcome it in some heroic way because he's an innately good person, no he succumbs and behaves in ways that are incredibly similiar to Yubel.

Even when Judai's friends selflessly try to help Judai, he resists them every step of the way. He ignores their constant calls to him, their comfort, and he even fights them. Judai is eventually reached by the efforts of Jim and Austin combined, but they both die in the effort. Judai is saved because Jim and Austin were way better friends to him than he was to them.

Judai is effectively snapped out of his destructive spiral, but he's left alone with the sobering realization of everything he's done and the blood of two more friends on his hand.

When it's time for our hero to finally face Yubel, he no longer has the moral highground. Now when he faces Yubel it's not as hero and villain, they're just two sides of the same coin. Two people who when they were abandoned, lashed out and hurt everyone around them.

The question is no longer can Judai save Johan. The question now is whether Judai can live with the guilt he's carrying within him, and for that matter can Yubel live with the guilt of what they've done now too?

By this point Judai's been completely deconstructed. He's no longer the hero of the story, he's just a flawed person who needs to fix his flaws. He has the choice to live with his mistakes, and the biggest conflict now is whether he's going to save his villain foil Yubel, or strike them down in order to save the rest of his friends (the three that are left).

This also creates a much more compelling reason for Judai to save Yubel. Not just because Judai is responsible for Yubel's creation, but because they've both made the same mistakes, they have the same traumas and the same scars. Jim and Austin were willing to risk everything to save Judai even when he didn't deserve it, and didn't want it. Now is Judai capable of doing the same thing, of reaching Yubel the way he was reached, not for the sake of saving the world but for helping a friend?

I just want to save my friend. That's all.

This is to me a very compelling setup for the challenge of whether or not Yubel can be saved. Judai's not really saving a helpless victim, he's not acting out of a sense of duty to sacrifice himself for the world, he's being challenged to save someone who suffers from all the same flaws that he does. Judai and Yubel are so similiar at this point it's really just Judai saving himself.

The Dark Deku Arc - Setup

This is the part where I'm actually going to praise MHA. Shocking I know. Season 1 and 2 of Yu-Gi-Oh GX are about 105 episodes in total. The Dark Deku arc begins at about episode 131 with Deku's decision to leave the hospital by himself to hunt down Shigaraki and AFO alone and try to understand villains better.

The 130 episodes up until that point are much better build up, than the first 105 episodes of Yu-Gi-Oh GX. To put it frankly GX is paced like ass. There's far too much filler, and because of that the plot points the anime is trying to make are delivered less efectively. In fact 105 is a good example of what I said above, that ideas are one thing and execution are another.

Season 2 especially is a season filled with good ideas and weak execution due to pacing. Here's one I use as a go-to example. There's a character named Edo Phoenix who's on a quest to find who killed his father. The ending of his plotline is he discovers that in a twist, the man who adopted him is the one who killed his father, and he's been encouraging Edo to investigate because it lets him spy on the police investigation and keep it off his tail.

That's a good twist - however that twist happens in the same episode that Edo's adoptive father is introduced. The audience is given literally no time to even get to know Edo's adoptive father, or get invested in their relationship so the twist doesn't hit at all. A better paced story would show Edo's relationship to his adoptive father early on, get you invested in them, only to pull the rug out from under you so you would feel the shock of that betrayal alongside Edo.

GX establishes its character cast, and yes the filler does give the cast time to breathe and they're all well characterized but because the plot around them is so poorly structured, none of the plot points really hit. Okay, Edo's adoptive dad is evil. Next! You can have good characters, but if you don't put them in a strong narrative framework that challenges them then those characters are just gonna kinda sit there.

The first 105 episodes of Yu Gi Oh GX does succesfully characterize most of the main cast, but it also feels like everyone's just goofing around. In comparison the first 135 episodes of MHA much more successfully builds an escalating conflict. Each new arc either introduces you to a new facet of the world, makes the amin characters more complex, or adds to the conflict.

We basically go from arc 1 "The hero high school is fun" to Arc 2 "The villains are a serious threat" to the Camp Arc "Oh shit, Shigaraki is learning and the villains are getting stronger."

When Bakugo is kidnapped at the end of the camp arc, the tension is ramped way up with the appearance of AFO, and All Might's retirement.

After that point we're introduced to the Overhaul arc, which not only again makes the League of Villains more complex and sympathetic, but also introduces the audience to All Might's more flawed side - the fact that All Might literally worked himself to death saving others and it still didn't work.

Then My Villain Academia -> The Villains are now a threat and they have an army.

Each arc builds on a previous arc, the characters and the world grow more complex, and it feels like you're learning about these complex issues alongside the characters. It just makes Yu Gi Oh Gx look like the silly card games show by comparison, by setting up this very layered world, and conflict, and heroes that challenge the protagonists on what it means to be a hero and what it means to be a victim.

Then all of that great setup.

We are side by side with the proagonist. We, like Deku now want to see if someone like Shigaraki can be saved. We, alongisde Deku want to better understand the villains and learn to see them as people. We want to know if the corrupt hero system can be salvaged.

However, these are too many questions so let's boil it down to two once more, because this is looking at Deku's character.

Deku and Judai are in some ways different as night and day. Deku is an introverted nerd and the victim of bullying, and he starts out with no quirk at all. Judai is a self-confident, charismatic prodigy who instantly seems to charm and befriend everyone around him. Deku desperately wants to be the hero and works his way up there, whereas Judai is just kind of thrown into the school hero because he's the best at dueling.

Judai is kind of a mix of Bakugo and Deku's traits, he's a self confident prodigy who always wins, but he's also someone obsessed with heroes and who has a hero-complex where he's continually forced to save others.

The Dark Deku arc, like the Supreme King Arc looks to take a darker, more introspective look at Deku's character, while also exposing Deku who is a sheltered kid to the a very grey on grey world. It also seeks to deconstruct Deku's suposed "hero complex". Despite the many differences between Deku and Judai I believe the two questions an be boiled down to the same thing.

Is Deku Selfish?

Is Deku's hero complex a bad thing?

These are the questions the series itself is asking in the deconstruction of Deku's character. Deku himself is asking if there's a better way to save villains tha just beating them down or outright killing them, but we'll discuss that later.

Just like Judai there is some setup before this to give a previously very one-note Shonen protagonist mor depth. Deku and Judai are both people who fit the determined, punchy, solve everything fist fight shonen protagonist to a T, on top of being the one to always show up to fight for their friends. Just like in the beginning of season 3, we do have some hints before this that there's something wrong with this attitude. That there's something about Deku that's not entirely there.

There's a flashback of All Might talking with Bakugo where Bakugo discusses that the fact that Deku never takes cares of himself or factors himself into the equation when he always puts others first deeply bothers him and there's "something wrong with it" that's made him always push Deku away.

This flashback also leads into a scene where Bakugo pushes Deku out of the way of one of AFO's attacks, telling him to "stop trying to win this on his own." In an attempt to make Deku see that he's not fighting alone this time.

Deku has also been warned repeatedly about the way his power destroys his own body when he uses it, warnings he's repeatedly chosen to ignore. Saving others isn't just a goal for Deku, you could arguably say it's a method of self-harm and that's what unnerves Bakugo. Bakugo even gave a similiar speech in the past, about how someone like Deku shouldn't take all of the bullying that Bakugo has given him over the years and still try to be his friend afterwards. At this point it's not really like Bakugo's done anything other than tone down the constant insults a little bit, he hasn't apologized or anything but even this early in the manga Deku has a tendency to just let Bakugo's treatment of him go. It's not like they were super best friends forever before the bullying started either despite what the shippers might tell you. Bakugo is saying it's weird that this kid just takes it, and takes it, and takes it without fighting back like he doesn't care about how people treat him and Bakugo is right... that is weird!

Deku either has such low standards for how he's treated that he just lets Bakugo get away with it, or he just doesn't hold a grudge when he is mistreated because his pain and his suffering just always matters less. Either way it's not healthy, and it could be indicative of a deeper problem hiding behind the surface.

Either way there's setup here, because on one hand you have everyone and their grandma praising Deku for his "drive to save others that eclipses all common understanding."

While at the same time he's criticized by Bakugo for having no regard for others. This could be the setup for the character trait that led to his earlier success leading to his downfall later. In Judai's case, everyone praises his purity of heart, but then that purity is later criticized as childishness, naivete and a refusal to grow up.

As for Deku...

How can you protect others if you can't even bother to protect yourself? How can you save others if you can't save yourself? That's the question Touka asked of Kaneki in Tokyo Ghoul when she rightly called out his desire to protect everyone at the Anteiku Cafe as just a roundabout way of getting himself hurt by acting recklessly.

In Kaneki's case he's not trying to protect anybody, he's just picking battles against the doves and getting himself hurt. He's acting out a hero complex in the sense that if he feels like he didn't fight his friends battles for them like Judai then he wouldn't have any friends to begin with. That's why Touka also says "Besides that, everyone doesn't belong to you. You have no business protecting us."

Is Deku fighting for the same reason? Does he harm himself to protect others because he views himself to be worthless and the only way to demonstrate his worth is try and fight to save others?

We don't get an answer for that question. Judai thinks duels are fun, and he's really good at them, and because he's good at dueling he's made friends. He think to keep those friends he has to keep dueling for the sake of others.

Deku's not motivated by the idea of protecting or keeping his friends, that's a secondary motivation. All we have on Deku is that he feels a strong desire to save others, and that he worshipped heroes like All Might growing up but has a naive idea of what a hero is supposed to be. However, his lack of motivation could be the "something that's missing" just like Judai has.

The GX writers did some hardcore digging into Judai's character by focusing on how shallow he was in motivation compared to everyone else, and showing that to be a symptom of his childish naivete.

There's also the potential parallel between All Might and Nighteye's breakup, and Deku's decision to leave all his friends behind to hunt for Shigaraki himself.

Even if Deku doesn't have a deeper motivation than just "an unnatural drive to save others" then you could show the effects of Deku walking down the same path that All Might did, the belief that he has to be the one to save everyone singlehandedly and if he rests for a single moment than someone might die, leads to him not only destroying his body, but also doing permanent damage to all of his social relationships.

Even if Deku's motivation isn't too deep, you could still have the traits that led him to earlier success now driving him to ruin as the story punishes Deku for his excessive selfishness.

This is also where we finally get back to Deku's goal of understanding Shigaraki, and contemplating whether or not it's possible to save villains without killing them.

I draw a parallel between this and Judai's enemies calling him out on lacking "darkness of the heart" and that without understanding that darkness he can't win.

Judai's lack of darkness of the heart means two things, he's not mature enough to understand the reason why his enemies are fighting, and he's also not mature enough to se the darkness in his own heart which is why he ends up blind to his own flaws and making pretty severe mistakes later on.

For Deku, it's mainly a lack of understanding of the motivations of the villains he's fighting again, villains he's only ever really beat down with his fists until now.

However, for Deku lacking darkness of the heart you could also re-contextualize that as meaning because of his idealization of heroes he's never once looked at the darker sides of hero society that might have driven people into becoming villains.

Deku's lack of inner darkness may just come from the fact that compared to the villains he's fighting against, he's gotten to live a pampered life. Without understanding that darkness, he can't be a full person because he'll still be a naive sheltered child, and not an adult wise to the way the world works and the moral greys he inhibits. Either way, it's just as necessary for Deku to gain an understanding of "Darkness of the Heart' as it is Judai.

So here's all the setup for the start of Deku's Dark deconstruction arc. As different as these characters and scenarios you can still boil it down to those three narrative questions about Deku / Judai, is there behavior selfish? Are there hero compelexes a good thing? Do they need to understand darkness of the heart?

Before moving on I'm going to summarize Deku's setup as thus:

Deku's actions are selfless.

Deku's motivations are also selfless (a desire to save others).

Deku does not benefit from saving others in any way, if anything he actively harms himself in order to do so.

Bakugo finds this behavior incredibly disturbing.

All Might destroyed his body and burned all bridges because of similiar flaws to Deku.

So the answer to the first question is Deku selflish? No. Is his hero-complex a bad thing? Potentially.

While Deku himself decides that he needs to understand darkness of the heart in order to better understand villains. Deku is actually more set up to contemplate darkness of the heart than Judai is, because Judai charges into the dark world blindly with only the motivation of saving Johan not even caring for Yubel, while Deku has the explicit motivation of trying to understand the little boy inside Shigaraki.

DEKU LEFT THE HERO ACADEMY

Deku begins the arc by leaving alone to go searching for Shigaraki, with hand-written letters addressed to all of his friends that tell the truth about One for All and also say Goodbye. He makes the deliberate decision to leave them behind so they don't get targeted alongside of him. It's a pretty classical superhero motivation, I need to cut myself out of my loved ones life in order to protect them. Of course this sort of ignores that everyone in his class has super-powers too, but you know heroes they're all such drama queens.

Is this selfish behavior?

This is going to be the only time I'm going to solidly answer yes. Deku clearly did not take his friends feelings into account. His desire to protect them, is more important than their own agency. They also might want to fight alongside him, they'd be upset if they saw him die or get hurt trying to protect them. Deku thinks of his own feelings of wanting to keep them safe and not being able to handle the emotional burden of protecting him, more than he does their own personal feelings.

This is also something that All Might did they permanently burned all of his bridges with his sidekick and friends, and deeply hurt his sidekick who was just asking him to take a break so he did not get himself killed and quit because he didn't want to watch All Might slowly kill himself by inches.

Deku is being selfish here, and later on when he does face his friends he even acts pretty condescending belittling them and insisting they can't fight on their own or keep up with him.

However, I need to ask a secondary question.

Is there any lasting consequences for this selfish behavior?

Besides the fact that it hurt his friends feelings for a little bit, no. I spent a much longer time covering this in Judai's sections because Judai's selfish behavior led to character conflicts. Judai disregarding his friends led to everyone starting to resent him in the Dark World, and their once tight-knit friend group further falling apart.

Judai on three seperate occasions makes impulsive decisions to run ahead without consulting with the group. The second time he outright lies to the group and sneaks ahead without them. THe second time all of his friends are captured when they go after him and try to follow him to give their support because they're worried about him. The third time he makes the decision to run ahead, he knows about the danger they're in and the risk of getting captured and he just blatantly ignores them. When Austin notices they're missing Judai doesn't even go looking for them because they're not a priority at this point - saving Johan is.

This is something that has very real and lasting consequences in the story, they're captured because of his recklessness, and sacrificed in front of his eyes. Even though they technically come back in season 4, the trust between Judai and his friends is all but gone and he's alone for a lot of Season 4.

Judai's decision to abandon his friends has direct and lasting consequences. He is being punished for his hero complex. Running ahead, and fighting alone against the bad guys is what Judai has always done and what's worked before, but now in a more complicated world it's not cutting it and Judai is being challenged for his flaws.

Deku hurts his friends feelings a little bit, but even in that case the focus is on how sad it is for Deku, how hard it must be to be a noble hero fighting alone.

Deku's Mary Jane and Spiderman bullshit never impacts his friends directly, other than the fact that they find it slightly condescending. His "I need to keep secrets from my loved ones attitude" is challenged because his friends want to fight alongside him, but there's never any narrative punishment delivered to him. It's just solved with one fight scene and a character holding out their hands. Whereas, the consequences for Judai's rash actions last two seasons.

I call it "Mary Jane and Spiderman" Bullshit, because Spiderman keeping his identity a secret from all his loved ones is a big conflict in the comics. Something that got Gwen Stacy killed, because Peter Parker never told her his identity in order to protect her, and then that just ended up with Norman Osborne finding out about her anyway and kidnapping and killing her.

You might have heard of the "Death of Gwen Stacy" it's a pretty famous moment in comics. It's also a case where it shows that the Hero's failure to communicate honestly with their loved ones in the name of "Protecting Them" can actually get them killed.

There's even consequences in MHA itself for heroes choosing to sacrifice their personal lives to help complete strangers. Shigaraki literally made a whole speech about it. Kotaro Shimura is traumatized for life over his mother's decision to abandon him instead of giving up on being a hero. Nana Shimura believed she was doing something selfless in sending her child into foster care to keep him out of AFO's clutches, but that was shown to be wrong as AFO just found Kotaro's household and then destroyed him later on in adulthood anyway.

So in the story we are shown scenarios where choosing to abandon your loved ones in the name of "protecting them" can have disastrous and lasting consequences, but as for Deku himself, the decision to leave the school has basically no consequences whatsoever.

Well, Deku making the decision to fight alone is something that might lead to some consequences. After all, Judai's breakdown came about because he always felt the pressure to fight alone and carry everyone's weight on his shoulders until he couldn't.

Perhaps, with Deku fighting alone to protect everyone we'll reach a similiar breaking point. Just as Judai couldn't handle carrying everyone's burdens, looking for Johan, and leading his friends into the Dark World all that the same time and eventually broke down maybe we'll see Deku break down because he just like All Might can't carry the burdens of an entire nation - oh wait nevermind he's working with the Top 3 Heroes.

Even the premise that this is Deku leaving the school, to become something like a vigilante wandering the countryside trying to fight AFO on his own is just incorrect because Deku is receiving government assistance right now.

In the Dark World it was really just Judai and his friends, so every single bad decision Judai made had consequences because they were well and truly alone. Deku has backup so he's not even really "alone" in the arc that's supposed to be about him fighting AFO and trying to understand Shigaraki alone.

ALL YOU'LL FIND IS BLOOD AND VIOLENCE

Let's briefly focus on questions two and three, is Deku's hero complex bad, and does Deku need to understand darkness of the heart?

Judai's hero complex was based on the idea that if he wanted to have friends he needed to fight for them and solve their problems for them.

Judai got in such an unhealthy negative feedback loop, that he had to carry his friends burdens in order to maintain his friendships with them, but at the same time he couldn't receive any help from them because he made their friendship all about him carrying their burdens. He was operating underneath an amazing pressure to always win until he lost. The very thing he did to try to maintain his friendships, keeping his friends at arm's length and fighting alone is exactly what ends up driving them away and leaving him alone.

But, still...! They're all... They're all gone. There really was something missing in me. But what is it? What was missing? What should a duelist burden themselves with?

Judai paradoxically fights alone in order to keep his friend group together, which only ends up with him losing four friends and being abandoned by the rest when they're disappointed for him in his selfish behavior. Judai screams out why, realizing he did something wrong here, that something went wrong because he's been winning duels, he's been fighting the same way he did before only to end up with the worst option possible. The realization that he is truly alone breaks him down entirely.

Judai's hero complex unwravels when simply charging ahead to fight doesn't work for him anymore, because the situation becomes more complicated than that. Darkness of the heart can mean many things. Judai not understanding his own personal flaws. Judai not seeing how his flaws are affecting others. Judai not looking at other people's emotions, he doesn't hear or respond to criticism when his friends start trying to tell him how is selfish decisions making is making them feel.

I can't just stay and wait. All this time I've run on instinct, never second-guessing myself. If I just stand still now... I'm sure I won't be able to start running again. And I won't be able to get to Johan.

Judai's hero complex has a clear source - he believes he has to keep running ahead and fighting for his friends the same way he always has in order to keep those friends and if he stops he'll lose everything / succumb to the guilt he now feels about being uanble to save Johan. His Hero Complex also has clear consequences, him running ahead without thinking gets all of his friends kidnapped and used in a sacrifice ritual that could have been avoided if he had made different choices.

Spiderman kills Gwen Stacy because Peter Parker deciding to not tell her about his secret identity to protect her backfired and made her an easy target to the Green Goblin.

Heck, Spiderman's entire character is about how the burden of being Spiderman and his Hero Complex constantly sabotages any attempt he makes at having a personal life. Miguel O'Hara's catchphrase in the incredibly popular Spiderman movie is that "Being Spiderman is a sacrifice" and he's not wrong either.

SO, is the narrative punishing Deku's hero complex in any way?

Well, the one warning he did receive that if he kept fighting he'd lose permanent loss of his arms turns out to not matter anymore because his body is just stronger now.

So, even the phyiscal toll of fighting alone that's a consequence for Deku doesn't actually apply here.

I keep talking about consequences but what do I actually mean? Am I talking about strictly punishment? Do bad things need to happen to characters in order to get their lessons?

Not necessarily.

When I say "consequences" I mean in terms of actions always having consequences in a story. The best stories are succinct, that means you basically cut down in as many frivolous details in a story as much as possible so everything that happens onscreen is something that matters and contributes to the whole. Therefore, every action should have a consequence directly seen onscreen in story. Stories are all actions and consequences, the choices the characters make should have direct impact on the plots and the other characters because it makes those choices seem like they matter.

If the story constantly draws attention to the fact that Deku is afraid of ducks, but the story takes place on the moon and there are no ducks living on the moon then that's a wasted plot thread because there are no consequences. If a character does something bad, other characters should discuss it, or it should negatively impact them in some way.

When Judai decides to run ahead without all of his friends for the first time after they all agreed on a plan, the result is the next episode they all start talking about their shared doubts with Judai when he's not around. If they all just swept Judai abandoning them under the rug, then Judai running ahead and leaving the others alone doesn't feel like an impactful character flaw.

There's no lasting consequence for Deku's hero complex. It doesn't drive him to any kind of breaking point like it does Judai.

I think the reason why is because there's no real moment of failure for Deku. When he tries to ask Muscular why he fights, and Muscular rejects him and says that he was just born evil and has no deeper motivations, Deku's not frustrated at all.

Deku who feels a "unnatural desire to save others" isn't really bothered by the fact that Muscular insists that he can't be saved and that they can only fight. Despite this technically being a failure, Deku has failed to talk a villain down, failed to find a way other than fighting and also failed to understand the darkness in someone's heart it's of little consequence because it's not framed as a failure.

Deku just punches Muscular, back to the drawing board.

There's another manga called Choujin X running right now, where the main character is on a similiar quest trying to see if there's a way they can save the big bad Sora Shihouhin, and when he is forced to fight against a villain who won't back down, de-escalate, or listen to reason he has a complete emotional breakdown.

This is the reaction of someone who's genuinly invested in the idea of saving the villain, and frustrated with the reality that he might not be able to save her, that he can't talk to the villains or convince them to back down. Tokio's not even characterized by an unnatural desire to save others like Deku is, so why is he the one breaking down and not Deku someone apparently so selfless that he wants to save the mass murderer that's trying to destroy society?

If Deku's desire to save others is so strong why doesn't he show frustration at being unable to talk down, or understand Muscular?

Judai is stuck in a negative feedback loop where he's forced to fight for others, because he believes he has no worth to his friends otherwise. All we're told of why Deku feels the need to save everyone around him is that he's just like that, he just feels like saving everyone no matter who they are the moment they come into view.

If we're choosing to characterize Deku that way, then number one he should be attempting to save everyone, and number two the stress of having to save everyone is something that should get to him. His "Hero Complex" should be what's breaking him down at the moment. The unnatural desire to save everyone around him that led him to so much success should be what's punishing him this arc.

Judai felt pressure from two aspects, first the pressure to carry everyone's burdens, and second the lack of understanding of darkness of the heart. Unlike Judai who doesn't want to understand darkness and who avoids it as long as possible, Deku goes into this arc actively seeking to understand how his villains think.

Deku and Judai also suffer from a lack of darkess in their own hearts. This leads to them having empty motivations. Judai has a childish desire to enjoy fun duels. Deku has a childish desire to save everyone. Neither of them have tried to grow or change or even question those motivations in any way and because of that they're stunted people.

Judai doesn't know why he fights. He doesn't question why he fights. He just takes on the burdens of others to give him something to fight for. This all together leaves Judai blind to his own personal darkness, and also because of that blindness he can't grow in any way because he never evaluates himself, he never looks at himself and tries to change.

When he's on his knees and at his breaking point he screams at the top of his lungs, "WHY? WHAT AM I MISSING? WHAT DID I DO WRONG?" simply because Judai's never thought about these things.

Deku's asked these same questions both in the Dark Deku arc, and hundreds of chapters later he's asked what he's planning on doing as a hero in order to make things better and Deku never materializes an answer.

Pre-Dark Deku Arc, during Dark-Deku Arc and Post Dark Deku arc, Deku always solves his problems by recklessly jumping in and saving others. There's never any point where he's punished or criticized for this behavior in any significant lasting way. He never has to self reflect and develop a reason on why he wants to save others, or eve think about how he's going to save others, he can just keep acting as the rash, impulsive hero.

Judai and Deku are both characters who are empty, and lacking in motivation but Judai is ruthlessly criticized for that until he reaches his breaking point and is forced to look at his motives.

This once again comes from a lack of failure on Deku's part. Deku never fails the way that Judai does. There's a scene where you could have easily had Deku fail. The entire Nagant vs. Deku fight where Deku fails to give her any substantive answers to his questions.

Imagine if Deku's simple philosophy of always extending a helping hand failed here. Imagine if Deku actually got deeply ivnested in the idea of saving Lady Nagant, and did his beset to talk and reach out to her but his answers weren't enough and because of that she just chooses something like suicide. Imagine he has her by the hand, and she's dangling off of the roof and he thinks that his impressive move to save her should have been enough - he's reached out a hand like always. He thinks this should have won her heart over, by showing her that someone still cares in all of her despair.

Then, Nagant in one final spiteful move lets go. The person he heard her entire backstory, the person maybe he once was a huge fan of her when she wasa hero, the person he wants to save the same way he wants to save Shigaraki chooses to let go and fall to her death because dying would be better than living in whatever kind of corrupt world that Deku is trying to build.

This could be Deku's Gwen Stacy moment. Spiderman carelessly webs Gwen Stacy whe she's falling to catch her and for a moment he thinks he's saved her because he's overconfident and has caught people falling like this a thousand times, only to find out he's snapped her spine. His overconfidence, his hero complex making him believe everything magically would work out led Gwen Stacy to her death. This could show the simple act of just offering a hand out to someone in need isn't enough, without empathy and understanding.

Instead, AFO just blows Nagant up in Deku's face.

Except, that isn't even a failure bcause Nagant turns out to be just fine! There's no point in blowing up Nagant except for the spectacle of it, because she turns out to be fine five minutes later and even shows up to fight in the next arc.

There's no consequencs to anything that happens in this scene. Deku doesn't suffer any consequences for being blind to the faults of society. (He's working right alongisde a killer cop just like Nagant and he doesn't even care.) Deku isn't forced to reflect on what saving people or making society better would even mean. He also isn't punished for his lack of understanding the way that Judai is.

Afterwards, Deku denies help to a very mentally-ill Overhaul, who is apparently not one of the villains that Deku wanted to save. There's a whole buch of asterisks on that "Deku wants to save everyone***" goal. This also isn't framed or used to paint Deku in a bad light because Overhaul is unworthy of salvation in Deku's eyes for hurting Eri.

Is this action part of an arc? Is Deku reaching his limit with trying to sympathize with villains only to see people like Overhaul and Muscular fighting him every step of the way and telling him they don't want to change?

Nope, this scene is never brought up again.

Deku never fails, and he never does anything wrong. Even when there are situations where you could argue he does do soemthing wrong, like denying the armless, mentally ill Overhaul help - he's not painted as being in the wrong.

The entire arc is supposed to be about criticizing the protagonist for their hero complex, and their lack of understanding of the darkness of the world but for Deku there's no criticism to be had here.

Compare this to the sacrifice ritual in the Supreme King Arc, where not only does Judai fail to save his friends, but the friends that survive ruthlessly tear into him aftewards for his selfish behavior. THe actions of one protagonist matter, have consequences in the story and are criticized. The actions of another protagonist have no real consequences and are never criticized.

The whole mansion blows up and... nothing happens. No one's injured in the explosion. It may as well have not happened in the story because there are no consequences for Deku just continually choosing to blindly run ahead like his hero complex tells him to.

There's evena moment where Deku winds up in a similiar situation to the dark ritual. After receiving information from Nagant, he blindly wanders into a mansion in Haibori woods believing it to be AFO's base, only to find out it was a trap and AFO was waiting for him to blindly charge in all along.

THAT'S WHAT MAKES US HEROES AND VILLAINS

This is where I'm going to talk about another big similarity between Deku and Judai, and also the biggest point of divergence in the Dark Deku and Supreme King Haou arcs.

Deku and Judai are both character foils with Shigaraki and Yubel respectively. This is where I'm going to praise MHA again, surprising everyone.

The foiling between Shigaraki and Deku is masterful. They both started out in relatively the same place, as boys with dreams to become heroes who were softly told no by their parents. Tragedy struck Shigaraki and he killed his family on accident and wound up alone wandering the street for days until he was found by AFO.

They're both the students of the greatest hero and villain of the last generation. They both end up being surrounded by a group of close Nakama that they want to protect. They're both continually challenged to grow up, and show how they're going to be better than their predecessor for the hero and villain sides respectively. They both have to prove they are worthy successors. Shigaraki has all the heroic spunk and determination that Deku has but on the villain's side, and while Deku loves heroes, Shigaraki is hero society's critic wants to bring down the hero system that didn't save him.

You get the feeling that Shigaraki really is Deku just in a different situation, a same person on the opposite sides of the conflict kind of character foiling.

As the biggest Yubel stan here, in some ways the foiling for Shigaraki works better than the foiling for Yubel because Shigaraki isn't just Deku's foil, he's the foil for all of society. Yu-Gi-Oh Gx takes place in a society run where everything centers around card games, it's not really that deep. In My Hero Academia you have that 100 episodes of great setup where Deku is not only learning to look at the darkness within himself, but also the darkness within hero society around him.

Judai's narrative as much as I love it, is entirety about Judai.

Not only could Dark Deku arc develop Deku's character, it could also say something deeper about the world it's taking place it, because Deku has all these connections to Shigaraki, who also kind of represents the orphaned boy failed on all levels by the society around him.

Shigaraki is the shadow of -> Deku, but also Shigaraki is the shadow of -> all of society.

Yubel is the shadow of -> Judai, and only relates to Judai's personal growth.

Yubel is Judai's personal villain, and was created by his actions as a child. His decision to abandon Yubel into space, led to Yubel being tortured and their later madness.

Yubel is also Judai's shadow. They carry all the same flaws, but those flaws are obvious in Yubel and repressed in Judai. Yubel's belief is that Judai is someone who purposefully enjoys hurting their friends, and that's how he shows his love. While that's twisted it's not hard to see how Yubel came to that conclusion. After all, Yubel loved Judai so much only for Judai to abandon them and turn a blind eye to their suffering. In the Dark World, Judai abandons his other friends continually in order to search for Johan, and they wind up suffering too.

While Judai doesn't sadistically enjoy hurting others as Yubel put it, there's an element of truth to Yubel's criticism. Judai does abandon people, Judai isn't as empathic as he seems to be. When Judai is subjected to the same kind of isolation and abandonment that Yubel has endured for the past ten years, Judai loses his mind a whole lot quicker and starts lashing out at everything around him the same way Yubel has. Judai without the love of his friends starts to hurt everyone around him in his lashing out, the same way that Yubel desperate for love starts to inflict pain on the people she loves. Even before the ritual happened, Judai was unwittingly hurting his friends with his own selfish behavior.

Yubel's stated criticism is "of Judai is "Anguish and sorrow born from loneliness. That is the nature of love as you taught it to me" and further beyond that "When you forgot about me, I suffered. It's hot. It hurts. I am in pain. Why? You know how much I love you? Why did you do this to me, Judai? In that moment I realized that was how you showed love. Because you loved me, you hurt me and made me suffer."

That sounds crazy, but hasn't Judai been hurting the people he loved for his own selfish reasons this entire arc? Is it that crazy then to conclude that neglect and abandonment must be how Judai treats everyone he loves, so surely he loves me.

One of the biggest criticisms of this arc is how Judai's behaviors impact his relationships, so of course his most personal villain and foil is his jilted ex nonbinary dragon lover. On a less joking note, when Yubel was displaying troubling behavior as a child, Judai's first response was to abandon them. Which is ironic for someone like Judai so paralyzingly afraid of being abandoned that he became everyone's workhorse and worked himself to death solving their problems for them. Who when abandoned by those friends finally, snaps just as hard as Yubel did when they were abandoned.

Do you see the parallel I'm drawing here? Judai is slotted into the spot of the protagonist who's friends with everyone he meets, who loves and fights for his Nakama. Yet under closer scrutiny he's shown that he doesn't really understand what love or friendship is or how to give and receive love from others in a healthy way. His antagonist is his former childhood best friend, who is obsessed with love and demands that Judai love them back. Judai's lack of understanding of relationships and love takes a dark twist with Yubel, their shadow, foil and antagonist.

These are once again very personal challenges to Judai, society doesn't really factor into this equation. Though, Judai is somewhat challenged as a hero because there's an irony to Judai plunging into the world to save his best friend Johan who he's known for like three weeks, but not really lifting a finger to save the antagonist of the arc Yubel who he's known since childhood and is personal responsible for putting through torture.

That hypocrisy there too, is a personal challenge to Judai that paints him in a less heroic light. He wants to save Johan and ignore Yubel because it's easier, because saving Johan relieves him of his guilt. He doesn't even know what to do about Yubel, so he doesn't try and falls back on his previously established behavior of playing the hero.

The hero is really just a mask for Judai at this point, something the story has ripped right off of his face by the time it comes to face Yubel.

There are two ways in which Yubel serves as an ultimate foil to Judai.

Yubel acts like a callout post to all of Judai's flaws

Yubel represents a dark path Judai could have taken.

This second one is what Shigaraki and Deku have in Common with Judai + Yubel. There's something deeply tragic about the idea that while Deku was making friends, getting taught by a loving teacher like All Might, Shigaraki was all alone being pushed by a ruthless manipulator like AFO into becoming the worst villain.

Judai and Yubel's lives follow the same tragic parallel path. They began in the same place as childhood friends, but after abandoning Yubel, Judai spent the next ten years growing up, making friends in a healthy and safe envirnoment while Yubel the one who was abandoned was alone in space desperately crying for Judai to come save them only to be ignored because Judai has long forgotten them.

However, there's a striking difference there too. Yubel is created directly by Judai's neglect and actions. Whereas Shigaraki is created by the neglect of all of society, it's not Deku's fault directly.

#1 Shigaraki acting as a callout post to Deku's Flaws

However, this is where Shigaraki's callout post comes in. Shigaraki gives a long speech on how the existence of heroes itself, creates villains like him.

"You heroes pretend to be society's guardians. For generations you pretended not to see those you couldn't protect and swept their pain under the rug. It's tainted everything you've built. That means your system's all rotten from the inside with maggots crawling out. It builds up little by little, over time, you've got the common trash all too dependent on being protected. And the brave guardians who created the trash that need coddling. It's a corrupt, vicious, cycle. Everything I've witnessed. This whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I take power for myself. Simple enough, yeah? You don't understand because you can't understand, that's what makes us heroes and villains."

To break it down simply, heroes look away from the faults in their society, they intentionally ignore the people they cannot save, and when those people turn into villains the heroes beat them down hard. The villain attacks then convince the common people of the need for heroes, and the cycle perpetuates itself. This is all powered by the people's blind, uncritical faith in heroes.

Deku is a person who has that same blind, uncritical faith in hereoes, and until this point has never thought of Shigaraki as anything more than a villain to be punched until he stops. Which is why this is still a callout post that applies to Deku, because Deku's blind admiration for the Hero System is part of the problem that enables the very flawed hero system.

Deku does not understand darkness of the heart, therefore Deku does not understand that heroes could possibly be bad, and he could possibly be supporting a bad system until he's slapped in the face with it.

However, is there a lasting consequence for Deku's blind support of the hero system?

Nope.

I just described up above what could have been a consequence, if Lady Nagant refused to have faith in Deku since he didn't back his words up with action.

Deku also clearly does not want to break away from the corrupt hero system that created Shigaraki, because the heroes that he brought along to fight with him are Endeavor, Hawks and Jeanist, a child abuser, a state sponsored murderer, and a guy who makes bad puns. He doesn't change any of his bahavior that enables the corrupt system to stay in power.

Not teaming up with the Top 3 heroes, and deciding to go full vigilante would have at least have been breaking away from that system.

This circles around to a big underlying problem in this whole arc in that Deku isn't really doing anything different from what he was doing before, and he's not punished for his character stagnancy either.

So we're left with.

#2 Shigaraki represents a dark path that Deku could have Taken

This is where Judai / Yubel succeeds and Shigaraki / Deku falls flat on its face.

When pushed to his absolute limit after failing repeatedly, Judai snaps. With no friends left he decides that all that matters is power. This path seems natural for him because we've already seen what being abandoned and left alone can do to a person and how it twisted Yubel. The story hints again and again at Judai's blood knight tendencies, and that he thinks the only thing he has of value to offer others is strength by fighting for them.

He loses his friends and the fighting is all he has left.

At the point of despair he decides to just embrace power. If he cares about nothing more than strength, at least that will give him some sense of control over his life after the out of control tragedy that happened to him.

"Yuki Judai. In order to defeat evil, one must become evil. In a world with the law of the jungle at work, one must rule with power." "Power? I don't have that kind of power." "In your hand lies the super polymerization card. Defeat any spirits who may oppose you, and combine their lives into it to perfect the card."

Supreme King is just a villain persona that Judai adopts to as a protetive blanket for all the hurt and pain they've gone through, just like ding, ding, ding, the villain persona Shigaraki Tomura is for Shimura Tenko.

Judai snapping under such intense pressure shows us that if even the faultless hero can snap, then how much can we blame the villain for snapping under similar circumstances? Maybe the reason both the hero and the villain fell is because they're both equally human and to fall down is human.

Deku never falls down as hard as Judai does. He doesn't even fall down and scrape his knee. There's no instance where he fails to save anyone. There's no instance where his actions hurt anyone. There's no instance where he takes things too far and hurts a villain. I kow it's unlikely for Deku to turn into a villain, but he could have at least gotten so frustrated he turned into a punisher style vigilante! Is that too much to ask?

There's not even a single moment where Deku goes too hard in a fight and injures or even kills a villain. They could have pulled an "I thought you were stronger" moment like in Invincible.

I don't know why this is called the Dark Deku arc because there's no darkness in Deku's heart for him to exploit, nor is he actually called to better his understanding of the darkness in others hearts. Judai understands Yubel's darkness because by the end of his personal arc he's been there, he's not the hero he's the atoner. He can either punish Yubel, or hold a hand out to help Yubel atone.

Deku's arc might as well be called the "My Little Pony Friendship is Magic Arc" because he never does or confronts anything dark. His worst crime is not showering. All that isolation and his repeatd failures in hunting AFO down should have worn Deku down, but it didn't because he's just that special of a boy!

Deku's hero complex also is completely uncriticized from beginning to finish. Judai's hero complex is an unhealthy behavior that utterly destroys him. Deku's hero complex is a job interview flaw.

FRIENDSHIP IS MAGIC

Just to hammer my point in I'd like to compare these two scenes. One is in the middle of the Supreme King Arc, the sacrifice ritual scene where all of Judai's friends are blaming him for the fact that they're about to be sacrificed while he's still trying to save them.

The second is the climax of the Dark Deku arc, where all of Deku's friends are showing up to fight him and convincing him to accept their help.

Just look at how vastly different these two shows treat their shonen protagonists when it comes to his flaws.

For the ritual sacrifice scene. This is immediately after Manjoume wakes up to find that he has been chained and kidnapped with Judai standing right there.

Judai: Sit tight! I'll save you soon! Manjoume: Wait, is he dueling? JUdai you damned idiot! Weren't you going to save Johan with us!? Getting yourself all flared up. You didn't even stop to think about us at all, did you? Judai: That's not it. Manjoume: That's just how you are! You were the only one in your kingdom from the get-go. We were the idiots for getting all motivated with you and feeling some sense of friendship with you being like that!

Then Judai watches helplessly as Manjoume dies. His other friends don't fare much better.

Kenzan: Big Bro? Why'd you want to save Freed's comrades when it meant sacrificing us-don!? Judai: You're wrong. That's not it. Fubuki: It's painful. This pain isn't just physical. It's the pain of a friends' betrayal that I have tearing my soul. apart. Asuka: I'm being betrayed and sent away by you. To think that I'll have to bear a sadness like this.

All of Judai's friends die spitting on him and telling him what a terrible friend he is and that this is all his fault. Which it is, because his decision to abandon them got them captured and led up to the sacrifice ritual.

Now, what scathing criticisms do our heroes have to give Deku after he left them all behind to fight Shigaraki alone?

Denki: Midoriya! We get that all for one is really importnat but you got something even more important in your life! Me and you we aint'g otta ton in common, but you're still a friend! Even if we gotta force this friendship down your throat. TodorokI: What a look you have on your face. Is this resposnibility so much that you can't let yourself cry? Seems like a burden you should share with the rest of us. Uraraka: The thing is Deku, we don't want to be protected by you and reject who you are and what you're doing, we just want to be with you (this part is narration).

Deku is told that none of his friends are mad, they want to be by his side no matter what, and that it's okay for him to cry.

I should also mention how underdeveloped this supposed nakama group is in the manga itself. The entirety of Season 3 of GX is tha the bond between Judai and his friends are more shallow then it appears, but he's also spent two whole seasons bonding with a group that consists of: Asuka, Sho, Kenzan, Fubuki, Manjoume. That's six people total including Judai who serve as is primary friend group. Their friendship is more unhealthy than it appears, but Judai has spent the past two seasons hanging out with one small friendgroup.

Meanwhile the entirety of Class 1-A shows up to tell Deku how much they love him and how much he means to them, and Deku's hung out with maybe like... four of them?

You have one bond shown to be how shallow it is, and one shallow bond treated like it's the deepest, most loving friend group in all of fiction. Deku doesn't even receive some lgiht criticism for how inftantalizing it was for him to abandon them for their own protection, because no one resents Deku or is capable of holding any negative or critical emotions towards him whatsoever. He's just told how much everyone loves him and wants him to come home.

And yes, Judai also does get two characters sacrificing themselves to try to reach him when he's the Supreme King.

However, as I stated above Jim sacrifices himself to help Judai because that's who JIm is as a person. Austin does it after Jim fails, both to honor his friendship with Jim, and also because of someone who got scared and ran he feels like he has to confront the darkness of the heart.

Jim and Austin O'brien's sacrifice is also a sacrifice. They died trying to save Judai, and Judai has to wake up with the knowledge that not only did he kill a bunch of people in his quest for power, he killed two more friends who were only trying to help him.

At the end of the arc, Judai has woken up with the knowledge that he has done bad things that can't be taken back and he's barely better than Yubel at this point.

At the end of the Dark Deku arc, Deku gets a speech from Uraraka about how amazing and selfless he is, and how he never gives up and how he always pushes forward, and how everyone at the UA shelter should appreciate him more.

The Supreme King arc exists to criticize Judai. The Dark Deku arc does nothing but flatter Deku from beginning to end.

Judai's hero mask is ripped off and he's forced to be a person. Deku's hero mask stays on, his hero complex is unchallenged, and he's praised for being teh greatest hero evarz.

I often get accused of not liking MHA simply because I expect it to be a different story than what it is. That I want it to be darker, when it's a more optimistic shonen manga.

However, here's my secret. I hate edgy superheroes. I don't like watching stuff like The Boys because it gets too dark for me. The oly reason I read invincible is because my friend told me that Omni-Man got a redemption arc. My favorite DC Superhero is Superman. My favorite Superhero of ALL TIME is Spiderman.

The thing about Spiderman though, is that it is hard to be Spiderman. The entire point of Peter Parker's character is that he has a terrible work/life balance and constantly loses people around him because being Spiderman is a sacrifice. The story doesn't bend over backwards to praise Spiderman as being a selfless hero, in fact it points out what a loser he is constantly. Peter Parker's friends are always frustrated with him and he's a wreck of a person.

Yet, the fact that being Spiderman is such a sacrifice and he keeps choosing to make it, shows what kind of person Peter Parker is, and that's just a person who does whatever he can to help out.

Even Peter Parker, the nicest, most well-intentioned boy ever has the Symbiote arc. One of the most famous arcs in comics dealing with Peter is when he lets Venom graft onto his suit, and even though the symbiote makes him violent, and makes his behavior change he spends the longest time not wanting to peel it off because the power boost the symbiote suit gave him made his life that much easier.

Dark Deku is an obvious reference to the Venom Suit, but a completely shallow reference because Dark Deku acts exactly the same as regular Deku the only reason he looks like that is he forgot to take a shower.

Superhero stories don't need to be Dark Deconstrutions, but they do need to be SOMETHING. They need to say something about the character. The problem with the Dark Deku arc isn't that Deku didn't experience a villain arc.

It's that nothing of consequence happened in the entire arc. Nothing changed. The story asked us if Deku's hero complex was a bad thing, and then it didn't deliver any answer. The story asked us if Deku needs to understand darkness better and then didn't answer that.

These are ideas that the audience promised were going to get answered. We were told Deku was going to get his development this arc that he was going to be pushed to the edge. The entire premise of this arc was that it was supposed to better help Deku understand Shigaraki and Hero Society only for Deku to not learn about either of those things.

Deku's learned nothing. We've learned nothing. Nothing has changed in the story itself. The only thing we've accomplished was wasting a lot of time that we could have been using watching Yu-Gi-Oh GX!

[cirrus-grey]

I feel that paradoxically, we learn more about Jon's feelings for Martin in terms of what specifically he finds most endearing about him - we know from various pieces of dialogue he finds at least some part of his stubbornness endearing, his resourcefulness... Martin seems to have always appreciated Jon's willingness to help people and to listen. I like thinking about it because many aspects of their relationship are somewhere between the lines, and I love hearing what other people think, so that's what I wanted to ask you - what would you say they see in each other? (it sounds like a negatively charged question but I just didn't know how else to put it, I swear 😅)

I am so, so tempted to respond to this by just linking you to the 200+ jmart fics I've posted on Ao3 and saying "Here. This is what I think they see in each other" because I have spent many hundreds of thousands of words trying to answer this question and I don't know if I can summarize 😅

Genuinely, though, I kind of feel like that is the answer? I truly don't believe it's possible to take their relationship (or any relationship) and simplify it down to a simple list of "this is what they see in each other". Yes, Jon likes Martin’s stubbornness, his resourcefulness, his kindness, his willingness to see the best in people, his shrewdness, his sense of humor, his determination to fight for a happy ending against all the odds... and Martin likes Jon's willingness to help people and listen, his compassion, his boldness, his stubbornness that matches Martin’s own, his bravery, his quick-wittedness, his perseverance in the face of impossible odds... but when Jon doesn't listen, or isn't brave, or collapses under the weight of everything he's carrying, Martin loves him anyway. And when Martin is helpless, or unkind, or gives in to despair, Jon loves him all the same.

More than a simple list of qualities they see in each other, I think the best answer I can give is that... they just enjoy each other's company. They're friends, first and foremost. They care about each other. Once you hit a certain point of liking someone it's hard to point a finger and say "this, right here, is why". Even bad qualities can become endearing, and good qualities can be annoying under the right circumstances, but neither of those things effect the fact that this is a person in your life you care deeply for; someone you want to spend time with, and see them happy, and are willing to put the work in to get past the rough bits together.

So as for "what they see in each other"... sure, maybe at first Martin’s crush started because he was touched by how Jon listened to him about Prentiss, and maybe Jon's started because he was impressed with how Martin handled the crisis when she attacked. But (and I know this sounds incredibly cheesy) I think the truest answer for what they see in each other, is that they see someone whose presence makes their life better, who they want to spend every day with, and who they can't imagine their life without.

[szynkaaa]

04. In Which They Have Language Lessons Together

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“What are those symbols you are writing above?” A bored monkey king was lounged in a chair next to me, his eyes following my hands gripping my fountain pen and scribbling things into a book that Shen Monkey gave me. Or rather, he was going to throw it away, and I decided to take it. It first started out with just being curious to see how books were made in ye olde ancient China, and then turned to slightly horrified when I realized, I can’t read half of the text inside.  

I usually pride myself with being able to understand and speak Chinese fluently. Informal Chinese, but better than nothing. My reading skills were also good enough to be able to read Chinese boys love web novels at three am in the dark, on the bed sideways with autor-otate turned off on the phone.  

The unfortunate reality was that I learned how to read simplified Chinese, which in my world was adapted less than 100 years ago from my time. That means while I was able to recognize some words and characters, a lot of I was not able to read the full text and understand the context.  

It’s like having learned French for a year on-and-off and when you open up The Little Prince in French, you are only able to understand every third word or less. Sometimes you understood the sentence context, other times there were just too many unfamiliar vocabularies for me to make any sense of what it was trying to say.  

Not being able to read a text in a language that I was familiar gave me a sense of loss of control, and there was nothing less I liked than not being in control of things in my life.  

So that was something I needed to rectify, and unfortunately for my favorite monkey, you were tasked with helping me learn how to read some words. And you seemed to be very happy when I approached you and asked you to help me. I haven’t seen much of you lately, as you were busy discussing with your generals and rebuilding Mount Huaguo, making sure it was habitable again, so I supposed you jumped at the first chance to be able to spend more time with me.  

Might have also heard you yelling ‘Clear my schedule for the next few days’ to your advisors, who did not look very happy about it but did not argue further with you.  

So here we are now, sitting outside in a nice forest clearing close to the waterfall, with books and papers and ink and brushes scattered across the table. You plucked a few of your fur, chewed on them and then blew them out to turn them into furniture.  

Very practical to have a walking and talking IKEA store with me.  

The ‘symbols’ you’re asking about are the Pinyin I was writing above the Chinese. “Those are Latin letters,” I explained “back in my world, we use Pinyin as a way to write down how Chinese characters sound, and have a standardized system. It uses Latin letters, because it also helps foreigners to learn Chinese.” The explanation was a very dumbed down one, but I hoped it was enough for you to understand the gist of it. “By writing it down above the characters I don’t recognize, I will know now how this word is pronounced. So the next step will be memorizing and hopefully next time I see the same character in another text, I can point at it and go ‘Hey, I know this because Old Sun taught me this’”.  

Your tail perked up at me calling you Old Sun, and you grinned. “So this is why you want my help. Do not fret, with your Monkey King as your teacher, you will be able to read every text in the mortal realm.” You boasted, tail now swinging left and right.  

My hair fell over my face, the long strand dipping into the clay tray that was holding the black ink. I grimaced at the ink staining the tip of my hair, and tucked the strand over my ear. My hair has goes a bit over my shoulder now. I was mostly used to short hair, but you liked to play with my longer hair, so I haven’t gotten around to cut it yet.  

“Latin letters...” you repeated what I said, and then pointed at the Pinyin again, “Is this the writing system used when you speak ‘English’?”  

I had to bite back a laugh, remembering your very confused face the first time you heard me cussing and cursing out loud in English at a yaoguai, because sometimes it was better they didn’t understand what my filthy mouth was saying.  

“Yeah, it's that. There are many other languages that use the same writing system.” More hair fell into my face, but you reacted fast this time and put the tray of ink color away before my hair could dip into it again. I gathered my hair in my hands and tucked it under my hanfu, hoping they will stay there.  

“Chinese and English... Impressive, my cherry blossom speaks knows two languages.” You said, a grin across your face, like you were very proud about the fact that I was multilingual.  

“Four.” I corrected you, and took a sip from my tea. You raised your eyebrow, even more impressed now. “Except three of them are virtually useless here, and I am struggling to read basic text here.” I added, pointing at said text book in front of me.  

My hair fell forward once again, and you could tell that I was getting frustrated by having to constantly pull my hair back somehow.  

“Why do you not use the hairpin gifted to you by the zodiac villagers.” You asked, there was a bit of bite in that question. The hairpin you were referring to was a birthday present from the villagers, given to me when I was seeking shelter there and hiding away from you for a few weeks. I think a part of you was also hurt that you missed my birthday when I was avoiding you, and I insisted that it was alright, and you didn’t have to get me anything.  

“I don’t know how to use it.” I replied, thinking back about the hairpin sitting on my vanity, unused.  

You remained silent at first, so I went back to studying and copying characters I was unfamiliar with, repeating the Pinyin silently trying to memorize it, when is saw from the corner of my eye how you picked Jingubang out of your ear. I looked up again, your golden staff now the size of a hairpin in your hand.  

“Face me and do not move.” You commanded.  

I did as you asked, putting my pen down and shuffled in my chair to be facing you. My heart was starting to pick up speed, my gut predicting what is coming next.  

You leaned forward, close to my face. With Jingubang in one hand, you used your free hand to gather my hair, and then moved both hands back to twist it a few times around your staff. In a few seconds, my hair out of my face, and tied up neatly around Jingubang.  

You then leaned back, and had a big proud smile on your face. “There, now you do not have to worry about the ink staining your whole black hair back.” You said, referring also to our time on the road when I temporarily tried to dye my hair black.  

My face heated up, and I carefully reached a hand to the back of my head to feel your masterwork, fingers running over Jingubang. There was something very precious and special knowing that he transformed his trusty golden staff into the size of a hairpin and then tied my hair up for me...  

“Thank you.” I said sincerely, and without thinking much, I quickly moved my head forward and planted a kiss on the cheek-part of your face that was covered in fur. The result was instant: The tip of your ears was turning red and a big red blush began to blossom on your face. Oh, how I loved seeing you blush, and even more when it was me who caused it.  

With the speed your tail was waggling, one would think you were trying to dust the floor.  

“Do you wanna know how to write your name in Pinyin?”

  

[snakeguy999]

Hello ! You are such an amazing artist I really love your art style

Sorry if this may sound annoying to you, but do you have any tips how to get better/draw anatomy

You have such a beautiful/accurate way of drawing it

❤️❤️❤️Tyy!! I am happy to be considered an artist. I'm still at the beginning of my journey into art, so my 'knowledge' is limited! Ouf

Prepare for quite some text

Nr 1 tip is to draw from reference seriously, like actually trying to follow it precisely, not stylising it too wildly(this is for studies, which require that you let go of your comfort); you have a ref and you try your hardest to put it accurately on your paper

Tip nr 2 would be to think critically of the subject, you shouldn't draw just what you see, but instead be aware of its presence in space as a 3d object with faces which are hidden to you by the front

Here are some of my juvenile attempts at the skull, simplified in the style of bammes(anatomy prof you can find his books and drawings online for free, invaluable resources). Here i try my best to understand the *whole* of the object, not just the planes that face me.

the core 3d objects(spheres, cubes, cylinders, cones, alla those) are used to construct, in drawing, anything which exists in our world

An antlion larva is a collection of flattened or sharp cylinders for example

Everything is comprised of simpler shapes, you just gotta develop your eye to find them and your mind to see them as they really are(cubes are a collection of squares in space, cylinders are elipses connected, a cone is just a dot connecting above a circle with its edges)

Tip nr 3 I hated to hear this constantly as I struggled to grasp anatomy(and still do), but:

You gotta start with the skeleton because otherwise any muscles you add to a nebulous puppet will look like nothing. You gotta learn, memorise, and internalise the proportions of the bones, of the body. You gotta learn the way the skeleton looks and acts, the most important being the skull

And it will take a lifetime if you wanna do it right fr but for starters, you can learn it simplified(search up bammes skull and drawings that as many times as you need) and then...

Nr 4: add simplified muscle groups

Nr 5 keep the shapes big, don't get into details when trying to understand the biological body

And the last tip...most important...

Have fun!

Anatomy isn't the sole focus of your skill acquisition, you're not a 'bad' artist for not knowing anatomy yet, it comes with time and a lot of it and a lot a lot a lot of exercise, so don't beat yourself up over it

If you really want it, and with each drawing, you try harder than the last to get things right then anatomy will come to you. So just play around when studying, look up how Kim Jung Gi treats bodies in perspective, and how he puts them in little boxes.

Never forget to flip your canvas(or point your drawing in the mirror) and to take visual breaks from every once in a while or else you won't see the mistakes

Yea! This subject is immense i haven't even scratched the surface but the more you work on your anatomy, the more there'll be to learn

So enjoy your exploring!