#Anti-Hero Appeal

[joncronshawauthor]

The Morally Grey Character: Why We Love Them

In the murky depths of fantasy literature, there exists a breed of character that captures our hearts. If only because they’ve already stolen it when we weren’t looking. These are the morally grey characters. The ones who straddle the line between hero and villain with all the grace of a cat walking a tightrope over a pit of hungry crocodiles. But what is it about these dubious darlings that…

[gaypirateslife4me]

Izzy Hands is a trigger-warning in himself:

A devious, (internalized) homophobic, simping, napoleon-complexed lil shitweasel who is also a broken, battered, silver-fox/unicorn worthy of love and redemption.

The duality of man. Or whatever.

[odysseus-crewmate-number38]

is leo valdez in canon a step dad because calypso has two children in mythology, like what happened to Nausithous and Nausinous

[wanderingmind867]

Batman was best when he was silly, honestly. I still found him a bit boring then, but at least adaptions like the Adam West Batman show or the silver age tribute that was Batman: The Brave and the Bold...at least they had a sense of fun to themselves. I still probably only liked those shoes as much as I do because of the villians, but at least their version of batman isn't a man I'd want to completely write out of comics. So they clearly did a better job than most adaptations do.

I still don't get why there was such a backlash to the Adam West style. I know it happened (as evidenced by 70s batman under Denny O'Neill being darker than anything done in the 50s or 60s), but I see no good reason for the switch. If batman had stayed in the 60s, maybe I'd like him a little bit more. But if he stays in the grim shadows forever... then I'll feel no shame hating him. At least Daredevil or Nighthawk or the Blue Beetle kept a sense of fun!

[marsixm]

well that was….. A Movie

[thetimelordbatgirl]

The whole "Straight allies are important too!" crap Marvel is trying to pull is funny because it sounds like something one of the bigoted villains from X-Men '97 said while he was beating up Cyclops.

"Know what I hate about your kind? You act like you got it so bad. Normal people have it hard, too. Harder! We just have the dignity not to whine about it."

Literally. The way they worded it with looking beyond LGBT+ people and at people who support us is just...you can tell everyone who came up with this idea and approved it are not lgbt+, with acting like straight people need rep too because...I guess its sooo hard on them to be allies??? Like???

[putonmyfavoriteshow]

I just rewatched a bunch of Supercorp fanvids and now my brain is rotting so hard from dormant feelings rising. I forgot how much they owned my heart. How did they inadvertently create the most heart-shattering, beautiful, romantic storyline featuring actors with the most palpable on screen chemistry I- 😭

[beananium]

amateur tip because everyone should know this but i see it even in triple A games so apparently not:

if you're writing a fat character, at the very least make their clothes fit them properly. it always irks me seeing fat characters have their buttons straining on their default outfit, ESPECIALLY on a character that can afford new clothes / has enough money to get them tailored to themselves.

i'm begging you if you're trying to depict your only fat character as a glutton who can't stop eating and keeps busting out of their clothes; don't. fat people deserve to be characters firstly, not a gross caricature. please... please? fuck.

[kneworder]

weird trend in fandom to take a character who is canonically mean and ruthless and be like ok well he's mean and ruthless but secretly he's has a soft spot for women children sex workers and the impoverished. like im not saying it's always completely off base but sometimes im like why is he only awful to shitty people now where did that empathy come from what happened to his morally gray swag who is this guy

[rottiens]

How did you feel about homelander and stormfront? I really wished we could see more of what stormfront was doing in that lab. But I think you’re the first person I’ve seen that likes homelander (outside of liking how he’s written as a character) I have great disdain for all of the seven except for the original noir. And I appreciated the responses you gave to my other questions regarding homelander! I’d love to hear what about him you think is appealing? I personally love Antony Starr I think he’s doing an amazing job portraying homelander and of course I love the nuances of the character

i also wish to see what else stormfront was doing in that lab, i would like them to maybe show more about that in the future although i must watch it again because i dont quite remember, maybe it had to do with what was going on in the lab in gen v (let me know if you saw it)? but i will watch those eps again to keep my mind fresh

and i never liked stormfront especially around homelander because she made him much worse, she pushed that evil side of him to such an extent that you see him in some scenes "impressed" with her actions and that's a lot to say about HL (like when she talks to ryan about racism towards white people 😭 and further distorting the reality of the facts to confuse ryan, this woman lol) and maybe it's hypocritical of me to say i don't like her when i like HL but i feel he can come up with charisma, for people on the outside who admire him and you as a viewer too, you can come to like him because he is charismatic (the smile, how he presents himself to others, the hypocrisy in terms of kindness, he is made for people to adore him) and I also love his twisted humor but I can't rescue anything about stormfront, she is so extreme and there is nothing about her character that I like. and like i said, her and homelander are just worse, but the sex my friend? 🤌🏼 i loved every single scene between them lol she just matcheted his freak so well, i know he misses her for that and to my understanding their relationship was especially based on that

im so curious now about what makes you like noir…its his story maybe…i feel like they didn't give us much of him but what they did give us was so meaningful and emotional and sad at the same time, what he had to go through to finally die like that

and baby lskdk i'll try to be as honest with you as possible, psychoanalyzing myself but not spreading myself too thin. antony plays a big part in me liking the character, if it was another actor it probably wouldn't have the same effect on me. so points for the face. out of that,

1) in the beginning i hated HL so much lmao the first season was just horrible, i couldn't watch him because i hated him, every trait of his personality was (is) horrible. same in season two, especially knowing what he did to butcher's wife that man had (has) to go down.

2) it all started in season three and soldier boy where they show us more of who homelander is, jhon. we meet his son and they show us of that more human side of him and that's when i realize the imperfections that the strongest man in the world has, in the end he is nothing but human, and there is nothing i love more than when they justify a villain correctly

3)dont get me wrong, i still hate him and i keep waiting for his downfall but he is still among my favorite characters of the boys because he seems to me such an interesting and complete character, his nuances, his complexity, his fears, his insecurities (i like how they work that little by little in the seasons) and what makes me love him with the same intensity i hate him, is how human he is deep down inside. his psychological problems and his need for affection seem so well achieved, and dealt with in the series that i am drawn to him. and the icing on the cake was that scene with barbara, his character is so well done chefs kiss mwah. it is so sad to see everything this kid had to go through, all he has known is terror so it is the only face he can show.

4)kinks. ✋🏼✋🏼 what can i say???? 👆🏼 homelander activates my predator prey kink + so many others. and a horny person can't think well their decisions 😞 and again, antony and his so good acting, hes so so so good, his facial expressions and tone of voice and aaaaand physique ofc plays a very important part.

thank you very much for asking 🥺 i tried to be as brief as possible sorry lskdkd

[joncronshawauthor]

The Anti-Hero's Journey: From Ancient Epics to Modern Fantasy

Fantasy literature has long been known for its iconic heroes and valiant champions, but it is the rise of the anti-hero that has reshaped the genre’s landscape. Anti-heroes, flawed and morally ambiguous protagonists who defy conventional notions of heroism, have emerged as captivating figures who challenge traditional storytelling tropes. Today, we’ll trace the evolution of anti-heroes in…

[unadulteratedsoulsweets]

A DC X DP IDEA # 35

Who will he be tonight? that’s the question.

Imagine dis…

It's been a while since I last posted here and even though I am late on the trend the song would not leave my head ( due to my gremlin of siblings) and you are now here to suffer with me.

MWAHAHAHAHA

…

Bruce was stressed, not because of his nightly duties nor his exhausting job as the CEO of Wayne enterprise. He got his license to foster children by the skin of his teeth through legal channels, he was so close as to use his privileges as the richest man in Gotham to get his license also to be able to foster Richard “Dick” Grayson.

Apparently despite his playboy persona aka “Brucie Wayne” just entering its social debut almost made him almost impossible to foster Dick as the social worker that had been assigned to him is also one of the few social workers in Gotham that takes their job seriously.

Bruce knew that his budding playboy persona, the carefree “BRUCIE Wayne” should be buried, he could replace this mask of his with his philanthropist self but he couldn’t just immediately change it would and will raise whispers on why, but what could be the reason?

Just as he continued scheming a knock broke his train of thoughts and entered Danny Nightgale, the calm and efficient secretary who had worked before with Lucius Fox ever since he had been hired. Danny, from Bruce’s file on him, son of two leading ecto-biologists in the world, a quiet kid who grew up in a city from nowhere, had a bad accident that left him with a slow heartbeat, discovered that one of the last two purple back gorilla is female and thus avoiding total extinction. Doesn’t have much media presence due to their hometown being the home of the former ghost hero Phantom who had vanished the moment that the anti-ecto acts had been re-appealed…

…

Bruce approached Danny with a pitch and handed him a nicely drafted contract. The agreement was straightforward: pretend to be Bruce's adoring partner in public. It was the only way to change the public's opinion, to show the world a stable, dependable, responsible Bruce Wayne who was ready to be a foster and maybe a father.

…

As years went by this arrangement had been beneficial to both parties.

Danny now saves more money, and despite having one of the highest salaries being paid all went to his rent to the nicer parts of Gotham. It had so many insurances as well security measures to ensure the tenants are safe, but the downside having most of his paycheck going to the rent itself. Now he has a permanent house that is large and free food that is made by the greatest cook that ever existed.

Bruce is less embarrassed about putting on a show for the public, he seems to take on the air-head mask whenever his supposed “lover” is around and near him, turning him into a bumbling mess whenever the “love of his life” is around him. He also secretly took great pleasure whenever those annoying journalists asked nonsense questions which he answered in his most obnoxious voice spiel away how world peace is attainable if all just gave their own Danny’s.

…

Each generation of Batkids saw how Bruce had a crush on Danny yet kept fumbling himself and reminding himself that all of this was just part of the contract. Sure each kid knew of said contract that was made for Dick’s sake but said the reason for said contract wanted to rip that thing ages ago and into pieces the moment he wanted to call Danny Dad.

Though each child that resides in that manor noticed some inconsistency within Danny’s schedules, not only that they have just recently discovered that while Danny loves to chat there are still personal things that he hadn't delved into aside from the information that was already in his files. Of course, there is also his weird avoidance of the vigilante group of Gotham, especially Batman, despite being proven to the public both in and out of Gotham that Batman is trustworthy, Danny still held wariness to said vigilante.

You’d think that after years of exposure around the Wayne’s Danny would have already discovered the cave all on his own. But it seems that every time are inches away discovering their secret an emergency or urgent priority was flaring from the Wayne enterprise that only he was needed to solve the said problem.

After weeks of Tim’s continuous intake of a very worrying amount of pure caffeine, espresso shots, and 10 different brands of energy drinks they have finally connected the dots.

Danny is a secret FBI agent planted in Gotham to catch Batman and his group in the act of breaking the law and to disband the whole spiel about being a hero and vigilante. Sure the JL and the sudden rise of heroes and vigilantes that popped up around the world that are not government affiliated made those who sat at those red velvet chairs nervous as they don’t have any active say or word as to what crimes to focus on and so on. There are reasons why Amanda Waller is still in power and still allowed to roam free with funds after funds to continue her work despite being continuously caught by the JL.

Now it is up to them to change Danny’s mind and abandon his mission so that they can finally stop seeing Bruce act like that “Brucie” persona, that they thanked the gods had been immediately vetoed, towards Danny.

…

Alfred sits down in one of the manor’s libraries with a cup of tea in one hand a book in another with another small pile on the side with a teapot ready to refill himself another cup.

He sighs at the drama that seems to unfold to his eyes only.

Ever since Master Danny had been integrated into this household he had found more free time than he could ever imagine. The young man would always find ways to outpace Alfred when it comes to housework to the point it had become their little game to this day. As much as he supports his ward/son, Master Bruce needs to gather all emotional intelligence he has left and confess to Master Danny.

But that wasn’t the live soap opera that it seemed to unravel.

His grandkids are set and believe that Master Danny is a secret agent who is here due to a mission related to the vigilante group stationed in Gotham.

Alfred adores all of them, he did but sometimes he wonders if the title World’s Greatest Detective is to be added to his arsenal of titles.

Alfred knew that Master Danny wasn’t just an ordinary secretary but he was also the Ghost King of the Infinite Realms, how did he know of this?

He simply walked in on Danny changing from his human self to that otherworldly creature that looked too regal to be a normal being, and so clues that were the littlest of things that he had always chalked up to the angle of the light seemed to begin clicking in place.

Alfred was a bit miffed when he learned that Master Danny might have been cheating when it came to their little bouts of cleaning the manor but he now stayed quiet as Master Danny still didn’t know of the quote “furry brigade” unquote are the Wayne’s, and based on Master Danny’s past rants he will have his little laugh when the truth comes out, but until then he will drink his tea in peace as the drama in Wayne manor seems to unfold.

…

PS: If someone out there wants to continue or make a fic about this you are free to do so, don’t forget to tag me though.

[sexlapis]

actor! toji fushiguro thoughts 💭

actor toji would be one of those hot dilf actors that women would always be drooling over, edits of him always popping up on your fyp, the most outta pocket comments underneath all of his insta posts, he would be the number 1 dilf for all the old man fuckers.

toji rarely posts on social media. he’s at that age where he just does not care to post his whole life online, but that only attracts people to him more because he is so mysterious. he would have like 10 million followers and only follow 12 people (including you)

toji would probably be one of those actors that have no variety in their roles, but everybody would still eat it up anyways. toji as an actor would typically play a villain/antagonist or an anti-hero, typically in an action movie/series and he plays them well. toji can embody an intimidating, frightening, intelligent villain very well. he could be cast as one of the most horrendous, horrible villains and be a menace towards the main cast but because he looks like that, he is forgiven.

but there are those rare times toji is casted as a father or father figure and his character would do anything for their daughter and everyone just loses it. he plays the father role well, almost too well. he is so caring, protective and sweet towards the actress playing as his daughter, even behind the scene clips with one another, he is just so gentle and dreamy. the fans cannot handle it!

during interviews, toji can be charming. he cracks jokes and he answers questions honestly, even if they make him look unprofessional. he really does not give a fuck about that, which only makes him even more attractive. he’s a little sleazy sometimes, but that just adds to his lazy effortless appeal.

he just has such a dominant personality and not in a bad way either. like if an interviewer asked a question that made a cast member uncomfortable, he would smoothly change the subject and the mood, making everyone forget about it entirely. also, his stare is really intense…like when the interviewer or a fellow cast member is speaking, he makes sure to look at them and listen really closely, not even realising how intimidating that could be 😭

despite his unprofessional personality and wealthy background, people who work with toji cannot say anything bad about him. he is a great actor with great work ethic and is always respectful to his cast members. and most of all, he is humble. due to his background and accomplishments, other actors on set expect him to be all flashy and all head in the clouds, but toji isn’t like that. toji is very aware and down to earth and he doesn’t see himself as superior because of his wealth. he sees what that power does to some people (his family) and he wants nothing not do with it.

overall, for the most part, toji is a respected actor, with a loyal (albeit crazy) fanbase, he actually enjoys his job and lives a relatively private and quiet life. people barely know anything despite his wealth and fame and prefers to keep it that way.

a/n: this was inspired by jeffrey dean morgan lmao. also i’m thinking of maybe doing a mini one shot with actress reader x actor toji in the form of one of those youtube videos like “(reader) & toji fushiguro being a couple for 10 minutes straight” i think that would be fun 🤭🤭

edit: toji & reader being a couple for 10 minutes straight is here <3

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[thewritetofreespeech]

Could I request Astarion and his s/o getting into a sass competition where Astarion ends up confessing to her by accident and now he's all flustered?

Astarion x Reader

“Can’t you go any faster?”

“I’m not exactly as well versed into taking these off as I am in putting them on, darling.” Astarion quipped at you as he fiddled with the lock on your cuffs.

Being somewhat of an anti-hero liaisons these days, the group had been pinched on some trumped up but completely true & legal charges of petty theft and larceny. Your options were fight, flight, or get arrested when confronted by the guards and charges. And since you couldn’t fight a whole city’s worth of Iron Fists, and running also seemed unplausible as you’d have to come back to the city sometime, you decided to take you lumps and went to jail. Luckily, where there’s a will there’s a way. Or in this case: a vampire with a lockpick up his sleeve.

“Why did you wait to do me last anyway? Just to see me suffer?”

“Well,” Astarion cooed, “it does have a certain visual appeal.”

You clicked your teeth and rolled your eyes. “Could you just hurry up? I’m starting to lose the feeling in my hands. All the blood is rushing out of them.”

“Oh, well, we wouldn’t want that.”

“Well, if you want my blood again, you should be more sympathetic to my pain.” You told him. Sighing heavily as one arm was free and Astarion moved on to the other one.

“Don’t you threaten me. Besides, if you won’t give me what I want, I’ll just move on to some other lucky companion in our camp.”

“Ha! Like anyone else would have you.”

Astarion frowned. “I’ll have you know that there are plenty of people who would welcome my teeth at their necks. Hundreds. Thousands!”

“Yeah. One blood obsessed drow and…who was the other one you tricked again?” You pulled at the shackles, which jiggled the irons and knocked the lockpick free, but unbroken. The vampire growled at you.

“I tricked you easy enough, didn’t I?”

“Only because I took pity on you.”

“Pity?!”

“Yeah.” You told him. “That poor, sad, puppy dog ‘please feed me’ look was just something I couldn’t say no to.”

Astarion growled again. “That is not how it happened. Besides, if you didn’t like it you wouldn’t keep asking for more.”

“Oh sure. Blame the victim.”

“You are not a victim!” He snapped at you. He seemed a little wounded by that one. Maybe you went a little too far. “Gods.” He cursed under his breath with a frown. “You are lucky I love you so much, otherwise I would just leave you here, chained up, and never bite you again. No matter how much you begged me.”

The lock finally snapped open and your arm fell to the side. You lifted it to rub your wrist but were uncharacteristically silent.

“Would it have been too much to expect a thank you??”

“Did you just say you love me?”

Astarion froze for a moment. A little wide eyed at your question. He seemed to be racking his brain for a moment. Trying to remember the conversation before an ‘Oh. Shit.’ expression came over his face. “What? Oh, that. Figure of speech darling, of course.” He let out a single nervous cough after that and a rushed, “let’s go meet up with the other.” Before he turned on his heels and made a speedy exit.

You rub your wrist one more time as a soft, shy smile came to your lips behind his back. You follow after him and meet up with the others. Waiting just outside the prison for the two of you, as apparently just around the corner was enough of an escape from the mighty Iron Fist.

“Ah! I just love this fresh air.” You exclaim, followed by more comments on how dusty & dank your cell had been, but really just watching Astarion’s shoulders tense.

You spent the rest of the day subversively tormenting Astarion. Making comments on how much you loved the weather, or loved a dress in a window. How much you loved dinner that night. How much you loved getting a good night’s rest that night.

By the time everyone had gone off to their respective tents for the evening, Astarion had apparently had enough and slunk up to yours. “I know what you’re doing. Now stop it!” He hissed.

“But I thought you’d love it.”

“Stop it!” He hissed again. If he could right now, he would blush. You were tempted to let him feed on you for a moment to get the full effect. “I mean it! How would you like it if I threw every verbal misstep in your face? I don’t keep bringing up the time you said Ibis instead of Ignis, now do I??”

It was pretty funny when that bird showed up.

“So, are you upset that you said it and I’m teasing of you, or are you upset that you didn’t mean it and I keep bringing it up?” You honestly didn’t know which answer would be worse at this point. You felt bad you had wounded his pride to the point that he came to talk to you. But you also don’t think you could take it if he told you that he didn’t love you.

Astarion just stood there for a moment, thinking, before he sighed and waved you off. “Just…knock it off ok. I’ve had quite enough today. I’m going to get some sleep and I’ll see you in the morning.”

He turned to walk away and just before he fell out of ear shot you called to him. “Hey Astarion,” he looked back over his shoulder at you, “I love that you could come and talk to me about this.”

He huffed, but you could see the corners of his mouth struggling to keep down. “Oh shut up.”

[qqueenofhades]

Hello, qqueenofhades!

I just want to say, that ever since I discovered you in the week following Biden stepping down, you've actually made me not dread talking about politics. I look forward to your thoughts on what's going on, and I want to thank you for that.

I would love to know: What do you think of the apparent exhaustion from Republicans/MAGA about Trump? People leaving his rallies (and that's not even covering how few are even coming at all or his supposedly needing to pay people to come), and the slew of formers we see at the DNC openly talking about their change in sides. Do you have any ideas about what might be causing this shift? Was it Harris? Was it Jan. 6th? Was it one singular reason, or multiple at once?

Hope you're having a good day.

I think it's a lot of reasons. First, as I said earlier, the whole theme of the DNC is about reclaiming the USA FREEDOM message from the Republicans, who have had a monopoly on it for the past three decades at least and used it to justify even more antidemocratic fascist militant theocratic hard-right turns. The scenes of joyful people talking rousingly about hope, compassion, morning in America, and breaking out into regular USA! USA! chants appeals a lot to the average American, who doesn't want to hear constant violent and negative bile from the Orange Felonious Traitor, because that is literally the only thing he has to offer and it's getting openly more deranged and dangerous every day. The whole Tough Talking Populist Outsider shtick worked in 2016, when Trump didn't have four years of incompetent chaos as the actual president and was just a theoretical concept who a lot of people thought would "smarten up" and take it seriously if he actually won. Likewise, the backlash of white grievance against Obama and the complacency that Trump didn't actually stand a chance was able to be leveraged against the decades of smears that the GOP had already leveled on HRC. Of course, Trump lost the popular vote by 3 million-plus, but the Electoral College did what it's designed to do and he snuck in anyway. But it wasn't a rousing landslide or a thumping victory.

As such, a lot of Reagan Republicans are now turning to the Democrats as the actual pro-USA party, because Trump trash-talks America, calls it a shithole third-world country, bellows about WWIII and the Great Depression, cozies up to foreign dictators, etc etc. Reagan also pitched the sunny message of America as the shining moral hero of the world (he in fact used the Make America Great Again slogan that Trump repurposed), and that likewise resonated with people after the chaos and unrest of the 1970s. Now, we all know that I hate Reagan's ass and I hope he's burning in hell for so many reasons, but his message was effective because it gave people a soaring rhetorical vision to believe in (even while he was often stripping away their economic prosperity in particular behind the scenes, all together now, FUCK REAGAN). But the Republicans who joined the 1980s party are now seeing Republicanism become a tawdry cult centered on, as Geoff Duncan (GOP former Lt. Gov. of Georgia) put it yesterday, the worship of a felonious thug. Trump is wildly anti-America; he only uses it as a vehicle to get what he wants, because Donald Trump is all that Donald Trump cares about. Yes, there are still plenty of brainwashed cultists in numbers great enough to make this election far, far closer than it should ever be in any sane universe, but increasingly even his own cultists don't want to hear it anymore. They keep leaving before the event is over and he's drawing far smaller crowd sizes than in 2016, which as we know is pretty much all he cares about. He has a desperate need for attention and approval to feed his damaged narcissistic-sociopath dementia-riddled brain, and he's just not getting it, while the very real prospect looms that if he loses this election (and it looks more and more like he will) he will go to jail for the rest of his life. Terrifying.

That's why we have the unprecedented spectacle of lifelong Republicans and former Trump voters flocking to Harris in large numbers. We've had Republican speakers at the DNC every night, and they keep playing video montages of former Trump voters disavowing him or explaining that they won't vote for him. If you consider what propelled Trump in 2016 -- conservative white grievance against a black guy named Barack Obama -- the willingness to unhesitatingly embrace a black/mixed-race WOMAN named Kamala Harris is incredible. Many of them were already planning to vote for Biden before he dropped out, but it was no certain thing that they would move from being willing to vote for an establishment old white guy to also being willing to vote for a woman and a person of color. The fact that we've had so many high-profile affinity group Zoom events for Harris, including from truly unbelievable quarters (Republicans for Harris, Mormons for Harris, EVANGELICAL CHRISTIANS for Harris), shows that there is a country-wide exhaustion with Trump's poisonous selfish grievance performances, where he's willing to do anything to anyone and turn the USA into a fascist dictatorship if it will exempt him, personally, from the consequences of his odious actions. That is not a message that any sane person can support, and more and more, they don't. As I have said before, that is why fascist movements always sow the seeds of their own destruction. They work for a while, but eventually they're boring, they're mean, they're exhausting, and they offer nothing for anyone but being angry all the time at everyone. Most humans don't like that, and eventually, they drift away.

I also think that part of the reason Kamala absolutely nailed it with Tim Walz as VP is because Walz is the literal anti-MAGA in every way. We have seen a lot of similar straight white military-vet football-coach-type Middle America older men drift into MAGA grievance politics because it offers a home for guys like them and feeds on fear of the future and fear of the other. They feel like they're being heard and understood, even if they aren't, and they vote Republican because they've grown up with Republicans being the pro-America party (however defined). But because Walz is a straight white married military-vet football-coach guy who actually models a joyful and compassionate masculinity, an openly emotional and supportive masculinity, who talks movingly about his love for his wife and children, who is a hunter and gun owner who nonetheless loves kids more than guns, who has taken his small-town rural-America values and become an effective and genuinely progressive politician focused on making ordinary people's lives better, he offers a total antidote to MAGAism. He shows that it is possible to be a traditionally manly American straight white guy who is not a gibbering conspiracy theory-addled shitbag dedicated to trampling on everyone else out of reactionary fear. He shows those guys that they can embrace the diverse future and not have to fear it, and he gives them a permission structure to vote for Democrats because it's the right thing to do AND feel that the Democrats are now the real pro-America party.

Basically, right now, Walz is the most popular member on either ticket, and he's crushing Vance into oblivion (there's something like a 27-point difference in their favorable/unfavorable spreads) because Vance is a horrible robotic hateful gremlin and Walz is an authentic and genuine person who a lot of traditionally Republican-affiliated men (and women!) can identify with. He's also the guy who came up with the devastating "weird" attack line that the GOP can do nothing with except splutter and whine, like playground bullies, that no YOU'RE THE WEIRD ONE. He models that it's actually normal to want your leaders to be compassionate human beings who want to use power to make your lives better, and not hateful fascist alt-righters dedicated to making you also hate everyone and be steeped in doom and gloom. That is why people responded so well to Obama in 2008 after the turmoil of the Bush Jr. years, and why this feels even more monumental than Obama. We won't know until the votes are counted, but this giant tsunami just rose out of nowhere when Harris took over, and it's speeding forward in a really incredible way. We've got to do the work and we've got to vote, but if we do, we could absolutely pulverize Trump and MAGA to smithereens in a way that means it wouldn't be able to come back for a good long while, and oh, what a glorious day that would be. So yes.