katiebanks

[justatalkingface]

Oh I am EXCITED to hear your thoughts about the war arc and the post-war arc because that's when everything went from decent to shit.

From random ass characters getting introduced and killed off

To the HORRIBLE confrontation of 1-A vs Izuku where it feels like Middle School all over again where everyone gangs up on him.

The mistreatment of Izuku where he's treated to be in the wrong for leaving even though it was to protect everyone.

To everyone basically gaslighting him.

To the HORRIBLE apology Bakugou gave which was more justifying his actions and victim blaming.

And not to mention the rushed Aoyama Traitor reveal and Izuku refusing to connect or relate to him because as we know as soon as he got a quirk, his quirkless past was erased!

You know, between how big this ended up being, and all the things I had to do, this response came later than I would have like. Hopefully it lives up.

Ah, The War Arc.

Also known as 'The point where everything went to shit'. Oh, those were the days. It's even worse because, as it was building up, The War Arc seemed like it was going to be awesome. It was where a bunch of plot threads, from Shigaraki to Hawks to Dabi's 'surprise' were all lining up to collide, and oh I, and probably others, were so excited to see it all go down.

Such naivety. Honestly, I think I blocked out so much of this beyond pure scorn that I had to reread it just to do this justice. If I seem particularly biting or sarcastic... that's probably why. This is basiclly me rereading and commenting as I go along, so it'll probably be a bit all over the place, before I move onto the post-war arcs which are still fresh in my mind.

Where to start, where to start.... well, the beginning works, I guess.

The LOV, after absorbing the MLA in a... kind of shoehorned way (Re-Destro basically ceased being a person after Shigaraki beat him, but for all that it's shown as, 'Wow he's so cool let's follow him!', I wonder if he surrendered just so his movement and army wouldn't be annihilated more than anything, and how he feels about all this, since he has no legs and seems generally depressed even though his stress has 'disappeared'. And wow, isn't funny that, if you just give up on everything you ever stood for or care about and your will to live, your sheer crippling depression would probably get rid of your stress temporarily?) becomes the PLF (so many acronyms!) and an army large enough to need a serious intervention, and so an army is needed to oppose them.

Thankfully, they get information from Aizawa's friend from the spin off manga to help figure out where everything is! Thank god they gave us flashbacks as this was happening to explain to anyone who didn't read it what the fuck was going on!

Sigh. Introduce your shit better, Hori, especially when it's some illegal move beyond science you're trying to sell us.

Anyways, that, combined with Hawks's information (back in those days where his arc was great), lets them get a grasp on the PLF and launch a two pronged attack on them, while also dealing with moles. All of this? All of this was actually pretty great, Kurogiri as the exception. Like I said, that build up was great.

Also, can I just add that Present Mic losing his shit was actually pretty awesome and hilarious? 10/10, would watch Crazed Mic again.

Anyways, here's one of the first things that, and maybe it's just me, is just kind of off: the fact that Garaki can duplicate Quirks. Not with a Quirk, or even with multiple Quirks, but just with science, somehow? I know that he's in the best position to do it, with AFO and vast resources to support him, but still; the closest to 'manipulating' Quirks like this, beyond OFA and Garaki himself, that we've seen in this manga? Is fucking Endeavor with his Quirk marriage. Quirks, in this story, are some black box bullshit that no one understands, and attempts to control them are on the level of Mendel and his peas, and often prone to failure to even get a 'basic' change happen (like, Bakugou was another 'basic' pairing, but he easily could have gotten something useless for heroics if he wasn't born lucky), and yet this fucker is just... so far beyond them it's OOC for the setting.

Everyone else is mashing lego pieces they can't see together to see if they fit, but this guy has copied Quirks, hundreds of them, and they just sit in jars everywhere? How? How?! In retrospect (and I'm kind of afraid of how many times I may say that here), his existence is just set up for the massive escalation that's about to come at us like a truck. How are there multiple AFOs active? How is Shigaraki's new body so strong? Where does the retroactively impossible rare old age Quirk come from, that was never a big deal before now because AFO had decades to hunt one down?

All of it? All of it is this guy. He's actually kind of interesting as a character, and a mad scientist fits AFO's organization to a T, but his purpose in the story is to hand out deus ex machinas for the villains on demand, and I honestly kind of hate him for it.

Meanwhile, Mirko bursts into the lab with Tomura in it and, ah, Mirko. In retrospect (seriously, someone count this and get back to me) this is the start of Hori just... ripping off all her body parts off like she's a cheap toy that he wants to see how much it'll take to break. At the time, I didn't think much of it, at worst it was a cheap way to prove how Serious Shit Was(TM) without killing off anyone named, but once it started happening again, while it just continued to focus on her in fetishy ways as she fights, it started to be a disturbing trend.

I've got some mixed feeling about her in general, because she's.... basiclly Bakugou? But with better limits on her behavior? Like, she's what the fanfic versions of Bakugou tend to end up as, somewhat cruel and crude and definitely violent but channeling it towards acceptable targets rather than, like, everyone around her. I actually like Blood Knight characters, but in this setting, as a hero, it just doesn't fit right, you know?

Still, she's a cool character and definitely deserved better than than being turned into a human stick for whatever kicks Hori seems to be getting out of it.

While I'm at it, let me mention that it's hard to take 'Super Strength Quirks' as a whole seriously sometimes if 'Rabbit' is enough for her to tear through the Semi-High Ends with some early Full Cowl level feats, and Endeavor can be punted through buildings and shake it off. In retrospect (fucking sigh) Endeavour vs the High End and Mirko's big Nomu fight were warnings that, yup, we're going all in on the power levels now, and it's kind of frustrating when, early on, they were trying to take the 'physicality' of Quirks seriously, that they were just human bodies plus this one specific thing, and now Hori's taking the seriousness of his own setting so loosely, just to make BIGGER, more DRAMATIC fights that last a lot longer than they should.

But I digress.

On a different note, while it was nice to see 1A given a time to shine, the fact that they're in this fight, the fact that some of them were essential members of this attack, is just wow. This, making so many of the adult heroes seem so useless that the need to depend on literal high schoolers, is in retrospect a big warning sign of just how accelerated the timeline became. In a more 'normal' situation for something like this, these big, dramatic fights would have happened years later, giving 1A the chance to grow up and make it all less... child soldier-y. There's plenty of shonen settings that have this kind of thing happen, sure, but they're always generally dystopian hellholes in the first place. Naruto the sixteen year old being important is a lot less of a reach when they put ten year olds in life or death situations on the regular anyways. MHA, though, is a modern setting, and they're in an actual, semi-normal school, where they get, like diplomas and shit and learn normal school things, rather than some military academy focused on pumping out ninjas or sorcerers or whatever to fight and die and kill for the cause. Which, UA kinda actually does anyways, but UA and how it doesn't actually make sense as a whole is really getting off topic.

So. Anyways....

OK, fine, Re-Destro being, like, the 'This is Fine' meme as a person is both iconic and deeply understandable and I wish we had more focus on that, but I need to focus back up on this!

Midnight's actual combat tool is a non-combat fan that exists just to fan the air. It kind of makes sense with her power but it's just so... shallow seeming, just playing to her fetishy theme, and I honestly think her doing this, fanning the air dramatically, is one of her more impressive showings in canon? I already know Hori has never taken Midnight seriously but still.

I've already talked about how wonderfully horrible the whole Twice Hawks thing was, so we're just going to ignore that and try to save some space....

Now I think it's time, so let's talk about one of the biggest issues of this arc: Shigaraki.

I've said it before, but him powering up makes sense, especially when he starts taking on the mantle of AFO's replacement. The problem is how much he powers up, and we can lay that at the feet of Garaki, Doctor Power Up, you jerk. He was always going to be one of the top beings in the setting once he got one of the most broken Quirks in the setting, but the fact that he can walk around without a Quirk active, blatantly ignoring all the people actively trying to murder him, refusing to simply kill Endeavor because his character is too important to write off yet, still incomplete and still be so dangerous...; in other words, the fact he effectively has several Quirks even without having a Quick is way too far. The heroes nerfing his development was an elegant solution to this problem, something that was handled a lot better than AFO, both as a person and as the Quirk itself, was. Even with Shigaraki escaping at the end of this, and making the 'final confrontation' energy of this arc fall completely flat*, the fact that he was permanently damaged by this still makes it have more meaning... you know. Until they tossed that out to fix him up anyways, somehow.

*This, actually, is one of the things that made the war so bad for me, actually: the build up was so... This Is It. There was all this hype for this being the Ultimate Fight, because if they don't win here, they'll have no way to meaningfully counter Shigaraki, he'd just be too hard to fight. Maybe if it was later, if Izuku was stronger, them losing could work: there would be a somewhat reasonable way out if they lost, involving a (probably bullshit) power up/training arc with Izuku frantically trying to even begin to match Shigaraki somewhere on his level as a 'transcendent one beyond humanity' before it was Too Late.... but him reaching his full potential at this point was years away, far too late to stop Shigaraki. It didn't sit right, because it was too early, but the way it was set up this was the do or die moment. Then the heroes lost, and that was the moment the story just... went to shit because Hori decided to solve the problem of Shigaraki being too strong by just making everyone else stronger as well.

And sure, a lot of it (most of it) is just Izuku, just Deku getting power up after power up, mastering them all near instantly when before each level of strength he gained was hard fought, requiring time and practice to being able to use them well, even with the new, largely out of nowhere addition of Black Whip, but it's also all the super moves everyone starts breaking out left and right in the final arc. It's Endeavour somehow beating AFO. It's all the big, increasingly dramatic and flashy attacks, all of them being no-selled by SFO because they're not allowed to be a meaningful threat. It's the one scratch on SFO by Bakugou (of fucking course) being, not because he's that strong (thank fuck) but because of some weird PTSD flashback on AFO's end. It's Deku, The Main Character, finally showing up and being the only person able to anything. That moment, in retrospect, is the moment when the power levels became the most important thing for a character above anything else, beyond strategy and planning, beyond how a power even works; any of it, all of it, they all paled before how strong is this character, how hard can they hit, how much damage can they take. It takes the idea of everyone being a hero, of the lesson Izuku had started to reject from the very beginning of the story, that people aren't born equal, being proved right all along, despite how the story trying to tell us otherwise.

That Izuku was only ever special because All Might graced him with his Quirk, and nothing else.

Oh. I can't believe I didn't mention that one second later retcon of Shigaraki awakening 'because of his hatred' instead of the far more reasonable electricity zapping him. With the delicious irony of it only happening because a hero was doing the 'heroic' thing of not minding his own business, no less; that would have been the cherry on top of the sundae of him coming back, as the perfect symbolism of how the heroes keep creating the villains they fight.

Don't get me wrong, his awakening itself is epic, you can almost hear the epic dark chorus singing in the background as he destroys everything, but... it's flashiness for the sake of flashiness, the way he officially wakes up. Not for any logical reason, but because his hatred is so immense it breaks reality, just like Izuku magically defies Nighteye's prediction, even though MHA pretends it's 'grounded' and that all it's super powers are biologic instead of anything more metaphysical that would help explain that off. It's just empty hype just for the sake of hype, no matter how little sense it makes. In this situation, it's relatively harmless, sure, but it's easy for it to become less harmless, like, perhaps, power ups just to make Shigaraki, Izuku, Bakugou, or whoever else is in focus at the moment look better, even if it doesn't make sense for them to actually happen. Or dramatic, meaningless 'deaths' and equally dramatic and ridiculous 'resurrections' that couldn't possibly result in a drastic increase in a person's abilities.

*looks meaningfully at the final arc's bullshit*

But surely, surely, Hori wouldn't do that, right? Right?

But anyways, back to the War Arc and... 'booty incoming'. Really. Really? Must we? Must we do this? Can't we have a woman on screen for five minutes without something sexual being referenced?

And then Bakugou's back, still speaking to everyone he can like they're trash, and still with people surprised by this, somehow, like this isn't a long established character trait for him, or that he would actually have any respect for old people. And then everything's being Dusted, people are panicked, and the heroes are full in crisis mode and yet his comment on the situation is "I'll wreck him". Not something about teamwork, not something about saving people, not even that he'll stop him, which has connotations of protection, but wreck, which screams aggressiveness and destruction. And it's just... so completely ignoring the seriousness of the situation, where everyone else is concerned about the city vanishing into dust, and Bakugou just wants to crush the enemy just to crush them.

It has all the energy of someone slapping their edgy OC into a scene by saying a meaningless line that can be somewhat reasonably ignored by the actual characters because it's so out of place. And then next chapter he just screams about killing Izuku instead of the actual threat when Izuku wonders why he's even there. Look, I get that, for some god forsaken reason, that Hori wants to play Bakugou's violent, abusive tendencies as 'comedy', but even if it was comedy, actually comedy and not thinly painted over abuse, there is a time and place for comedy, and this situation is not that time.

And, oh look, Eraserhead is finally fulfilling his true purpose: not being a teacher, but desperately acting as a bandaid to try and salvage the plot after Shigaraki contracted Madara Syndrome! And yet we still get shit like, 'The worst case is losing the teacher who watched over us all this time!' You know, the person who 'watched over you' by systematically destroying your ability to trust that anything he says or does isn't just another lie 'logical ruse', instead of the already unstoppable villain being even more unstoppable, because that is the context of the worst case scenario here, just so we're all clear: losing Aizawa would be worse than Shigaraki getting OFA.

(I mean, you could make a case that losing Erasure, the Quirk, is worse than him getting OFA, because Erasure can counter OFA so in that respect, Shigaraki getting it wouldn't change Aizawa's utility, but that's not the argument that's happening here; it's not Eraserhead, the tactical asset, the would be a loss, it's Aizawa the asshole of a person, who would be a tragic loss worse than OFA, the only hope anyone in this story has.)

Hori, if you could just throttle down the overhype of your Kakashi proxy and the angry fan favorite for five minutes while the shit gets real that would be great, thanks.

"If we can't stop one person, what is the point of this hero-saturated society?" You know what... Burning(?), that's a great question; I'm just going to leave this quote here on it's own merits.

And then Midnight is merced off screen by a meaningless mook, basiclly never to be mentioned again. You know, I didn't like how hollow her characterization was, but the answer to that is not to just off her and move on.

Meanwhile, Gran Torino is torn into by Shigaraki, but still manages to shrug it off. And, while we're on this topic...

Momo: is a genius.

Also Momo: makes a drug that is administered by injection instead of in a gas form.

Still Momo: doesn't think to make anyone else some extra knock out vial... things.

Still Momo: the sleep drug she makes take so long to take effect that this entire exercise is almost pointless.

Ashido: has the toss.

Also Ashido: fumbles the toss at the last minute out of surprise so that a man can do it for her, in a reversal of a situation that she had handled better before than he did, as an excuse to show his growth at her expense.

Classic Hori. Why let a woman actually be helpful when they can just try and fail to meaningfully improve the situation for the better?

And, ah yes. After just going on, with all apparently seriousness, about how he'll fight Izuku if he dares question why he's following him around, 'Bakugou Rises', and 'has his body move on it's own'. You know, heroically. Even though by all accounts he did and still does think and act on his instinct to just attack other people. And his dramatic 'sacrifice' is just going to be shrugged off and he's still going to be able to fight in anther couple of minutes. And, despite how it's presented like he comes to a big realization, he still acts exactly the same after this.

Riiiight, I buy that. Oh, and the person to notice something off about All Might's notes? Who was that again? Was it Izuku, who started off the series by analyzing Quirks a lot, and took the notes seriously, or is it Bakugou, who instantly insulted everyone in the notes off a surface level impression of them?

...Well. Now that the Bakugou simping portion of the war is finally past us, let us continue with Hori writing off one of his most interesting villains, just to replace him with the one he's refused to develop, just so we can start undoing all his wonderful development.

Thankfully, we come to one of the few parts I like about this mess: Dabi's Dance. Fucking glorious it is; the man is just vibing about the mayhem he's causes, the wonderful little psychopath. And let me tell you, 'The Past Never Dies' hits a lot harder than anything AFO has ever said.

Say what you want about him being a crazed murderer, beyond all hope of redemption, or blindingly insane? I'm not going to argue with you (though the story might, the way things are going) but you can't disagree with me about this: for all of his many, many flaws, the man understands Megamind's lesson about Presentation.

Oh. And Lemillion's back, I guess. If I seem unenthusiastic about it, well, that's about as much enthusiasm as Hori seems to have about that, so don't blame me.

Wait, the Bakugou simping is back on, or should I say, the Great Explosion Murder God Dynamite simping is back on. Fuck, Hori, remember what I said about a time and a place for comedy? Remember that?

Sigh... And the perfect place to end this clusterfuck of an arc off: 'You look like you needed saving', in reference to one of the greatest villains in the series, a mass murder who has spent the last five minutes trying to kill you, Izuku, what the fuck. But, it's over, right? Now that the War Arc is over, it can only get better, right?! Ha, if only!

Welcome to Post War, suckers: AKA, the point where Hori just stops giving a shit.

You see, for all the many, many, many flaws of the War Arc, Hori at least spent time on them, fleshed out dramatic moments, character reactions, and the lead up to those moments. But after? Hori has a checklist, somewhere, of all the major points he wants to do before the manga ends and he's checking things off, sure, but that's all he's doing: checking off the major plot points, one after the other. We've reached speedrun manga hell, where no character gets time actually think about anything anymore, or hold a conversation with someone that doesn't involve violence, or even break down in a proper hysterical cry.

Oh, look, a new character! What's that, an interesting character with deep ties to previously untouched worldbuilding you've been curious about? You want to know more about the corruption of the heroic society, or a country that isn't Japan for once?

Well, too bad, because they're gone. Where we're going, we don't have time for the current characters, much less new ones. If you see someone you've never seen before, enjoy your handful of chapters before they're thrown away like trash.

What's this? Izuku is finally getting some new character development? He's doing something new, different, and exciting, with potential to make him think about his future and heroism? WRONG! Class 1A can't have that! They're going to hunt him down like a dog for daring to leave them, and beat the living shit out of him to prove their friendship.

Just like Bakugou does! Good thing he's leading them, just like the old days in Aldera! And wow, that's some top tier Karma Houdini bullshit there, isn't it?

Pop Quiz: according to Bakugou, what does Deku mean?

Useless, you got it!

Next question: what does Bakugou still call Izuku, the same way he has since they were young, young children up to the present?

Deku!

How about this? How long has All Might actually interacted with Izuku?

Oh, maybe two years or so, you say? That's right!

During this time, has he ever once called Izuku either useless or Deku, beyond as his hero name?

Not once, correct!

So, taking all of this into account, final question: if Izuku considers himself Dek- I'm sorry, useless, what one person is the most reponsible for that?

All Might!

Hmm. Hmmm. Something seems wrong with that last answer. Gee, I wonder what seems wrong about that last answer, I'm so confused.

So, yeah, after Izuku leaves, not runs away, mind you, leaves, because UA isn't a prison and he has every right to leave, Bakugou explains how Izuku's complete lack of self respect is All Might's fault, before whipping all his classmates into a frenzy to go hunt him down.

Then, after finding him, already exhausted from constantly fighting for his life, all of them gang up on him, attack, try to knock him out, and after he gives up on making his own choices against the sheer amount of peer pressure being thrown his way, Bakugou apologizes.

For what? Well, if we didn't read the manga, we sure wouldn't know, because Bakugou didn't want to talk about that! No, it's just how Izuku, weak, helpless Izuku who idolized him, and had no Quirk, somehow made him feel inferior, and that's why he was so angry all the time. How dare Izuku have hopes and dreams?! And then we end it up with the absolutely touching message that this won't change anything.

Wow, Great Explosion God Dynamite. I'm moved. You truly are beyond us mere mortals, to know how an apology can only be truly sincere when you explain how utterly worthless it is! Brilliant! Truly, this is that Post War quality we know and love!

Oh, and the Traitor arc. Think back, everyone, back to the days where this manga was about being in a school, and think about the traitor that ratted out the class to AFO. Remember that? Well, it's Aoyama. What, the last chapter made you think it was someone else? Psych!

Anyways, Aoyama was actually the traitor the whole time, and it just... never came up again; AFO never saw a use for someone inside UA since they attacked the summer camp, I guess, and there's no possible way he could have used that asset again, no sir. Well, now that we've all yelled at him a bit, I guess we're all fine with that now; let's use him to ambush AFO! With loopholes to get around his lie detector Quirk! Surely, after giving him one Quirk to help him infiltrate one of the most important places in Japan, there's no way AFO could have planted, say, a second Quirk in Aoyama, as a way to deal with possible treachery; no we've never seen him do that recently. Or just observe him, or really do anything to make sure he stays loyal.

Oh wait, he was Quirkless? A dark mirror to Izuku, you say, both of which got a Quirk from two of the most important characters in the series, in a way that drastically changed their lives and tied them together antagonistically?! What does Izuku think about that? Don't you know better than to ask that kind of question; we don't have time to reflect on things, much less Izuku's Quirkless past that has basiclly been retconned out of existence at this point.

Was any of that too fast for you? Maybe too confusing? Did you want me to maybe break up that last section a little more, spend some more time on each major plot twist as it happened, how people felt about it? Well, congratulations, that's exactly what it feels like to read MHA Post War.

*screams in fury forever*

Hori. Hori, why did you do this to me? This story started off so good. What the fuck is all this?

[vortexonsaturn]

Was The Finale of How I Met Your Mother Truly That Bad?

That title may come as a shock to any How I Met Your Mother fan, or even just anyone on social media when the finale aired, as the infamous ending is widely known as one of the worst endings in sitcom history. It was unanimously agreed that this finale was awful, so much so that the creators of the show immediately released an alternate ending to appease fan outrage. However, I would argue the ending truly does make sense in retrospect.

What Went Wrong?

As a huge fan myself, for many years I also held the belief that the ending was well...wrong. Being an avid Barney and Robin shipper, their divorce felt abrupt, especially considering the fact that the entire final season takes place over the weekend of their wedding. And losing the sweet, wonderful Mother mere moments after meeting her? Pure insanity.

The biggest fault in the finale however was the fact that it was fully planned during Season One. The plan was always for Ted and Robin to end up together. In order to prevent David Henrie (Luke) and Lyndsy Fonseca (Penny) visually aging over the course of the nine years the show spanned (which was canonically probably just a month or two) they filmed the iconic, "You're totally in love with Aunt Robin!" scene way before any of the natural character development occurred.

Because of this advanced planning, it denies the characters we had grown to love the ability to change at all during the course of the series, forcing them to morph back into odd, and now unfamiliar, Season One versions of themselves. It leaves a bitter feeling to the whole finale as:

Barney resorts back to his womanizing ways, neglecting his growth and change over the series. Almost completely flanderizing him in the final episode.

Robin is bitter and barely seen by the group anymore.

The entire group has separated, only catching up during holidays if at all.

The Mother dies episodes after we meet her.

And most controversially, Ted and Robin are endgame.

So seeing all of this, its may seem as though the finale managed to screw up nine years of character arcs and fan loyalty in only two minutes.

But,

Was the ending actually the perfect way to sum up this story?

What Went Right?

While the ending truly did reject viewers expectations, it was always supposed to end this way. It wasn't a cop out.

The story of How I Met Your Mother is about so much more than Ted meeting the Mother, it's about Ted's 20's and his friend group. But more importantly, it's about reality.

We see many times throughout the show that Ted is chasing this idealization of fate, he spends almost the entire show chasing Robin because he truly believes that she is his fate.

But the reality is, fate is messy. You may not always get what you thought was the perfect ending. There isn't always that pretty bow to put on top of life. More importantly, the ending you thought was perfect is simply not always the ending you get. Life is ever-changing.

Foreshadowing for finale (however much you hate it) is sprinkled throughout the series, and these moments remain some of the most impactful scenes in the entire show.

Let's break this down even further.

↳ For the sake of this argument we're going to revisit 8x20, The Time Travelers and the writers use of Ted's Favorite Book. �� While the foreshadowing that I am arguing is shown in many episodes and plots, I believe these encapsulate it the best.

The Time Travelers Episode

This episode is one of the most popular episodes of the series, as it is truly depressing. It is argued to be one of the saddest episodes in the show (although I would say Bad News is objectively the most heartbreaking).

In this episode we follow Ted recounting an average night in MacLaren's Pub with his friends until it is revealed the entire evening was all in his mind, and in reality he is all alone.

Following this realization we get a narration from Future Ted, that in hindsight should've been the biggest hint for the finale.

Future Ted tells us that instead of simply going home this night, he would instead go to the Mother's apartment and say this:

“Hi. I’m Ted Mosby. In exactly 45 days from now, you and I are going to meet. And we’re going to fall in love. And we’re going to get married and we’re going to have two kids. And we’re going to love them and each other so much. All that is 45 days away. But I’m here now, I guess, because I want those extra 45 days. With you. I want each one of them. And if I can’t have them, I’ll take the 45 seconds before your boyfriend shows up and punches me in the face. Because I love you. I’m always going to love you. Until the end of my days. And beyond.”

What a gut punch considering the fact that the Mother falls fatally ill in the finale. Someone play The Prophecy by Taylor Swift.

Seeing Ted beg for just 45 extra days knowing the Mother dies is honestly one of the clearest signs of her ending. Her fate. Her destiny. The Mother while insanely lovable and a quick fan favorite, was always written to die.

But, an even BIGGER piece of foreshadowing remains in Ted's Favorite Book.

Ted's Favorite Book

In the episode Matchmaker (1x7), we find out Ted's favorite book is Love in the Time of Cholera by Gabriel García Márquez. This book's plot focuses on a young couple in love who grew apart, one them goes on to get married and the others spouse eventually dies and the original couple finds one another. Sound familiar?

This is the exact plot of the Ted, Tracy, and Robin storyline.

We see Ted reading this book the exact moment he meets the Mother. This easter egg was planted in Season One.

I often times see people be critical of the shows finale as they view it as a cop out, a lazy ending to a show that was out of left field. But that purely isn't true.

As much as I love Swarkles, and as much as I love Ted and Tracy together, you cannot deny that sometimes stories just don't end perfectly. Life doesn't work that way.

So what does all of this mean?

Does foreshadowing excuse the ending? In my personal opinion I truly think it helps.

With a show like How I Met Your Mother that surrounds itself with themes of fate and destiny, you cannot be upset when these elements come into play. The Mother dying was her Fate. Ted and Robin ending up together was their Fate. This is always how the story was supposed to end, no matter how infuriating it is. This is their Fate.

Ultimately, I believe that if the creators fleshed out the ending across even just two episodes the fan reception would've been way better. The timing of it all causes a sort of whiplash feeling, leaving a bad taste in your mother when the How I Met Your Mother title-card flashes at the end.

So while personally I will continue viewing the alternate ending purely for mental health reasons, the original ending will always hold a special place in my heart.

TLDR:

The ending could've been way better, but this was always the fate of the show and characters and you truly cannot deny that.

Note: Sorry if this seems all over the place I feel very strongly about this show, prepare for a Swarkles rant next or maybe even a character analysis of Marshall Eriksen.

[solarsonicsoda]

Ranking TV Theme Tunes - Intro

Many many years ago, I made a tier list of all the theme tunes from loads of cartoons and live-action shows I watched back in the day. I thought this was neat, but I always thought I could do more. It's not like it was a small tier list either! But all the same, it ate away at me. One day, I decided I was gonna do something about it.

I compiled more shows. I asked friends, I took note of shows mentioned in videos I saw, I remembered more from my own experience - the number kept rising. One-hundred. Hundreds. I was building a pretty big collection. I shared my plan with more friends, and more and more of them had suggestions. But then they asked me: "How many are you doing?"

I hadn't considered this before. How many was I going to do? When I told them the current number, they all told me the same thing:

"STOP"

I ignored them, obviously. However, I made a compromise. I'll get to 500, and then I'll stop. A completely reasonable number, I thought... and in terms of reaching it, I was! It was easy, even. Yet, I did come to realise, that it might be slightly too many to ever truly cover as I originally planned, at least in a reasonable time. This brings us to today, and a brand new method for this plan.

I'll be rating themes here show-by-show, and giving them a letter grade for our tier list. I'll first cover my original 500 (with a few stragglers that fit among them), and from there potentially expand. The ground rules and caveats are as follows:

Each theme is rated on the song alone. No personal opinion on the show, the intro video, anything! I will comment on these, but they may not skew my view! These ratings will be go: S, A, B, C, D, and F. Try to remember that C is a passing grade! If your favourite intro gets a C, that means I thought it was Alright!

Shows with more than one theme will be given a final aggregate tier rating, based on each individual theme's rating.

Shows which get an entirely different name from season to season will be treated as unique shows, however shows where this only sometimes happens, or said seasons are simply shorter arcs, will not. For example, every Pokemon show is counted as a unique show, but Tales of the Teenage Mutant Ninja Turtles is not, and neither is every season of Ninjago. Reboots will typically be treated as a separate show.

Shows which share a theme or have practically the same themes will be taken as one single entry, though acknowledged as seperate shows. For example, Digimon Adventure 02 will be treated as the same as Digimon Adventure.

I will be counting the British and American themes only, and mainly the original themes they aired with in these countries. That is to say: yes, I'm using the One Piece Pirate Rap.

The shows selected will be of the family entertainment variety. The audience of each show may vary, but it's all about where they may have aired. I think the best way to explain this is that shows such as The Simpsons do not qualify, though I will be counting The Flintstones. You may dispute some of my discretion here, and that's fine, but it's just what makes sense to me

I am, sadly, British, but we have some absolutely banging TV and it is grossly underrated on all sorts of old TV retrospectives and stuff! My 500 aims to fix that, with a great deal of shows from British channels throughout the years. There's plenty of stuff from America too, most of which we had here too as imports, and shows from around the world in similar situations such as from Canada, Italy, Australia, France, etc. However, I'm definitely limited by what I see! If I haven't seen/heard-of something and neither have my friends, it probably won't be in that list! To rectify this, feel free to send me suggestions! Please try to do this with as much information as possible, and links are super welcome!

The shows are also spread out across time. We have themes as old as the 50s, and as new as 2023! I tried to take a good spread but through a combination of personal bias/nostalgia and sheer quantity, the 2000s is probably the most-represented era. This was hard to help, but again, send more suggestions!

There will be some shows that you have never heard of! If they seem really, really obscure? Probably me or a friend watched it, and we will not hear anything bad about it. Gotta have variety!

But with that said, stay tuned for some fierce theme tune rating! And if I miss a theme or make a mistake, let me know nicely! I have NOT seen all these shows, and some I know next-to-nothing about, so take it easy, and help me out!

Hope you enjoy!

[cheryls-blossomed]

Hi there, I know that you don’t engage with the flash fandom or watch the show anymore but I just wanted to bring up some observations that have been discussed on your blog in previous years which was right. The first is the chemistry between Grant and Candice I remember that it was frustrating for us when people would say they don’t have chemistry anymore simply because the writers didn’t give them scenes to show it off and blame it on the actors. I mean as per the usual pattern, season 9 has given them more opportunity to show it off and now the same people who said they didn’t have it anymore have changed their tune even though it’s simply just the writing being better.

Secondly, the issue of fandom never being satisfied don’t get me wrong it’s absolutely valid for people to have advocated more westallen especially with how the last 3 seasons went, but now we’re getting it *finally* it’s like some part of fandom are never satisfied. It reminds me of some of fandom’s reaction in season 3/4 when we had it good. if it’s a hug why wasn’t it longer if it’s a kiss why wasn’t it more intense…etc. now in season 9 it’s ‘oh they should’ve had a sex scene in episode 1’ which is just unrealistic. Valid criticisms are always allowed of course it’s just the nitpicking that annoys me, ha.

All that being said, it’s nice to see Barry & Iris working together and spending more time together it’s what we deserve for the last season of the show. You were one of the few level-headed fans in the fandom and I really do miss your well-rounded commentary on the show but I completely understand you stepping away as the show isn’t what it used to be. I hope you do one for the series finale. Take care ❤️

Aw, thank you for dropping by again, nonnie! I may have stepped away from the fandom/show in the last year, but I really loved the conversations and discourse about the show and Westallen. It's really what I miss most from fandom: all the amazing conversations. I'd like to do something more to celebrate Iris and Westallen: maybe a retrospective-type meta after the finale airs. I definitely plan to give my thoughts about the series finale and reflect about Barry and Iris's story, so there's definitely going to be more to come from me on this blog! I am really humbled by your kind words. 💛

Yeah, I like to think a lot of what was discussed previously on this blog is from experience of watching this show and having seen the high-points and low-points in material. I've never believed that Candice and Grant's chemistry just disappeared: the material just was not there for their chemistry to shine the way their chemistry did in seasons 1-4. Episodes like 5x05 and 6x11 and 6x17 and 7x18 really allowed us glimpses into how great their chemistry remained, but overall the writing did not invest in material that showed off that chemistry. I think in many ways having such a Westallen-centric episode right off the bat in season 9 showcased what could have been if the writing had invested in the right material for the last like four seasons. Because their chemistry was per usual fantastic in 9x01.

And for sure: some fans are never satisfied, and that's going to always be the case. But the things so many of us did hope for: more intimacy, WA outside of STAR Labs, more romance, more best friends in love-type content, more scenes in their bedroom... we got that in 9x01, which was really nice. There was really good Westallen content in the episode: a lot of which I know I had been hoping for for several seasons now.

Overall, I thought 9x01 was really promising and was a pleasant surprise. The Westallen content was great, and I would hope that this through-line of Westallen in story arcs together carries throughout the season.

[pwblogarchive]

February 2008

February 3, 2008

“Try lying for a change, it's the currency of the world.”

its oddly haunting the way that sometimes entries from a year ago can reflect perfectly how i feel today.

its like an echo sent out over the weeks and months and pages of the calendar.

not always but sometimes.

a few weeks ago i considered mentioning the fact that while i once wrote "every new years is worse than the last" i didnt feel that way anymore

oh eight had broken the january curse

now im glad i didnt

cuz i realized it might not have

it may have just pushed it back a month

or extended it, depending on how this all looks on play-back

i find it a bit odd to be waiting for retrospect

Posted by xoat 10:41 PM

February 12, 2008

“honestly, afraid. i cant ever sleep either.”

Put the the planets in swing

Make jupiter sing

The afternoon light

Ignites

The back of my head

Spend years trying to cloud our head and not feel a thing

Just to turn around and erase the clouds so we can remember everything

Throw handcuffs on that boy

When the check comes he never pays

His cheekbones carve my moods

He shakes like a leaf

He's clicking like an old answering machine

He howls at the moon

He's breathes wet thru insect eyes

Canyon lights at night chase away the boring days

And I don't worry about death because I've seen the date I'm gonna die and its so far away.

Posted by xoat 1:55 AM

February 16, 2008

“part two (i forget so much of what i write its beginning to scare me).”

hes a lonely planet

dont stir and wake

everythings ok

give or take

the cats got the canary spinning in its ribcage

did i mention i came dressed for the intervention

(and if you were dying soon would you try to find snow in the deep summer

the june bugs dancing in wonder

and i still wonder now

if my words will stil turn you inside out)

hes a honeyjar

with that pretty face, lets never lose the lid

and keep those rosey lips in

(he breathes wet through insect eyes)

in multiples of four, no less than sixteen

sandmans been showing his beam

when he walks into a room the walls lean in to listen

keep a calendar this way youll know the last time you came through

oh.

"i know what youre going through"

well i dont- its more of a "paper or plastic" grocery store choice to me

but ill sympathize with anything to get through to you

do you know what its like to watch reruns of yourself night after night

to offer nothing and expect everything in return

to cock your head just right to appear arrogantly humble

if we hurry well make the morning edition

cos everybody likes to read the bad news

theyve tapped the phone be very careful what you say

speak in code about singing birds and sleepy eyed women

his heads a junkyard for rusted midnight thoughts

hes criminally carefree

when the pills swallow the worry

hes digging like forty nine

hes making you press rewind

hes a thunderstorm so bright you shut your eyes

he is a hurricane

Posted by xoat 3:15 AM

February 18, 2008

“mc hammer and miss piggy bank”

i get bright ideas in dark rooms

red rooster combs on our head

we are galaxies

a catipillar that got stuck

mr moth come quick with any luck

long walk in a dark house

a roman candle heart

keep us far apart

tour is just thinking you have been in every hotel, club or truck stop before.

it is deja vu personified.

all full of love so much that my teeth are floating.

February 19, 2008

“the oxidation of Joan of Arc.”

the mind drinks less and less.

impatience.

highways full of crowds going somewhere, somewhere, somewhere, nowhere.

The gasoline refugee.

Towns turn into motels,

people in nomadic surges from place to place,

following the moon tides,

living tonight in the room where you slept this noon and I the night before.

Posted by xoat 12:31 AM

[dionysia-does-stories]

Fancy Dress

Cringetober 2023, Day 10: Fursona

On AO3

Rating T - 666 words - Good Omens - Crowley/Aziraphale

Summary: Crowley attends Aziraphale's shopkeeper association fancy dress party and is not prepared for how much he likes Aziraphale's costume.

Story:

Crowley thought he’d be embarrassed doing this, but he was having the time of his life. Which was saying something because he had been alive for a very long time. 

When Aziraphale invited him to his shopkeeper’s associations party, Crowley turned it down. Aziraphale tried to sweeten the idea by telling him that it was a fancy dress party. To which Crowley rsvped “no” vehemently and loudly. Then Aziraphale looked slightly put out, so Crowley agreed to go.

The theme of the fancy dress party was animals. Crowley racked his mind to think of an animal that would be fun to dress up as. But he kept getting distracted. He’d think about all the animals on Noah’s arc. That would get him in a fury about “demons who can’t follow instructions.” Worse still, he’d remember the unicorns.

Crowley asked Aziraphale what animal he should dress up as and the angel had laughed, thinking it was a joke.

“Isn’t it obvious,” Aziraphale said.

Crowley shrugged, “not to me.”

“A snake.”

Crowley was rather famous for dressing up as a snake in the Garden of Eden, but weirdly he’d never thought of it as something that defined him to other people. Not like his trademark devil-may-care vigor.

Aziraphale gestured to his face and said, “you don’t even have to wear your glasses.” 

Crowley hadn’t put that together at all. Snake costume meant no glasses. Not that he minded the glasses really. But he did have to wear them all the time. When he took them off he got to many annoying questions from humans. It wasn’t worth it.

So, he’d bought snake skin pants and a matching jacket. He’d done a fun bit of make-up to give himself scales. He walked around the party, showing off his “costume contacts” and flicking his forked tongue out as a party trip. He was loving it and all of Aziraphale’s odd little neighbors were loving him.

Aziraphale was running late. He’d said something about having to pick up part of his costume. Crowley hadn’t asked what he was dressing up as. In retrospect, that was a bit of an oversight. If Aziraphale walked in dressed as an ostrich or something, Crowley would not be able to keep a straight face.

Crowley was chatting with a bloke that he was certain didn’t run any of the shops and didn’t seem to know any of the people who did. Crowley got the impression that he just liked dressing up and was party crashing. Crowley wasn’t going to rat him out. The more the merrier and other banal drivel. 

The bloke had just launched into a detailed alphabetical list of all the costumes he owned, when the front door opened. Crowley felt eyes on the back of his neck and swung around to look.

Aziraphale was in the doorway in a dapper suit made of plushest white velvet. His vest and top hat referenced magician’s tricks. But the hat had great long ears sticking up out of it.

Crowley was shocked. Aziraphale was always cute. But here he was dressed as a silly little rabbit and he was almost despicably cute.

Crowley left his conversation without any notice to the costume bloke. He walked directly to Aziraphale.

“What are you wearing?” Crowley demanded.

“I’m a magician’s rabbit!” the angel exclaimed. He did a little twirl to show his costume off.

“Ridiculous.”

Aziraphale deflated, “You don’t like it?”

By way of answer, Crowley grabbed his fuzzy lapel, yanked him forward and sealed his lips with a passionate kiss. 

Aziraphale was torn between enjoying the kiss and being embarrassed that all the other shopkeepers were watching. 

Crowley didn’t care what the shopkeepers thought of them. Tonight, he was the snake that drove Adam and Eve from the Garden. He was here for temptation and Earthly delights. 

He ran his hand along Aziraphale’s bunny ear and leaned close to the angel’s human ear. He whispered, “I am going to eat you alive, little rabbit.”

[hawkinsschoolcounselor]

Hi there. May I ask what exactly changed your opinions on Byler? I’m feeling a bit discouraged as well. I hope you’re well btw x

I am not well, but I will be. This isn't the first time I've been disappointed. It's just the first time I've made matters worse by reading into things.

Quite simply, we deluded ourselves. We made assumptions about the writing that don't align with what the Duffers are actually trying to do. I, for example, tried to apply psychology to the situation, but it was ridiculous in retrospect considering the Duffers have no background in psychology. These characters aren't intricately developed, except maybe El. A ton of it is made up as they go along in the process of creating the story they want. This is why characterizations can seem so inconsistent. What worked one season doesn't necessarily work the next.

We also based a lot of theories off of things that were essentially marketing gimmicks and merchandise. The Duffers have absolutely no input into any of this. We never should have put any stock into any of it. The fact that we did is just testament to how desperate we were.

Mike having Smalltown Boy on his "official" soundtrack? It's because he's literally a small town boy, nothing more. The people making those playlists weren't doing deep dives into the lyrics and themes of songs to make matches, and they certainly didn't know about future story arcs.

StrangerWriters saying that they don't believe in love at first sight? Just the opinion of the person running the account as they try to engage with fans.

"Let's start a new party, you and me"? Same situation, it was just the account engaging with fans.

When all is said and done, we can really only trust what the show portrays. Unfortunately, they've decided to go with Mike and El being in love. We see it as a relationship with terrible development, but most people don't agree with that, unfortunately. Will's love, meanwhile, is being used to not only benefit El's story, but also set up his own. Will is going to likely be victimized by Vecna, and his rejection by Mike is likely going to be how he succeeds. Will is going to lose all his fight when Vecna exploits those feelings.

Right now the biggest hope I see people clinging to is how horrible of an ending it would be for Will if he doesn't end up with Mike. I agree. However, the Duffers, and the majority of the audience, don't.

I also see people bringing up the fact that there won't be any new characters introduced. People are assuming this must mean that Will gets with Mike because the Duffers wouldn't just let him be the only character without a relationship. Again, another assumption based on something only this small part of the fandom even thinks. The best thing we could hope for with Will is that he gets a shallow, undeveloped love interest. That's what they're doing with Robin, after all. Do you guys really expect to see much of Vickie in season 5? I don't expect her to even be there.

Will is being set up to be yet another addition to the tragic gay character trope. His journey exists to allow a mostly straight audience to sympathize with him because of his pain, but without risk of alienating that audience by giving him what he wants. Honestly? I'd be surprised if he even survives.

[sleeptowns]

first love, late spring: the autopsy report

some postmortem thoughts on conceptualizing, writing and editing the first half of my favourite project so far, partly for my own relationship with the "craft" and mostly bc writing this like a blu-ray bonus commentary was immense fun.

・・・・・・

in retrospect, it’s always a bit of a miracle every time i finish a fic.

it might not feel like it for a lot of them, but considering i’m a [spins wheel] kind of person in so many aspects, from writing to travelling to cooking, i sure have a lot of audacity falling headfirst into stories knowing full well that i don’t have a single clue where it will go until it’s all finished. i was very lucky with my 20-50k fics, especially since one of them was a dual narrative/parallel pov situation or whatever yours, mine, ours was. i was probably even luckier with the 70-80k ones, seeing as i was a broke college student in a new city acting like i can do something like a 27-year-old end-of-career actor justice. but to write 113k words’ worth of so many things i’ve never done before, with the same messy method of figuring it out as i go along — i don’t even know how that happened.

as it stands, i have neither a planning doc to look back on and unpack nor even a vague outline that i probably wouldn’t have listened to anyway. and that was all well and fine before; i’ve made peace with not having the kind of mind that knows to conceptualize arcs and secondary plotlines before i even write the thing. i know i work best when i let the characters do the heavy lifting for me as i’m writing: they tell me where something needs to go next, i listen, and if i listen long and hard enough, the one scene i initially wanted to write as a standalone becomes a much longer monster because it felt wrong for it to be anything else. and the kind of story that could not have possibly been anything but what it ended up as? that’s the writing i love best. it works out.

i am, however, trying to be a more mindful writer-person this year, and while there’s very little to be mindful about when the entire process has been seemingly mindless, it doesn’t mean i can’t at least try to look at this complete jigsaw puzzle i’ve ended up with by moving my eyes from one piece to another. will that tell me how i realized that so-and-so piece belonged in this spot? no. but will it inform what to look for in the angles and edges of a lone puzzle piece the next time i try to build a puzzle? i don’t know for sure, but it might, and possibility is a very hefty thing to have when you’re writing.

which, honestly, i’m only saying because i read matthew salesses saying a few months ago that “to become a better writer is to make conscious what may start out as unconscious.” and since it shook the very foundations of my self-pitying “i don’t feel comfortable claiming i’m a proper writer because everything i do is unconscious and i’m just fooling everyone into thinking i know what i’m doing because i know for a fact i do Not” mindset — this is me trying my best to move beyond the parameters of my chaotic writing non-process and reflect on how first love, late spring came to be what it is.

that said, i started this as a genuine attempt at being writerly about flls but then i got very uncomfortable and, looking at the end result now, it’s really more like one of those director’s commentary things that they include in the blu-ray, complete with division into small multiple parts and the writing equivalent of outtakes.

but this was still fun! and probably more valuable than not in the long run! so! here’s to making the unconscious conscious!

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01 | ROOTS & SEEDLINGS

i’ve had time to think about it, and i blame three things for first love, late spring.

① jay, who had to listen to my sleep deprived self break off in the middle of a spiel about restorative justice so i can wonder out loud what megumi would be like in a polisci class — and who somehow decided 5am was a good time to pitch a fun little joke of a college au where nanami is a philosophy prof and mahito is his unbearable teacher’s assistant

② jjk chapter 132.5, which caught me at a point of almost-breaking in the middle of the shibuya arc and soothed what it can with basketball player yuuji & turtleneck-clad, coffee-drinking, definitely-shops-at-muji megumi.

③ dash & lily, a netflix limited series from which i retained nothing except the song stay by gracie abrams. it played maybe once in the entire show yet haunted me for days after, looping could you hold me without any talking could you hold me without any talking could you hold me without any talking like some spell incantation.

a spell incantation that did its job frightfully well, because by the end of that weekend, i was at a bus stop in -13° furiously typing scraps of a scene into my google keep so it stops rattling around emptily in my brain:

Itadori’s eyes are wide when he opens the door, as if he hadn’t actually believed Megumi would be coming over.

He looks tired. Not in the sleepless way.

He stares blankly at the paper bag that Megumi has tucked under his arm.

He opens his mouth, but Megumi announces, "I have bath bombs."

"What?"

"My sister brings them to my place. I never use them. Here—pick one."

then two other scraps:

"We’ll get in the bath, then sleep. Okay?"

"We? Are you staying the night?"

"When have I ever not stayed the night?"

"Right, you’re the only one who always does." Itadori sounds absentminded. “But I mean—we’re not—tonight—"

"Why does that matter?” says Megumi. "I can take the couch. I’m not leaving you alone like this, Itadori."

That feels too honest, but it’s the right thing to say.

[…]

“Fushiguro?”

Megumi’s half-asleep already, but he shifts, makes sure Itadori slots better against him. Closer, more secure. "What is it?” he says, but it’s mostly a hum under his breath.

“Thank you.”

as with every time this kind of haunting happens, i felt immediately better after having gotten fragments out of my system. but also as with every time i listen to the need to manifest one of these, it finds a new way to follow me around. who are these people? why is yuuji coming over? what happened? why is megumi giving me “i will” by mitski energy here? what is their relationship, if they seem close & comfortable enough for yuuji to come over like this but still with enough hesitation that they can’t possibly be in an established relationship yet?

so then i started thinking about a scene that might come after the bits i wrote, and because i had a stray thought about what yuuji & toji’s dynamic might be like while i was in line at the grocery store, this is what came out:

When Megumi leaves his room, he finds his father sitting at the dining table — with Itadori.

“What,” he says.

“I met your boyfriend at the grocery store.”

“How do you even know what he looks like—“

“Oh, Tsumiki sent me a photo.”

Itadori waves at the collection of half-opened bags on the counter. “We just came here to split the groceries! I would have made too much if I was home anyway, so—”

which just complicated my question of what yuuji & megumi are even supposed to be in this world that my brain keeps trying to feed me. not boyfriends, definitely, but there are feelings and tried-and-tested intimacy there. fake boyfriends? friends with benefits? both?

the final, final straw was — because why not — a video on my fyp. a student living in tokyo was doing a series on their favourite restaurants nearby, and one of them had beautiful footage of a place called ukai toriyama. i looked it up out of curiosity for more, became enamoured with all the photos and videos i found, and thought, wow, this place would be nice for a wedding reception.

and because one plus one plus one plus one plus one equals five, i cracked under the weight of all the little things rattling around in my head, decided to hell with it, and sat down in front of a doc.

1.1k words later, the first scene of first love, late spring was set in stone, and the world it belonged to had me in the tightest chokehold that a story seedling idea has had in years.

only i would argue that this story wouldn’t be what it became without flls!yuuji being who he is, and that had to come a bit later, long after megumi had established what kind of world we were at first. because before yuuji, before haibara, before the scene and chapter that i think would define the structure of flls and what their relationship ultimately became about, i had to first go a few weeks back in time and figure out what megumi’s deal was.

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02 | THE SWEATER AND THE CUP

the thing is, though, i wish i knew why i wrote chapter 2 like i did, but i just really, really don’t. by this point, i hadn’t written anything in two years except news articles & the occasional personal essay, and i’d argue you can see some of the rust peeking in while i try to hash out what on earth is going on in this quarter-realized au. i was lucky that megumi’s perspective felt very natural for introspection, so i had a lot of space for exposition that was, to be honest, more for my purposes than any reader’s. my main objectives were to figure out what would have to happen to lead to the two fragments i had written out, and since i think i like to write based on one detail first, i latched onto how cold my room was at the time and started imagining scenes that feel similarly cold. i typed up a scene in a classroom at the top of an old campus building. that didn’t work after i shuffled through what i remember about the university of tokyo from writing 2 a.m. and realized i can see megumi going there but not yuuji. then i tried a scene at a party, but that wasn’t cold or winter-y enough; it was too much to start on, sensory-wise, and i knew i didn’t want the heat and lights of a party to be part of the ~aesthetic of a christmastime fic.

with that in mind, then, i tried something simpler: a cold apartment, the characters in it just barely starting their morning. and after i latched onto that and followed it a little farther, my head came back to me with a kind of cold that’s not just cold because it’s winter in the story and the floorboards are unheated and the windows are frosted — but cold because the bodily warmth is reserved for the space between night and morning, and this scene must then be a moment beyond that space. with a few more minutes of typing and twirling a pen while i talk to myself, this became: megumi out of bed, standing cold and not fully dressed in the middle of the bedroom; yuuji still cocooned, warm and half-asleep, in the middle of the bed; sunlight streaming in, steady and warm on the sheets, shining fully into the room and onto the bed but not directly on either one of them.

looking back, this is i think the first mention of light in the fic, and probably the precursor for all other mentions i write later on, whether consciously or not. if i am to pull out something deeper out of the intuitive stuff, i’d say that i put the sunlight in to maybe signal to myself that the warmth was there between them, literally and figuratively, but they’re not seeing each other in the light yet. which changes later on, when megumi sees yuuji waiting outside the subway station in the ✨ glow ✨ of the sunset, and again further on, once more a little differently, under the streetlights. but for now, to be completely honest, i also think i just decided to start with a sunlit room because it’s the easiest indication of morning coziness, and therefore the easiest thing to subvert and break.

so. visualizing sunlight in a bedroom means visualizing the rest of the room, and the laziest way to do that is to start from what’s already a given: the sunlight, the blinds, the bed, the wall, and then the floor, none of which has anything interesting about them worth jumping off on for the next paragraph — unless there’s something missing. the thought process went, probably word for word, a little like: “let’s say something’s missing. that would explain why megumi’s standing half-dressed. something of his must be missing, then. why is it missing? maybe he left it in the living room. maybe it’s under the bed. or maybe yuuji has a dog. a cat? what would its name be — oh, wait. sukuna is a thing. i don’t know what to do about sukuna.” as such, cat sukuna was unceremoniously born, and suddenly, not only was megumi’s sweater missing, it was also torn to shreds. because cat sukuna.

now i got megumi out of the bedroom and i needed him to do something, and while there’s intimacy in preparing coffee/tea for himself and yuuji, sure, that won’t really give the scene momentum. but i figured i could reuse the same logic i did with the missing sweater and this time add something that’s there when it shouldn't have been. and having a cup in a literal cupboard isn’t the most creative or shocking thing, i know, but because it had to be shocking to megumi somehow for it to be worth including — it was. it was, because (and i’m still so sorry about using you like this, yuko) it was for someone else, because it was permanence and invitation that wasn’t for him, and what more useful emotional beat is there to end a chapter’s opening scene on except tension over something mundane that wouldn’t be tension over something mundane if only megumi’s thoughts & feelings didn't work a certain way.

and when you’ve got direction like that, the thoughts and feelings themselves can start to find a place in the structure of the story. introspection is my favourite to write because it flows once i’ve justified including it; it’s comfortable and free and nice, and it forms the backbone of characterization while at the same time indulging thoughts i’ve had about canon. i’m guilty about starting nearly all of my pre-flls fics with shameless character-centric introspection, but because this wasn’t the case with flls (and continued to not be, for reasons i’ll get to later), wherein everything i wrote at the start was in medias res, i had to hotwire that justification into existing within the actual scenes instead of leading to them. not having introspection in the beginning, before the actual story begins, means i’m still in the middle of a scene during all of these blocks of introspection, and it had to make space for action somewhere. we had to return to the story somehow.

except, this made me realize soon after, there’s no story yet. there’s no spark that would make the tension from the cup boil over and let the actual story find its foothold.

luckily, though — bless her and whatever photo-taking technique she had that we never even got to see in full swing before she was gone too soon — nanako happened.

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03 | THE GOJO-GETO HOUSEHOLD

before there was a single cemented thing in this universe — minus maybe mahito giving eyeroll-edgy kinda nihilistic advice, but even he had to become a newsletter writer somewhere down the line — there was the ginormous network of people that megumi, at times grudgingly and resignedly, calls family. i knew this was going to be an everyone lives au, because what kind of college au would it be otherwise (and yeah, this at first included yuuji’s grandfather), and i went into it knowing that if nothing else, i wanted to write yuuji interacting with toji + megumi interacting with nanako & mimiko. (because why not. where else would i get the chance to explore those dynamics.) for the first one, i already had a scene fragment; i just had to get there. but for the second, it meant indulging in the concept of stsg raising the girls & the fushiguro siblings together, whether or not they were in a romantic relationship in this universe, and if i wanted to preserve at least a bit of the canon stsg backstory, it meant conceptualizing all the complications that would have led to even the well-established family we see in flls.

this would later turn out for the best, because stsg’s pseudo backstory running quietly under the main story formed the foundation for how i’ll characterize yuuji & megumi and their relationship. not because of the parallels, though there are those, but because even in the idyllic surface of being the product of a family instead of loss, megumi will still carry the burden of the kind of love he didn’t receive. which is not the same thing as not receiving love and care. he got that. he knows he got that. but as i hope i made a point to say in flls, receiving love broadly is not the same as having the kind of love you specifically need. and i don’t think that’s a point i would have been able to make if stsg weren’t there — if gojo wasn’t there to serve as a catalyst for megumi’s first decision to stay stubbornly brave for yuuji in ch 4, and if geto wasn’t there, in ch 6, to gently but firmly tear megumi apart.

but before all that, i just wrote the beginning of flls wanting to see a megumi that grew up with three sisters instead of one. i wanted monthly catch-up dinners at a ridiculously expensive 6LDK house near the university of tokyo, full of ridiculously expensive shit. i wanted the loud, chaotic household that i felt they deserved in this au. i wanted to see remnants of the dynamics they would have had as teenagers, from megumi being the sulking youngest to nanako being domineering and tsumiki being reasonable and mimiko being the healthy middle between them. i wanted a weary but affectionate geto. i wanted gojo that no one really sees as a guardian in this set-up but is somehow the person to benefit the most from having people in this gigantic house that he probably never would have bought thinking it will help raise four kids.

and so i tried writing a scene where all these dynamics collided like two trapeze artists that you think would crash against each other but doesn’t because this is a well-practiced routine and they all know each other very well, not because they were family from the beginning but because they’ve had time to learn to be a family altogether. but again (this is starting to become a running thing in this post, note to self), as with any indulgent choice, i had to justify its existence in the story somehow, to give it a place in the forward momentum of the plot. and so nanako’s social media came into the fray, and more and more people started entering the room as she confronts megumi, and the energy heightens — and at the center of it all is yuuji and a dating misunderstanding, and somehow boom, there we go, we finally have what the cool kids call an inciting incident.

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04 | FAKE DATING, I GUESS

i’m not a fan of billing flls as a fake dating story. like, that has to be a scam, right? they fake-date for about half a chapter at best. i’m genuinely sorry it was so blink-and-you’ll-miss-it, but the fruits of the trope were too central to what the first four chapters became for me to take it out — so there you go. fake dating it was, for like the three days before yuuji caved and confessed his heart out.

but. okay. i’ve had time to think about why i actually kept it and didn’t just find another way to play with what fwb tropes offered, and i think fake dating was only insofar useful to the story in how it didn’t do anything for them. i’m learning recently that there’s merit in that, too. in making a point, that is, out of a point that a trope can’t make for me. or whatever. what i’m trying to say is that — fake dating doesn’t change anything about yuuji & megumi’s dynamic, really. they kiss, they’re friends, they go on not-dates. and a younger me would have restarted and taken fake dating out altogether since it’s not introducing something new, but ultimately, i guess i kept fake dating because it reinforces what yuuji & megumi already are. what they already do. the level of ease and comfort they already have with each other. all these things they haven’t been honest to themselves about quite yet. haven’t been honest about it all meaning more.

and that’s all the use fake dating was, to be honest: bringing them both to a point of necessary realization. megumi alone at first, with asking for all of yuuji, with realizing no, he doesn’t want a fake relationship, and essentially just continuing the emotional beat that the cup started for him and will take us to a point of no return at the end of chapter 4.

but then i reached the end of chapter 2 and found myself wondering about yuuji’s side of things, about what he’s thinking, why he’s saying yes. i never intended for his pov to be in this story, and maybe flls would have been a lot shorter if it wasn’t, but i finished chapter 2 and immediately started writing the bistro breakfast scene in the beginning of chapter 3 and found a yuuji who sees his feelings for megumi with more directness if not clarity, with more understanding for nobara pointing out that he and megumi are pretty much just in a relationship at this point — which, i’d argue, is the first sign of all the contributing factors to how their relationship goes wrong. because of course nobara is right, and her being right means all of this is a convoluted mess, except yuuji is at this point the equivalent of someone getting home tired from work and finding his phone charger knotted and more nest than cable, but he’s so exhausted, and the charger still does its job as long as you plug each end to an outlet and to a phone, so why would you spend energy/emotional capacity you don’t have to untangle something that works tangled?

and that was the turning point for flls, i think. i only wrote a scene on the side to warm up, to feel more comfortable about writing yuuji — but instead i was left with a yuuji who feels so much, who had all these reasons for sleeping around just waiting for me to sink my teeth into, who already has a crush & maybe more on megumi, and man... how do you not give him his own chapter after that?

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05 | 胸がはち切れそうで

what even was flls before chapter 3 was a thing. i think a lot about what it could have become if this chapter isn’t how it turned out to be, but with the way things ended up, it’s the point where the whole story shifted on its axis and became something i never intended it to be.

i vividly remember taking a break after finishing the first attempt at the bistro breakfast scene and going on youtube; one of the recommendations was the therapy scene from fleabag, which is just one of those pieces of screenwriting that you can’t help but admire for everything it does in so little time. you can’t say the same for the therapy scene in flls, but there remains that the fleabag scene was the foundation for it, and, consequently, for yuuji’s entire arc in flls.

i also think a lot about how my younger self would have written this therapy scene much later in the fic. as a resolution of sorts, a guidance towards a happy ending. the same way i know i would have written something really loving and sappy for geto’s speech at the wedding. as it is, we don’t hear the speech at all, and the therapy scene comes in yuuji’s first chapter. it’s how we’re introduced to him, because the first and only thing we know about him otherwise is that a) he has no family, according to gojo, and b) that, based on what we can gather from the breakfast, his life is a little bit stuffed full and he’s maybe not doing the best.

with yuuji, there was no luxury of the same introspection that megumi has. i’ll deal with it later, in the chapter 5 switch to second person, but right now, yuuji doesn’t so much examine as he does just feel. and instead of the therapy scene becoming a resolution scene, it became exposition instead, with haibara doing the more analytical characterization that megumi at least gave me the space to do from within his head. in yuuji’s case, it had to be teased out, said out loud, a push-and-pull that painted, for me, at least initially, the picture of a boy who’s trying so hard to transcend his childhood and yet is very much a product of it.

but first, i had to decide who would be the therapist in this scenario, and because fleabag already gave me the prompt of having a therapy voucher (i did not google if those actually existed), the question became about who would give yuuji one. and since the first clear answer was nanami, it easily became: who would nanami trust with yuuji the way gojo entrusted him with yuuji in the light novel? who would he have had that conversation with? to whom would he have said “there is a boy whose feelings i want to be careful about, and i know you can do it”? and though there were other contenders before this, the only real answer had been haibara.

the dialogue for this scene came easily, in that i had a point of reference. at the time, i was in twelve-week therapy for something a lot more specific and not at all related to yuuji’s situation, but i found myself paying attention to my therapist’s pattern of guiding our sessions — the kind of questions she asks, when she asks them, how she asks them. the things she says to preface certain thoughts, the clarifications she asks of me.

apply this to how i imagine haibara’s sunniness would have mellowed out if he’d had the chance to become the kind, empathetic adult i like to think he would have been, plus throw in some thoughts about yuuji’s grandfather telling him to die surrounded by people in canon, and i had the bare bones of a conversation. a lot of the prompts there were narratively situational: what happens to a kid who had to watch his only family member left die alone, and be left, as a young teen, to live his life by himself? what coping mechanisms would have had to come out of that, and how do i connect that to the ways we see canon yuuji wrestle with his own thoughts and convictions in canon? and how do i justify the presence of yuuji’s pov in the story now? how does it connect back to megumi’s established arc in the previous chapter? does it?

it did, in the lack that yuuji was a product of, looping back to the loneliness that i realized megumi thinks about at length in chapter 2. i also didn’t want fwb tropes to be there only for the sake of fwb tropes; it wasn’t something i felt comfortable doing, and i was worried about ending up being indulgent when i don’t mean to. so i started thinking about why someone like yuuji, with already so much on his plate, would take the time to spend his nights with so many different people? what is the end goal?

i just wasn’t expecting that goal to be something as simple as being held.

flls came out of that therapy scene a changed story. if we stayed with megumi’s pov, it would have maybe been a lightweight story with, at best, an undercurrent of loneliness at its core — which is all fine, too, but i’ve written loneliness / homesickness / lonesomeness in a handful of different shapes before, and if this had been the case, flls would have been an abandoned wip, never to see the light of day.

but the haibara scene turned flls into something i’ve never tried writing before not only in having dual perspectives on the same relationship, but for that relationship and its dynamic to be the defining core of the story. on a very simplistic sense, we had a boy who keeps his world small and finds order in it that way, and we had another whose order is found in the big-ness he wants to maintain. loneliness is there, sure, but in different ways and only as catalysts to how they love each other — because they do, already, by this point. it’s been love, for a while, and love was itching to be the main focal point of flls. love, love languages, what it means, what it entails, how it can soothe in its smallest form and also harm in its biggest. i didn’t know that yet, in chapter 3, won’t know it until i go back to chapter 1 and realize i hinted at conflict between yuuji and megumi, but i also already knew that i wanted flls to be a relationship > character fic if i was gonna go through with it. and i figured if that meant taking a different angle on the romance than i previously have, then all the better.

the final nail in the coffin was the end of chapter 3, where i was exhausted writing a 20k+ chapter and thinking, “wow, it’s been such a long day, yuuji should have burst with something by now” — and then that became a serious thought, because it just hadn’t made sense, with canon yuuji’s tendency to blurt things out, for him to not react in some way to everything that’s happened that day. things have to come to a boil somehow, and for flls yuuji, that meant a confession.

a messy, unthought-out confession and easily the most fun & visceral of any i’ve ever written. up until flls, confessions were usually for the big, pre-climax moments after an entire story’s worth of romance, and for this reason, i’ve always kind of dreaded writing them. how do i make it fresh when we already know we want these people to be together? how do i make it a novel thing to hear, for the first time, that the person whose pov we didn’t get in the story feels the same way as the third-person narrator? maybe a “twist” moment like in 2 A.M. or the event in lie to make me like you?

but with yuuji in flls, it wasn’t going to be a surprise no matter what. we knew how he felt about megumi, we knew they would be together somehow prior to the wedding, whether on pretend terms or not, and i knew that the only reason this confession was going to be a thing is because yuuji’s had a long day and he’s done, so done, with not saying anything.

so we start small and specific, and we stay small and specific, with yuuji just realizing that love for him is wanting to hold someone and not just wanting to be held, that love is being home for another person instead of someone just being a second home for him on nights where his feels a little empty. in any other situation, the therapy scene would have prevented the pov character from confessing, from pursuing a relationship, but because it’s yuuji, his first instinct is to avoid the loneliness he felt briefly on the subway, when he realized he could just hide his feelings for megumi forever if he really wanted to, and so he blurts it all out. sweet (i hope), genuine and awkward. but also impulsive. rambling. unthinking.

in doing so, yuuji gave me a second inciting incident. one that feels more true to him. it’s equally reactionary as megumi responding to the screenshot situation, but there’s something to be said about how megumi was cornered by so many external elements into the spark that launches his arc in their relationship while yuuji blurts everything out from sheer urgency and exhaustion. which has roots in equally external factors, but the slight difference in their confessions will carry them through to the end — so, i suppose, from here on out in the story, we’ll always return to everything i unknowingly set up in chapter 3: the thoughts yuuji has in the breakfast scene, the truths pulled out of him in the therapy scene, the little things that come into play on the way to and at and after disneyland, and finally, what’s blurted out in the confession and how, why. the things they ask of each other, for each other. the things they want to do for each other.

(and it hurts my heart a little, i admit, to return to this chapter months later and see this same earnestness that will propel their story along, for better or for worse, and know it will have to end before they begin again.)

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06 | GOING BACK TO CHAPTER ONE

having cemented chapter 1 as a prologue of sorts, i had to go back to add yuuji’s perspective now that he, apparently, was going to have it in this fic. it felt safe to give him a scene with nanami in parallel to megumi’s with toji; it wasn’t my conscious intention to have these scenes end up being reflections of how they handle emotions as a result of what was maybe lacking in their childhoods, and it was just lucky that these two scenes will serve as a decent jumping off point for what i’ll decide to do when writing chapters 5 and 6.

looking back, too, the first scene stuck without a concrete plan because it had the bare parts of a full story: exposition with megumi’s family, a little hint at action with toji asking after yuuji, and, for reasons i can’t remember the root of now, also a show of conflict. i knew i wanted a christmas eve fight, and maybe dash & lily is to blame for that, too, but maybe i was also just itching to write a ~fight because it’s not something i’ve ever done before and i was pretty set on flls being the fic where i just keep throwing in things i haven’t tried with any previous pairings.

i also knew i had to set up nanami & yuuji’s relationship somehow if i was going to justify the therapy voucher in chapter 3, and the scene wrote itself with that in mind. i knew we were going to be somewhere inside since the megumi scene before it was outdoors and i don’t like staying in one place for too long, but everything else was all the tenderness intrinsic to nanami & yuuji’s dynamic rearing its head. that, and a few on-the-nose elements scattered around to set the scene for yuuji’s life — hot chocolate & fresh bread for warmth, yes, but also to show that he’s a regular visitor to nanami’s apartment; snow out the window because it’s Winter™ and we’re feeling a lil’ wistful; the hammer in the head paternal-ness of a guardian figure teaching you how to knot your tie. all things that yuuji didn’t have at a certain point in his life — or, more accurately, all things that yuuji lost and regained only years later. again, in the back of my mind, i was thinking, what does that kind of loss do to someone at that age? for what are we if not a series of responses and reactions to the things that happen to us? and i was thinking, too, that the opposite of love isn’t hate, is it? it must be loss. it must be lack.

i realized halfway that these thoughts echo something i wrote into megumi’s first chapter. and so i packed them away to think about later, letting only some of it bleed into the wistfulness that colors the warmth in yuuji & nanami’s first scene together. when i write chapter 5, i would joke to myself that it’s a “boil until tender” kind of recipe, but in retrospect, yuuji’s entire character is a slow boil. he was strangely mysterious to me, even as i was writing him; we know his trauma, we know his days are busy and overwhelming, but i felt that he could be more reactionary. he needs more momentum. not just for the story, which he accomplished when he confessed, and not just for megumi’s arc, which shows itself in his response to yuuji and yuuji’s problems, but for his own self, too. the haibara scene is only scratching the surface of who and what yuuji is, and the worst of it is still under getting ready to boil and bubble. and not just in the form of a panic attack in chapter 4, but something else. something bigger.

which had me looking back again to life and identity as a series of reactions and how the opposite of love is loss and lack — and that equalled to: isn’t the way we love also, by extension, a reaction? to what, though? to how we were loved? to how we weren’t loved? both. it’s both. and that brought up a lot of questions, all rooted in chapter 1: we see megumi and yuuji around father figures that care for them in their own ways, and one would argue they’re well-adjusted in the face of being loved — but are they? what would they fight about, then? sure, there’s megumi’s jealousy over ozawa but that’s too shallow. too cheap. megumi would never distrust yuuji like that. where would their differences lie, then? their love languages? their contrasting worldviews and life schedules? furthermore, why aren’t they in a relationship yet? why is yuuji only confessing now? neither of them are fumbling teenagers about the intimacy of their relationship, and yuuji was fairly clear in not expecting anything out of megumi. why is that? why is he leaving that space? insecurity? no. too easy an answer.

as it turns out, i didn’t finalize a single answer about any of these. not until chapter 5 and 6. but i knew, after having written yuuji’s perspective into chapter 1 and seeing it side-by-side with megumi’s, that their relationship can’t continue being fake with all the variables we have by the end of chapter 3. not with yuuji’s confession, not with the fight that i’m letting myself keep for no other reason than writing an argument would be thrilling, and not with the tension that won’t be solved just because they start dating. problems don’t end just because a couple is together. if anything, new issues to consider crop up once you put a label on it. it shifts the dynamic that’s there, and that will always come with its growing pains. any evolving relationship comes with growing pains. the matter here is figuring out what those growing pains look like for yuuji & megumi.

so first, i had to throw them into a real relationship.

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07 | DONBURI ON THE TRACKS

chapter 4 is so chaotic under the surface that it haunts me. this doesn’t mean i don’t like it, or that i’ll do it differently. i’d maybe argue that it was a necessary chaos, or at least that it was chaotic because it’s doing a lot in much less space than yuuji’s chapters do. there’s no moving from shibuya to kichijoji to work to disneyland to back home. there’s no takada & nobara to haibara to ozawa. it’s just megumi propelled along a thought process by nobara and into action by toji, from one evening to the day after.

with that, i’d maybe call it a bridging chapter? when i first started flls for real, i gave myself seven chapters to sort of act as guiding parameters — three chapters for them each, on top of the prologue — and opened up a blank doc. there’s no rhyme or reason for that count of seven; i guess i hadn’t expected each chapter to be around 20k words long, and even less that yuuji would be confessing by chapter 3. but it made sense, if there was gonna be a fight. it gave me enough space to bring their relationship through a healthy amount of conflict to get to the meat of the ~themes i wanted to write about, while giving an indulgently happy epilogue at the end.

(okay, clearly, these plans changed, but that was the reasoning at the time 😅)

i had a good chunk of chapter 4 vaguely mapped out somewhere in my head by the time i actually sat down to write it in full, but while i knew this chapter would have the first two scenes i wrote before flls was even flls, i still had to tweak them to fit the aftermath of the unexpected confession. i have a better idea who these characters are this time (not as much as i will yet, i think, because that part will come in chapter 5 and 6 each; we pretty much only have the foundations by this point), but i figured there was no point in keeping the story going if we don’t also get to know the characters even more as the story unfolds. the plot needs momentum, sure, i see that as i write this, but even now, that is only as valuable to me as how much that momentum parallels or, better yet, takes along the characters themselves. there has to be more layers to be peeled back; there has to be more to yuuji and megumi that we’ll only get to see eye-to-eye with in the later chapters.

the way i view it, plot or trope or twist shouldn’t ever be alone in being that. they should only be a thing in service or in response to a character being the way they are. this isn’t always the case, of course — but it’s the way i prefer to write. i’m heavily biased towards character-first writing, is what i’m realizing as i type this, which i honestly don’t see changing any time soon. characterization is a hefty chunk of the fun of writing for me. i love writing because i love my characters. even when they do questionable shit like fail to examine themselves before asking out the fake boyfriend they’ve been seeing for like five months now.

but alright. let’s backtrack. back to plot bowing down to character. the only way i could justify throwing yuuji & megumi into a relationship is if characterization necessitated it, and the only way i could justify keeping those two original scenes in some form is if they serve the plot. so: scenes are worth keeping if they are in service of plot momentum, and plot momentum is only what it is because of character, and character informs what the scenes look like, etc. i’ve always preferred thinking of writing as a circular diagram feeding off each other in turn, not a line graph. it has to be a juggling act, though not a complicated one. there’s a point where it feels right, and i think that’s what i mean about chapter 4 being necessary chaos. it’s the chapter where everything — almost audibly — clicks in place for the momentum of the rest of the story. it’s where everything kind of wisps up towards the top without surfacing quite yet. going off the juggling metaphor, chapter 2 and 3 were one ball each thrown into the mix. chapter 4 is the third ball, is the first time all the balls in the act are at play.

as an aside, i think it feels that way for their dynamic, too. writing their relationship from yuuji’s perspective always felt like a balancing act — because he had so many things going on, yeah, but also because all these precarious elements that shift with the evolution of their relationship are so much more apparent on his side. that isn’t to put the blame on yuuji for what happens in chapter 6. i was very stubborn about making sure yuuji isn’t portrayed as helpless because of all the shit he had going on in this fic. if anything, it’s him taking charge of himself and his understanding of how he’s doing that centres the fic into what it is.

and that was one of the main things i had to ensure this chapter. that his panic attack still feels like him, and not someone desperately in need of megumi’s help. i want him to be full of agency and strength here, something that i also had megumi reinforce in the end of the panic attack scene. it also would have been easy to make this subversion about “it’s okay to ask for help” — because it is, but that would have been too simple for this fic’s purposes. yuuji knows it’s okay to ask for help. he doesn’t always feel like he deserves it, but he knows he has received help from many of his loved ones and is very appreciative of all of it. he just works a little too hard to give it back tenfold. so, here, i wanted to frame megumi as someone that yuuji explicitly knows he shouldn’t ask help from. and, with that, megumi as someone who’s only one name in an entire list of people yuuji can ask.

and i wanted to bookend that with yuuji putting some distance between them after the confession. he doesn’t know why yet (and neither did i at this point, to be honest, haha) but the confession isn’t quite right with its timing. but then he has a rough night, everything feels like it’s piling up, and there’s really one person he wants to see. not to sleep with (and i imagine yuuji’s heart sinks for a bit when megumi offers to take him home, at least until he realizes megumi intends to just look after him and nothing else) but just to see, whatever that would mean. he just wants to be with megumi. he just wants megumi to be there.

and megumi is there, except he’s also battling with the sheer panic of having to be there for a person he cares about so much. i don’t think we acknowledge enough how difficult it is to be there for someone going through a hard time — how lost and helpless that renders even the person helping, and how tripled that might be for someone who sees the world and wants to find order in it like megumi does. and i took the chance to form megumi’s idea of strength and weakness through gojo and his implied backstory with geto, something that megumi might actually romanticize a little without even knowing. you can’t singlehandedly help someone, no matter how much you love them. there’s hubris, in thinking you can. there’s self-destructiveness, in that hubris. megumi is so focused on bravery, on strength, that he leaves yuuji in the bath alone, regulating his breathing for himself. he cooks for yuuji, cares for him in his own way, yet he doesn’t even realize yuuji might want to be in the bath with him. that he doesn’t care about his spilled food anymore. he’s done this before. this time, megumi’s presence is the difference, yet he doesn’t truly get it until they sleep — at which point he holds on tight and only falls into peace then.

that’s another thing i wanted to keep track of, in writing this chapter. that being overwhelmed to the point of cracking is a tried and tested routine for yuuji, that his panic attack wouldn’t be anything dramatic and intense. his breaking point was something so simple and mundane, just that spilled takeout onto the train tracks, but it’s enough to push him over the edge. and i think that captures the feeling of being too full for what life keeps giving, more so than any big trigger. more often, it’s the sudden last straws. a laptop crashing before you can save your work, even though there is such a thing as recovery and backup. biting your tongue in the middle of a sentence and finding yourself tearing up because you’re suddenly so fed up with the world. it’s that over-inflated lump in your throat. the heat behind your eyes that prickles more than it floods. and that’s what i wanted yuuji’s panic attack to look like. something almost resigned, because, again, this isn’t the first time. he knows he’ll get through it. but he’s just so, so tired and wants to be held. held by no one else but megumi.

megumi, who’s still reeling from his conversation with nobara at the top of chapter 4. i maintain that this fic doesn’t have enough nobara (part of it is that i was sure i was gonna be able to write a nobamaki storyline on the side, of which you can see hints peppered throughout), but i’m glad that the scenes of her that are there are very definitive. i always think that nobara is in such a difficult position in any version of itafushi, including their canon selves; she has so much insight to who the boys are in themselves, which you can really see in how she talks and thinks of yuuji and how she deciphers megumi, and while i’m frustrated that i had to relegate her to a Dispenser of Insight and Wisdom role in flls, it also had to be her. it had to be her to squeeze yuuji’s hand at the breakfast bistro. it had to be her, later, to have the pre-wedding talk with megumi. and it had to be her, this time, bumping into megumi at work and forcing him to sit down (literally) and think about how he sees yuuji.

this scene also serves as a breather — as close to one, at least, as flls gives. it’s an interlude, almost. a break right in the middle of the fic. it’s meant to recentre megumi, though that doesn’t really work when the chapter ends with him asking yuuji out.

but — again. scene, plot, character, all intertwined. they have to be in a relationship for plot purposes, but the panic attack scenes ensure that megumi’s characterization is pushed into the only decision that makes sense for him after that. which is, circling back, to ask yuuji to date him. i know a decision has clicked into the right place when it feels final, when it doesn’t feel like i’m forcing anything into being what it is. or, best case scenario, when it feels like the only way this could have gone.

i think the ending to chapter 4 is, unfortunately, the only way it could have gone. it would come back to bite them, hard and painful, but it made sense with their psyches the way they are in that moment. it’s the start of the end, this chapter’s ending, but it’s still a start at that, and i think, when you love someone as much those two did, that matters a hell lot more than anything else.

‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎

08 | LOVE LANGUAGE INTERLUDE

do i like toji in canon? i do. i think he’s a great character in terms of his place in the narrative. do i think he’s redeemable as a father? in complete honesty — i don’t know. my answer changes every day. but i know that while there are plenty of fictional fathers that i strictly, coldly don’t want to entertain the idea of redemption or empathy or understanding for, out of stubborn very personal bias, toji is definitely not one of them. if only when it comes to him, i detest the idea of thinking there are easy answers. this doesn’t mean there is no right or wrong answer, just that whatever the final answer might be, there will be plenty of factors that go into it.

but i was very generous to him in flls. that much is for sure, from the prologue to chapter 4 to everything else that came after. even i was surprised with the nuance he ended up containing, if only insofar as a foil to flls!gojo in megumi’s life. i think he’s a fucked up man in canon, and i think he did and would have made a fucked up father no matter how good the intentions, a fact that i promise i state gently, but i also think that can coexist with him being a fucked up product of his fucked up upbringing. does that excuse or justify or redeem him for anything? no, but and outside of canon and in the indulgence of flls, which semi-started for the indulgent reason that i want to see what an exchange between yuuji & toji would be like, this did give me themes to hone in on in examining love and how we learn to love as we grow up.

because i feel like — there’s been a lot of talk about how understanding your partner(s)’s love languages is key in a relationship. but then, going back to the way we love as a reaction to how we’ve been or haven’t been loved, isn’t your love language — at least for some people — just a reflection of the love you lack(ed)? i don’t know how true this is on a broad sense, of course, but it certainly was for flls yuuji and megumi. and it’s where i was able to justify writing megumi into the family networks that i did. writing about gojo and toji as his parental figures was one of my favourite parts of writing flls, but i’ll get to that in chapter 6.

for now, i was heading into chapter 5 knowing that there was going to be a fight at the end of it. and that if i was going to go into it assuming that love languages are a product of what was lacking in childhood, the focus is going to be on the friction between where yuuji & megumi differ on that front. except these are things we already know, even if subconsciously. their differences are things we know from canon, things we can tell from these first four chapters. so how do i shift this understanding a little bit so it lands a little harsher, digs a little deeper to the point that it’s almost uncomfortable? where it would make sense when they fight at the end of chapter 5?

i knew it was going to take a while to find an answer, so i decided to post the first four chapters in one go for megumi’s birthday and sit on it so i can get to a distance where i’ll (hopefully) be able to reevaluate where i should take the rest of it. i have a soft spot for this fic that i don’t often have for my work, and i was so attached to the world that i didn’t want to stop writing it, but i also knew it remained true that i wrote 49k in around three weeks and just. didn’t look back. so i was anticipating a lot of loose unintended threads that i’d have to tie up in the remaining three chapters, and i didn’t trust myself to see all of them until i’ve had some time away from the story.

the break lasted a month, and it admittedly left me rusty and frustrated. returning to flls to write chapter 5 resulted in 12k words’ worth of deleted scenes — but a necessary 12k, i maintain, because eventually, my divine solution came in a moment of remembering that flls is free playground real estate and i can try even things that a lazier me swore once i wouldn’t try. and to this day, i still think i couldn’t have done that chapter in a way that i would have allowed to be published if i hadn’t thought to throw everything to the wind and try second person. it unclogged whatever needed to be cleaned out of the way — and set me down the path for the second cour of the story.

・・・・・・

note: this is all i've had sitting in my drive since march, but i do cover the latter half + some kind of we in a separate roundup post. 

[theenderwalker]

re: DSMP "unsolved mysteries"

I've seen lots and lots of posts about the "unsolved mysteries" on the Dream SMP that focus on the TNT on top of the prison and the missing nukes. One of those I am very confident was implied canonically to be Ranboo, and the other I'm confident in my theory that it was him. Putting it under a read more bc its fuckin Long, but its worth the read! Word count: 2482

First: TNT at the prison.

This was implied to be Ranboo across a couple different streams, albiet subtly. I'm not surprised it went a little bit under the radar, but it's simply untrue to say we have no indication of who it could be.

This point doesn't hold true across everything of this nature, and if it did, it would be a dead giveaway, but I think it's relevant here for a couple reasons: Ranboo was online at the time of the explosions. Tommy tends to reflexively open the tab menu during his lore streams, almost as a nervous habit, so we saw multiple times that Ranboo was online, and would seen it have even if Tommy had chat turned off. Online at the time were Sam, Dream, Tommy, Foolish, and Ranboo. Foolish could not have been the culprit, as he was live at the time. In the case of this incident, it would have to be manually triggered by someone. Afterwards, when Tubbo was doing his "interrogations", his first bit of evidence was checking who was online when it happened. For these reasons, I feel this is a valid point for this incident.

That night, Ranboo was live on the SMP. This stream is notable for most people because it was when Ranboo did the odd code in his inventory, that read "He is in control" (or he is in control of me, if you count the to do list). Many people focused on this as a indication that Dream controlled Ranboo to set off the TNT, but this line of thinking was abandoned over time, especially as we saw the implication that the message was actually referring to the Enderwalk, talking about Ranboo stopping himself from doing anything to save Tommy from the prison during that week. However, other details in that stream also hinted it was Ranboo. Most notable to me was Ranboo reading chat or a dono asking him what he had done that day, and him answering that he had "probably gone mining," with some uncertainty. Later that same stream, he went down into his mines , found no ingots in the furnaces, and commented "maybe [he] didn't go mining", and that he wasn't sure what he had done that morning. This comes across to me as an indication that he had a blank spot in his memory that day--that he had been Enderwalking. He drew attention to this here, where he otherwise wouldn't, because it implies he was Enderwalking while he was visibly online, on Tommy's stream, where he would have been able to set off that TNT.

Ranboo was one of the only people on the server with a positive relationship with Dream, of any sort. It is true, especially at this time, that many people had negative opinons of Tommy, but Ranboo was the only one who didn't outright hate Dream... in his Enderwalk state. (with the sole exception of Punz, if you think the vault confrontation was staged, but that's definitely theory territory.) Dream has repeatedly stated that he finds Tommy "fun" and enjoys fucking with him. Tommy was locked in the prison after Ranboo could no longer visit, so assuming he has no supernatural means of communication with Dream (which is likely, as we have no real indication otherwise), he would have been acting without instruction. What better way to help Dream out than getting him his 'plaything' for at least a week?

Alternatively, you could frame it as a distraction or a break in/out attempt... which also doesn't make sense for anyone but Ranboo. Either way you frame it, Ranboo is the only person who makes sense without having to stretch their relationship with Dream into something it isn't.

Tubbo's investigation was the only real in character investigation into this incident we saw. He started out investigating people who were online, which is why I believe it's uniquely relevant to this incident. As I mentioned earlier, Foolish's alibi was that he was live. Ranboo's alibi was that he was mining. If you recall, the day Tommy was locked into the prison, Ranboo acknowledged that he did not know what he had done that afternoon, and that he distinctly had not been mining. This investigation didn't get much further than this because Tubbo refused to acknowledge that Ranboo could have done something like this. Because Ranboo has hidden his enderwalking so well, no one has any reason to believe he would do something to intentionally hurt one of his friends, or to help Dream.

Canonically, there isn't much evidence outside of Ranboo's comments to the audience because the characters absolutely cannot find out that it was Ranboo. He cannot be revealed as a traitor, narratively. Not yet, at least. So all of the evidence has to be directed towards the audience, which leads to it falling into subtext more often than not. The Enderwalk arc has the potential for an absolutely disastrous reveal at some point, where others discover exactly what he has done. It's unlikely that something like this will be confirmed explicitly until that point, but I believe the details I have explored above are foreshadowing, and will be explored again at this reveal. This point applies to the nuke, as well--perhaps even more so for reasons I will explore below.

Second: The missing nuke.

This one treads a little more into theory territory, but I think some of the subtextual implication is in this one too, it's just a bit further apart. Instead of being implied in streams the day of the incident and one week later, these implications are a little bit further out. I don't think I'm necessarily stretching by making these connections, though I can see why someone may think it's a stretch.

Ranboo was not online during this stream. This is why I think that's only conditionally applicable to the last point--Tubbo does not check tab habitually, and he had chat turned off intentionally. The tab list isn't necessarily canon to this stream. If we go by that, Jack Manifold is physically the only person who could have taken the nuke. The only other people online were Philza and Foolish, who were both live. Since this wasn't taken into consideration for the investigations, it's not relevant here.

Out of character, Jack took the nuke. Jack did not stream his perspective of this incident, he hung behind when Tubbo went ahead to start building the silo, and when the two came back together later, it was gone. This was intentionally done, as Jack usually streams his perspective for lore like this. If he had been the one to take the nuke, we likely would already know. His secret plans are not a secret from the audience, they are a secret from other characters--this leads me to think that in character, he did not take the nuke.

Very few people knew about the nukes, so we already start with a pretty small pool of suspects. One of these people was Ranboo. Even if Ranboo did seem to forget what Tubbo told him, the nuke would have been taken while he was Enderwalking--y'know, when he remembers everything, or at least remembers more.

The backbone of this theory, and the reason why I even began to consider it, is that Ranboo has a very solid and clear motivation to want the nuke. Ranboo has been helping Dream. The nukes were made specifically to be a deterrent/protection against Dream. If Ranboo takes one of the nukes, Dream now has access to that nuke, and the playing field has been re-balanced. Essentially, it's creating Mutually Assured Destruction between them. To take it one step further, only one of the nukes went missing. Tubbo was left with one nuke, and Ranboo and Dream have one nuke. Why not just take both? Well, leaving both parties with a nuke essentially ensures neither side will use it. It protects Dream, but it also helps to maintain (a semblance of) peace. Neither side can use their nuke without the other retaliating in kind. This leads to tensions, but prevents outright warfare from either side. It's not pretty, but it aligns with Ranboo's broader goals of keeping the peace.

So we've got the motivation, it makes sense. But that's not enough to make the claim on its own. What's the evidence?

This is a touch convoluted, so I get why it doesn't necessarily come up in relation to this as evidence often, but it's pretty solid to me. Especially compared to how vague most of Ranboo's subtext can get.

It's in the lessons! The highest number of lesson we were given was 94, though when Ranboo was repeating it outloud, he said 93. He later clarified saying 93 was intentional. This stream was on April 23rd. 93 days earlier, to the day, was January 20th--the day Dream was locked in the prison. 93 lessons for 93 days. If we take this to imply the lessons were daily, starting when Dream was locked in the prison, each lesson corresponds to a specific day. March 26th was the day the nuke went missing. 67 days from January 20th is March 27th, the day after the nuke disappeared without a trace. Neither Jack nor Tubbo had any real leads on the nuke. Lesson 67, the day after the nuke was stolen... "Leave no evidence of what you have helped with." This EXACT thing is why the nuke is so hard to pin down. There was no real evidence left. This lesson lining up so closely to the nuke's disappearance is not a coincidence. Further, at this point Ranboo no longer had contact with Dream. He had locked himself out of the prison and couldn't visit. If the lessons are daily, the things he writes down are things he's figured out for himself. The lesson being the day after the nuke was stolen makes sense, when framed like that. He stole the nuke, left no evidence, and wrote that down because it worked.

All of the hints/foreshadowing for the eventual reveal of where the nuke disappeared to has to be done in retrospect, and it has to be either from Ranboo, or from some other source that knows more than the characters. Which leads into my second bit of evidence: the Tubbo Texts. Across like, a week of streams (starting on April Fools Day), spooky half transparency cryptic text appeared on screen periodically, that c!Tubbo was unaware of. Those texts have never been explored in canon, it seems that none of the characters are aware of them or of their contents. So they are posed directly to the audience. The second one in particular stands out to me here:

"Quick, I don't have much time. Stay away from the North. A strange metal weapon washed up. It poisons the nature, the water. No it's not. That's it, we are leaving."

The 'strange metal weapon' seems to refer to the nuke, the poison being the radiation. Geographical direction is rarely paid any mind on the server, but north is distinctly the direction of Techno, Phil, and Ranboo's house. I think I remember Ranboo telling Sam he lives "up north" while trying to visit the prison. The arctic commune is the only notable northward location. The nuke disappeared, and reappeared in the north, in the direction of Ranboo's home. The rest of the texts refer to the north as well. We don't know where Ranboo's base of operations is in the Enderwalk, but we can assume he has at least one, and we can assume the nuke is hidden there, if he has taken it. If Ranboo has taken the nuke, it makes sense for it to be in the North.

Ranboo has proven he can take things without any evidence left behind. Remember his first beacon, that disappeared like, a day after he set it up? He never tracked it down, just replaced it. Within a couple days, he made a comment about his pickaxe durability being suspiciously low... maybe because he was using the stolen beacon to mine far from his home base so it wasn't noticeable that he had been mining. That's beside the point. I mean this to say, he knows how to take and hide things, he knows how to keep secrets, and he almost definitely has at least one secret base we've never seen onscreen.

So maybe Ranboo took the nuke, maybe he set off the TNT at the prison, that's cool, but why have they abandoned the plotlines? Why have we never gotten more explicit answers? Why won't they come back to it?

Ultimately, it seems a lot of these plans have been pushed back and delayed for one reason or another. Beyond that, an untimely reveal of either of these things to other characters would be a huge letdown. The arc seems to be building to a catastrophically large reveal, and each thing that gets revealed before then makes it much less impactful. Keeping it subtle towards the audience, while still offering some hints, stops a certain degree of the chat spoiling "metagaming" we see sometimes, that makes some streamers have to fully ignore their chats during lore streams.

This part is very much my own opinion, but I don't believe the missing nuke plotline will be resurfacing until after Dream is out of prison. Ranboo has no reason to reveal he has it until it will be put to use, either as a nuke or as a threat, and that won't happen til Dream is out of the prison and the nuke is in his hands instead.

The TNT on top of the prison will be an insanely gratifying reveal if it comes out with the rest of the enderwalk stuff. Any of this taken out of that context just kinda falls flat. So people know Ranboo set off the TNT, or know he has the nuke. How does that propel the plot? Ranboo won't do much of anything about it. People will distrust Ranboo, sure, but they won't know the depth of the issue, and that just makes the reveal frustrating. It will be revealed in time, I'm sure, but I think the enderwalk arc has to reach a climax first, or it's just disappointing.

I agree with the general frustration that these plotlines appear to be dropped or greatly delayed, but it's a symptom of a bigger pacing issue than solving either 'mystery' on its own will fix. And the answers aren't as obfuscated as they first may seem, it just takes a little digging!

[dotthings]

People keep going on and on like “You were warned! Misha warned you! We warned you!” —

=>first of all...the “warnings” of other fans who may/may not have been acting in good faith on that are not some kind of proof of anything. You are not official word and you knew no more than any of the more positive fans did. Those of us who felt it would make no sense whatsoever to cut Cas out of the series finale had good reasons to think that. We enjoyed the story, just because we weren’t all despair, doom and gloom predictions doesn’t mean we had no material to go on to make us expect something better than what happened.

=>yes Misha did in PR talk “final scene” “final day.” But he also kept saying “when WE go back to film.” On a number of occasions. He kept talking collectively. There were also a few instances of tacit implication like his work wasn’t done. I am not blaming Misha for anything, I’m saying that because he was not allowed to spoil us until later, he didn’t phrase things specifically in a way that left no doubt whatsoever that he would not be in the series finale. There is also the question of his stay in a hotel room that looked an awful lot like Vancouver with the view out the window and the architecture. No one knows for sure. But Misha in a hotel room at the same time J2 were quaranting...and people still think we’re crazy for thinking well maybe Misha was going to be going back to film. Such an important character, and such a prominent actor on the show for 12 seasons. Sure totes logical they would just ditch him for the ending. Right.

=>the PR for the end of the show was atrocious. It was misleading. It was baiting. Misha did try to warn us, yes, because he knew it would hurt so he was honest about the ending being sad and whatnot and he did try to hint as to Cas’s exit before the finale, but that is only clear to me in retrospect. The PR and the way things were worded and presented was designed to conceal spoilers, though. Because what are they going to do, come right out and say NO CAS IN THE SERIES FINALE! that is too big a spoiler. But it is also deeply dishonest that after 15.18 there were no farewell posts or tweets, just one quick PR video from Misha. There was no sense of closure for Cas fans, no tribute goodbye for this immense character’s final appearance. We were strung along so we would watch 15.20, plain and simple. Part of that is just standard industry procedure—sure you can’t spoil that. But they also knew we hoped. They knew we were hoping. And the network used it so we’d keep watching all the way to the end. If I had thought 15.18 was truly the end for Cas I would have bailed, I can tell you that now. No matter how much I love Sam and Dean and the show overall, the idea that they would have done the ending without Cas being there is awful.

So seriously, knock it off. Y’all aren’t smarter and people have done the legwork showing you, in detail, why so few Cas fans actually believed that he wasn’t going to do a reappearance in 15.20.

It absolutely made no sense to not have him there, stop acting like it does.

We had every reason to think he was there.

I wish everyone from the show and the network had just been honest with us but gotta keep stringing the fans along, right?

Also? I was right. I said over and over, here’s my detailed reasoning why this makes no sense to cut him out of the end. I had story reasons and PR reasons. I said it would make no sense.

And they cut him out and lo and behold, it made no sense. The story collapsed. It hurt ton of fans. It made no sense. It left a feeling of incompleteness lack of closure for Cas fans on Destiel on family don’t end with blood. I was right.

I’m just so tired of this?? There were a lot of fans hurt by all this, Cas is important to a lot of people in this fandom, and some are still trying to play superior because they think it’s a “conspiracy theory” to see how boned so much of fandom got by the network in ways that were not in fact what the creative team aimed for and where Cas himself, and Destiel, were not given their full due the way this creative team actually would have done if they hadn’t had external factors from above that imposed shoving a queer ship off screen. Get over yourselves.

“We warned you” blah blah blah. It made hella more sense for the story to actually have him there and have as many things as you do that we can cite as to why we thought he would be there, plus, y’know, common sense and reasonableness of what would fit with the story we had been told so far, and common sense regarding how story arcs and storytelling should work.

[hamliet]

hi hamliet!! i have a bsd ask. since this current arc has been going fairly slowly recently i’ve been thinking a lot about how it may end and reading several analyses etc and one thing i’ve been thinking about - do you think it’s possible tachihara will die? now i want to be clear im not one of those ppl who think bsd is gonna brutally murder half its cast and kill of fan favorite characters jejsyj, as we all know bsd doesn’t kill people off much and is very hopeful. i’m not at all worried about aku and chuuya bc their stories arent finished yet and not really jouno even, but in tachi’s case, i’m not really sure where more could his character arc go to..? like, he’s accepted himself as a mafia member now, but that still leaves a lot of loose ends (does he spy in the hunting dogs, does he leave them, etc etc) story wise i can’t see him just. going back to being a minor side character like before, but i also can’t rlly see the manga continuing to spend so much time on him to tie it all up neatly. i believe i’ve read an anaysis (it might’ve been yours?) that said this arc could be the goblet of fire of bsd aka the arc where everything changes. from a story telling pov tachi dying, while sad, wouldn’t be insanely tragic bc he’s not a major character, and it could imo serve as a game changer - firstly bc he’d be the first proper character killed off in the main manga (like karma and ace were the for only a chapter), so it would somewhat change the tone, but also bc it could give the mafia leverage for when it comes to having an ada member transfer. i saw another analysis that brought up an interesting point that ada could try to argue their way out of the deal since the mafia wasn’t exactly that helpful in the end - chuuya bailed them out once and then i think mori helped kenji and tani rejoin the ada or smth (not counting aku helping sushi as that was on dazai’s orders, not mori’s), but w the vampire thing going on, they seem to be far more screwed than ada is currently, so it could give weight to ada to try and get out of the agreement once this arc is over, and if tachihara, who will prolly in retrospect be comsidered a key player when it comes to taking down fukuchi/believing the ada, happened to die arguably bc he was trying to help the ada, it could give the mafia leverage to ensure the agreement proceeds as planned? + i maaaaay be going overboard woth this bit now but, if tanizaki is the member to join as many have speculated (and i agree w this theory), it could add a level of symbolism as they happen to look alike, so in a way it would strenghten the idea of him “replacing” tachihara. but, as i’ve said this hinges mainly on me not being able to think about how his storyline would proceed if he does survive, so the conclude this very long ask (thank u for your patience at reading btw wjyjjyjy) i wanted to know how you think his storyline could proceed? i think your analyses are some of the most thought out in the fandom so im very curious about your opinon. thank you for reading!

Hi! Yeah, this arc is very slow... I assumed we were gearing up for chapter 100 to be a big one, but it wasn't, so... I would be lying to say I wasn't somewhat disheartened by that. But, the themes and character explorations remain as strong as ever even if the pacing is poor.

That said, I do not think Tachihara will die, and I don't think BSD will ever go the "kill the characters" route, with a few exceptions that I've talked about before. It's not impossible; I just don't think it's the likeliest route. I think Tachihara's "who am I/where do I belong" arc is actually really important. He's both mafia and Hunting Dog, and my guess is that in the future, more characters will start to question their place in the mafia.

Specifically, I think the set up is clear for Akutagawa to decide he is not mafia (and Higuchi to leave with him), as well as for Chuuya to decide that he is mafia, but not Mori's mafia (Chuuya's arc will almost certainly endgame with him as the new Port Mafia leader). I think the mafia should start to have an identity crisis about who they are and what they do, which will result in the shuffling of various roles. Tachihara's identity might be a good kickstarter in that direction.

[whomst-art-thou-whomst-whomst]

Texts from the Lost Tomb part 6.1

🎶 Back on the bullshit I never got off🎶

Is this another unnecessary story arc?? With three sections??

Yes.

Wushanju Crew Chat

Wang Meng: You know, I’m someone who appreciates consistency in my day. My life is pleasant, very few issues indeed if you ignore the big ones. And yet. Yet here we are. With unresolved messes at the end of a day.

Wang Pangzi: SOMETHIN YOU NEED TO SAY MARY POPPINS

Wang Meng: We need to talk about Huo Daofu and the glittery bead curtain.

Wang Pangzi: MY FAVE TEEN WIZARD SERIES

Wu Xie: did you turn on that suggested word thingy lol

What glittery bead curtain

Wang Meng: I closed the shop at 6:00pm this evening on the dot. I locked all of the doors in and out of the shop very carefully, especially in light of recent events. The hall leading to the back office was empty. I filed the day’s paperwork, updated and sent emails, and then spent an extra hour organizing receipts and dusting. When I came back out, there were glittery iridescent bead curtains over the front entrance to the shop.

What could this mean?

Wu Xie: uh that you need to spend less time at work?

Wang Pangzi: LOOKS LIKE WE GOT ONE FOR THE DETECTIVES. THE MYSTERY OF THE BEDAZZLED THRESHOLD COMMENCES

Wu Xie: I think we can be relatively secure in thinking a glittery bead curtain isn’t a hostile threat

Wang Pangzi: SAYS YOU

I REMEMBER YE OLDE EXPLORATION TIMES HOW FAST THINGS GOT FURIOUS

BEANBAG CHAIRS SET AFLAME AND LEFT ON DOORSTEPS AS A WARNING

GLITTERBOMBS FOR DAYS

PANIC AT THE DISCO

Wang Meng: Ugh, forget it. I should have just taken them down, regardless of who they belong to.

Zhang Qiling: They are not mine.

Wang Pangzi: A BOLD STATEMENT COMING FROM OUR PRIME SUSPECT

SOMEONE QUICK GO DRAW CHALK AROUND THE DOORWAY TO MARK THE SCENE OF THE CRIME

Wang Meng: Do we know anyone who *would* sneak in and put those up? For whatever reason, legal or not? Even as a joke?

Wang Pangzi: ARE YOU SERIOUSLY ASKING WHETHER WE KNOW ANYONE WHO IS CHAOTIC, AN OUTLAW, A PRANKSTER AND/OR SNEAKS INTO PLACES

BECAUSE THAT WOULD MEAN OUR SUSPECT LIST IS LITERALLY EVERYONE WE KNOW EXCEPT FOR YOU.

Wu Xie: okay let’s think about this; for starters, I didn’t break into my own shop

Wang Meng: You would be in danger of doing some work in the process, that’s true.

Wang Pangzi: LOL

Wu Xie: ANYWAY let’s keep going. For example, Xiao Ge would only break in somewhere for a good reason. Xiao Ge, did you do this?

Zhang Qiling: No.

Wu Xie: okay who’s next

Wang Pangzi: YOU REALLY MISSED YOUR CALLING IN INTERROGATION TIANZHEN

REALLY PUT THE SCREWS TO HIM

IN MORE WAYS THAN ONE;)

Zhang Qiling: How can we be certain *you* didn’t do it?

Wang Meng: Admittedly that was my guess, too.

Wang Pangzi: WOW I SEE HOW IT IS

BLAME PANGZI AS USUAL

ANYWAY HOW DOES HUO DAOFU FIT INTO THIS

Wu Xie: Oh yeah him! Oops I got distracted

Wang Pangzi: UR ENTIRE HISTORY IN A NUTSHELL

Wu Xie: Ugh fuck off

Wang Meng what abt Huo Daofu??

Zhang Qiling: ?

Wu Xie: oh sorry xiaoge I didn’t realize you wouldn’t have spent much time around him last year

He and I go way back

Zhang Qiling: Way back where?

Babysitters Club Chat

Wang Pangzi: I CANNOT BELIEVE HE IS BUYING YOUR INNOCENT ACT

IF YOU EVER TURN TO EVIL WE ARE FUCKED

Zhang Qiling: ?

Wang Pangzi: YOU KNOW EXACTLY WHO HUO DAOFU IS

YOU WERE EXTREMELY POLITE AND BORDERLINE FRIENDLY TOWARDS HIM

Zhang Qiling: I wanted him to feel welcome. I wanted to be sure he understands he has a place here. A specific place.

Wang Pangzi: FOR A SILENT GUY YOU ARE A MASTER AT SUBTLE POWER PLAYS IM ALL TINGLY

LMAO THE IDEA OF WU XIE LEAVING YOU FOR HUO DAOFU IS HILARIOUS AND ALSO NOPE

Zhang Qiling: Rationally, I understand that.

Main Chat

Wang Meng: Huo Daofu is coming for the weekend—didn’t Wu Xie tell you? Wu Xie asked me to check in a week ahead so we could start getting ready for his arrival

Wu Xie: oh yeah I did do that

Wang Meng: Fortunately I know you and so I already went ahead and took care of everything.

Re: the trip

He made a deal with Wu Xie’s doctor that he would do periodic checkups on him here at Wushanju

Bc Wu Xie hates being in the hospital

And frankly the hospital hates him too

Wang Pangzi: FAMILIARITY BREEDS CONTEMPT LOL

I FORGOT HUO DAOFU WAS DOING THAT

A VERY CHIVALROUS GESTURE

WOULDNT YOU SAY

XIOAGE

Zhang Qiling: Is it safe for him to be here with a criminal loose on the premises?

Wu Xie: Right, back to the curtain! Let’s focus on the curtain, hmm?

Wang Pangzi: I AM SO LOOKING FORWARD TO THIS WEEKEND.

ALSO WE CAN RULE OUT XIAO BAI FOR THE CURTAIN SHE JUST SENT A SELFIE FROM NORWAY COVERED IN GREEN SLIME WITH ZERO CONTEXT, UR PROTEGE INDEED

Wu Xie: okay but who else would do something so oddly charming yet illegal and—wait.

Snake Eyes Chat

Wu Xie: hey, Glasses hasn’t been in touch lately right?

Li Cu: uh nope

Unless u count the outdated memes

Why, is money or Xie Yuchen missing

Or is this curtain related, I saw Wang Meng’s tweet

Wu Xie: haha no nothing to worry about really

(I mean maybe? but who knows)

Wang Meng is probably just getting a little paranoid in his old age

Li Cu: better than getting reckless and stupid as hell in ur old age

Wu Xie: …hey:(

Unknown Number: Li Cu, we discussed this.

Wu Xie: ????????

Li Cu: *sigh* fine, reckless and stupid as heck

Unknown Number: …close enough.

Wu Xie: EXCUSE who is that

Madame, Sir, Non-Binary Tree Spirit, etc—whomst the fuck

Are you

Li Cu is underage FYI

So Im staying on this chat

Li Cu: okay first of all, it’s not like that

Second of all I’m literally not underage I s2g

u threw the embarrassing surprise bday party, okay so u should remember

And C, that’s my counselor and I invited her. She wanted to meet u and I knew u wouldn’t agree to a visit so I added her to our chat

we have been discussing u

Wu Xie: Oh wow!!!!!!!

What a surprise:)

hi so nice to meet you:)

Main Chat:

Wu Xie: RED FUCKING ALERT

FUCK THE CURTAIN FUCK THE VISIT

IVE BEEN TRICKED INTO FAMILY THERAPY BY A SMUG TEENAGER WHO TEXTS UNKNOWN NUMBERS

Wang Meng: I assume that means something to someone here?

Not my problem? Good.

Wang Pangzi: AHAHAHA GOD I LOVE LI CU

HES LIKE ADORABLE KARMA FOR ALL THE SHIT YOUVE PUT ME THROUGH

IM RAISING HIS ALLOWANCE

Wu Xie: wait i give him an allowance

has he been collecting on two allowances??

Zhang Qiling: Three. I knew about both of yours.

Snake Eyes Chat

Wu Xie: so uh may I ask your name?

Unknown Number: you can call me Ms. Lee.

Now, if you’re comfortable talking in this format, why don’t you tell me how things have been going?

Wu Xie: oh everything is normal and fine and safe as usual, why do you ask:)

Li Cu: I heard about ur necklace thing. nice of you to NOT mention it.

another dangerous adventure. again. prick.

Ur lucky your cool boyfriend cares about you so much or you’d have already died like ten years ago

Wu Xie: lol try twenty years ago

Li Cu: That isn’t funny.

Unknown Number: …What?

Wu Xie: shit ur right, okay that was a bit glib, my apologies.

…I use humor as a coping mechanism?

Unknown Number: and Li Cu, how do you feel about that?

Li Cu: he doesn’t even know what that phrase means

He doesn’t cope, like ever

In fact

It’s kind of why we met

Which is a funny story in retrospect tbh

Wu Xie: haha what are you talking about sweetie hahaha need I remind you of certain anecdotes that could idk send me to jail maybe lmao

Unknown Number: …You know, perhaps an in-person meeting might be more effective?

Wu Xie: haha such a nice idea but why

Main Chat

Wu Xie: If I go to jail, I’ll have to create alliances for protection, right, that’s how it works on tv

Who do we know who spends time in jail

Other than Hei Yangjing, he’s only ever there for like 12 hours and i suspect he just gets himself arrested bc he enjoys the breaking out process

Also how’s the curtain case coming along

Zhang Qiling: Has someone threatened you?

Wu Xie: well not yet but soon I’m sure

Wang Pangzi: WHERE WAS THIS PARANOIA WHEN WE GOT TAKEN TO THE TEA HOUSE HUH

Snake Eyes Minus Your Fucking Therapist Chat

Li Cu: okay how tf did u pull off spy and undercover shit

u are sus as hell

Wu Xie: damn son is it pick on Wu Xie night

I missed the flyers or I would’ve invited my uncles

Also re: the curtain it’s been mostly solved

Li Cu: I’m not your son, idiot.

Wu Xie: …oh. Sorry, sorry, you’re right, bad choice of words, haha

Forget i said anything

Delete this chat even

Li Cu: shit I meant

Legally, biologically, I meant—

shit

…I turn into an asshole as a coping mechanism?

Wu Xie: oh that’s all okay! I have to go do something else now let me know if you need anything okay kid thanks!

Li Cu: goddamn it calm down who’s the kid here

lemme organize my thoughts so I can articulate my emotions fuckin healthily or w/e

Ugh maybe for like one afternoon we could go to Ms. Lee together? She knows how to word stuff

Wu Xie: uh…okay.

Li Cu: Anyway you don’t need to worry abt jail

As if you would survive prison for one day you’d piss off half the place in like an hour or less

I gave Ms. Lee the heavily edited version of the desert highway to hell roadtrip and i discussed it more in terms of like “nightmarish but still wouldn’t take any of it back”

Well maybe the sand

that shit was everywhere

Wu Xie: oh kiddo. It’s fine, really…You don’t have to explain yourself to me.

Li Cu: no, no it’s just

I do technically have a dad

who is an asshole. Being a son doesn’t really mean shit to me bc it sucked.

So you need to stop backing down just cuz ur guilty abt stuff. I’m really really glad ur not my dad in a good way. Do u get what I mean there

Where’s the mafia widower I followed into hell, huh

Wu Xie: Ur a good kid, despite my influence. I’m really glad you have someone to talk to after everything I…after everything. Wow this talking through feelings thing is kind of weird but nice ur right

Jfc no wonder it took me and xiaoge so long to—you know what, we won’t get into that

Li Cu: ew tmi

Also re: this week’s recent necklace fuckery

I moved my stuff here, I live here now

So you can’t die anymore

Or else…Idk I don’t have a threat planned

anyways abt the curtain

Wu Xie: oh my god, kid…kid you have no idea

I am in tears.

Li Cu: see this is why I can’t be nice to you I can sense the hallmark channel from here

Ugh don’t be sad in ur room that’s dumb

Go hug Pangzi or something

Maybe delete this chat

Or the curtain thing

Focus on the curtain thing

Just stfu and go away

Wu Xie: <3 screenshotting this <3

Li Cu: I take back everything I said. This is why Xiao Ge sleeps on the roof. I hope the ghosts of the Wangs put up that curtain to strangle you somehow. Go die in a stupid way, it’ll suit you.

Wu Xie: lol don’t worry I’m not gonna embarrass you with it or anything

Main Chat

Wu Xie: omg guys look how cute my kid is *sending screenshot*

Wang Pangzi: I MEAN

HE IS WISHING YOU DEATH

BUT SURE

CUTE I GUESS

Wu Xie: no but read the whole thing:):):)

Zhang Qiling: It is indeed very hard to remain angry with you. And you are welcome to join me on the roof.

Wang Pangzi: UH NOPE

NOT WHENI HAD TO BLEACH THE COUNTER IN THE KITCHEN

DONT TRAUMATIZE THE EARLY BIRDS THEYRE ALREADY FREAKED OUT BY U YA HOODIE CRYPTID

Wu Xie: ok true but babe ur like a sexy cryptid

Wang Meng: so, are we just accepting that there is a glittery curtain of unknown origin, and Huo Daofu is going to have to see it while he’s waiting for you at Wushanju bc you’re going to family therapy?

Wu Xie: right

Wang Pangzi: SHOULDA TAKEN EARLY RETIREMENT HUH

Wang Meng: I’m going to go dust something.

Unnamed Chat:

Unknown number: so the curtain…

Unknown number 2: yep, not my best work but I kinda panicked last minute u know

Unknown number: what is in the water at Wushanju that makes everyone dumb and attractive

Unknown number 2: relax they’ll figure it out

[popculturebuffet]

Of Moons, Millionares and Mothers Part 3: Storkules in Duckburg! aka THE INCREDIBLE STORKULES TERRIBLE BUT WELL MEANING ROOMATE OUT OF MYTH

Hello all you happy people! And welcome and welcome back to Of Moons, Millionares and Mothers, my look at the season 2 arcs of Ducktales! This arc was paid for by WeirdKev27 and I truly enjoy his support. if you want to know how to commission your own reviews or to get a guarnateed review of me of your choice from me a month, stick around to the end. I realized that shoving all my plugs in up top may be driving people away and while I DO make them because I want to make a living off this, i’ts not fair to those of you who simply can’t afford to buy a lot of extra shit like myself to keep shoving it in your face. 

Previously on the Louie Inc Arc, Louie, after believing he had no skills and it was a matter of when not if he ws going to die, found his talent: seeing all the angles and thus being Sharper than the Sharpies. With newfound confidence and a chip on his shoulder from Scrooge saying he could one day be a bigger success than Scrooge himself, founding Louie Inc as a result. But what is Louie Inc? Does he actually have a plan or a bunch of buzzwords. And what does STORKULES, MANLY GAY OUT OF MYTH have to do with any of this? Join me under the cut to find out. 

We open with Louie giving Scrooge his sales pitch that is essentially...

Naturally Scrooge buys none of it. I mean he’s somewhere in his hundreds, he’s probably seen about 80 thousand pitches that amount to “I have no plan but give me money anyway”. There’s a reason there’s a Butch Hartman shaped crater on the lawn from where he threw his ass out. 

Scrooge does mentor the lad, or at least attempt to pointing out he needs an actual product or service (Louie rejects the idea of a lemonade stand as too easy), or as he puts it “Find a problem and create a solution”. 

While the basic PRINCIPAL isn’t bad, find something people want or need and provide it, phrasing it that way sounds like “find a problem people are having and exploit the shit out of that problem for fun and profit.” Granted that IS a guiding principal of business, it’s just not something an uncle should be teaching his kids. They should be teaching them about the anime and cartoons they grew up with as I do with my niece and nibling. 

He does show him a valid example of this in action in the form of Donald. Turns out Donald has found a good way to make money while he looks for a job, can relate: since Duckburg is facing a housing shortage, likely because several square blocks probably get destroyed by Scrooge’s Adventures, Glomgold’s Schemes, Superhero Battles, whatever creation went horribly wrong for Gyro, etc at least once a week. So he’s taken it upon himself to offer up the spare room to whoever can rent it.. and to steal Scrooge’s chandelier which even when caught he still takes anyway. Scrooge.. you called the guy a god-damn moocher in the season premiere, despite the fact he lives there soley because YOU offered and because he’s you know, being responsible and staying by his boys so they have their father figure around. So yeah I feel he’s doing this partly out of spite as is the McDuck way. I mean if your going to call him a freeloader just for being a responsible parent, then he’s going to take it up a damn notch.

Scrooge proceeds to laugh off Louie wanting a million dollars and gives him a dime instead because of course he was. Seriously Louie there are two other billionaires in town who are FAR dumber and far more easily swindled. Just go get star up capital from them. Hell with Glomgold all you’d have to do is tell him it’d upset scrooge and he’d literally throw money at you. Or give you a shark full of money. He needs the shark back though. He’s family. 

Meanwhile Donald prepares for his new tenant and finds.. THE INCREDIBLE STORKULES! Who to his mounting horror as he realizes it, IS the new tenant. And who throws him into the sun. Cue credits. 

So after Donald somehow survives being thrown into the sun, Storkules explains why he’s here: Zeus responded to his son playing the lute a lot like any rational reasonable 

No of course he responded to the “crime” of “playing his instrument a lot” with sending a swarm of harpies on the town then blaming Storkules for it and casting him out. What’s most shocking is not the action, this is honestly him staying the course of being a fucking disgrace, but that Zeus somehow ISN’T the biggest asshole i’ve dealt with this week. No that honor is reserved as always for this bitch:

Keep in mind she manages to be this obnoxious in only TWO scenes. Also keep in mind I had to put up with Julie for a MUCH larger chunk of the previous two volumes I covered before volume 5 yesterday for my Scott Pilgrim Retrospective and she is ALWAYS like this and you now feel my pain. 

This does create a problem though: Zeus casts Storkules out until he’s a responsible adult.. and thus paints Storkules as the bad guy... in a situation where the only other person in the story sent a swarm of HARPIES down at him for simply playing his music too loud. It just dosen’t work as a catalyst: Storkules objectively did nothing wrong. The only person he annoyed was a person who clearly dosen’t love, respect or like his son in any way shape or form anyway and essentially assaulted him and a bunch of innocent people via harpie and then cast him out. Zeus is an abusive asshole and i’ts weird the narrative sides with HIM and not our well meaning doofus. Zeus being an asshole with harpies is not a bad catalyst for the episode, and the harpies being unleashed is used well.. it’s just not a good catalyst for THIS story to try and portray an abuser as in the right. And make no mistake Zeus is a domestic abuser: he had his son mind controlled to try and MURDER innocent people, something Storkules begged him not to do, sent a swarm of creatures after him for the crime of playing his music too loud and in his next episode manipulatives Storkules sad emotional state for personal gain. Why would you try and paint THIS jackass as in the right?

Speaking of painting this jackass in the right sadly.. this episode does not do my boy donald justice. In most episodes he’s pretty nuanced and i’ts fair enough he’d be frustrated by Storkules as a roomate. Storkules has little sense of personal space, breaks his stove thinking theirs hydra in it, makes a mess of the kitchen making them a meal, and in general clearly dosen’t know how to live with a roomate much less in modern society. He has valid concerns and the episode COULD have used it that way.. but he’s also horribly impatient with Storkules. He refuses to get the guy just hasn’t had to live in a modern society and dosen’t know HOW to function in it and instead of helping him just gets mad again and again and gets really pissed when it’s clear Storkules dosen’t have a job and didn’t consider paying rent. He’s not WRONG to want him to pay Rent, despite what ironically the musical Rent would try and have you believe, but he dosen’t have any patience with the guy. And stork isn’t nearly coming on as strong as he normally does. The worst he does is cook the guy lunch and bring his donald fan art with him. Which we don’t see but I am assuming is mostly naked. What i’m saying is for once that while still bombastic, Storkules isn’t trying to force a relationship/friendship on him and simply wants to learn t be an adult from his best friend.. and Donald isn’t bothering teaching him.

Asking for rent or for him not to destroy the stove is fine, but not explaining WHY he needs either of those things or why he needs boundaries, he makes a roomate list, isn’t helping the guy. And this would be fine... but the episode dosen’t call Donald out on it for no real reason. It feels like it’s setting up for a “you should learn to wokrk with someone instead of just screaming at them aseop” that never comes and like with Zeus takes his side because shutup. I’d also LIKE to say this is the only time the writers reduced one of the cast to a caracture of themselves.. but I can’t.  Several episodes in season 3 forgot Louie’s character development and another episode in season 2, The Duck Knight Returns!, somehow reduced both Scrooge and Dewey to parodies of themselves with Scrooge SOMEHOW, despite Della as stubborn as she is being in his care and by his side for decades and Movies bein ga huge business, not having seen a movie since the 1920′s and not knowing how they work and Dewey being reduced to just hyperactive moron. It isn’t as common as other shows like say Regular Show, The Loud House or, for the exact reason I lost intrest, Rick and Morty, but I still expect better, especially since they went into this season KNOWING Donald would be gone for half of it and this would likely be one of his only spotlight episodes. 

Back at the good part of the plot, Louie is having a company meeting aka already treating Huey and Webby like his employees. Webby of course is glad to sign on, if little help in actually coming up with a product while Huey just wants to nope out. And if your wondering why Dewey isn’t involved Louie outright says he’d make a bad employee and while Dewey rises from his bed to object.. he stops halfway to opening his mouth and concludes he has a point. Best gag of the episode. Louie being louie easily cons Huey into staying by making Webby his charts officer. 

So the three have a corporate retreat at Funso’s... granted they don’t have a product but Louie figures this might help. Huey.. still wants out of this and suggest since they already spent what they had on ski ball “Company over?”. It’s clear that Huey just sees this as another one of Louie’s short sighted schemes... and while he’s not ENITRELY wrong, Louie has genuine ambition.. he just has no earthly idea what he’s doing and is shooting way too high.. but for understandable reasons. 1) He’s 11 at this point. 11 year olds aren’t great at business strategy or reinging it in. 2) he wants to live up to what Scrooge said to prove he can be successful and really be worth something like his mom was. 

But sometimes fate throws you one and the harpies bust in. And while Louie wants to do nothing and hope they go away Huey and Webby spring into action.. as does Storkules, who had to leave but warns donald there’s Orzo in the slowcooker and to not open it “LEST THE PASTA FAIL TO ABSORB THE BROTH!” Which is just.... Chris’ best line dleivery the episode. He says it like he’s saying the title of an old Stan Lee and Jack Kirby comic, i’ts wonderful.

So our heroes defeat them and Louie steps in to charge for the service and quickly comes up with a company idea and name “Harp-B-Gone” (A Subsidary of Louie Inc). Louie hires Storkules on the spot. Storkules proudly tells Donald he has a job the next day and goes off to it. What follows is our heroes hilarously shooting a commerical with Storkules playing a baby to promote themselves so they can help who needs it. They just need to find out what they want.. and thanks to the JWG and the harpies stealing it find out they go after people’s most treasured posessions   Cue Ghostbusters-Style Montage

And this isn’t just me saying thing. The Rewriting History Entry (Which as a series weirdly stops around mid-season 2 and I don’t get why frank hasn’t gone back and finished it since) states they specifically based this whole operation on ghostbusters and the entire sequence of our heroes cleanin up the town reminds me of it. The highlight of it is a glomgold cameo where he’s kidnapped.. and refuses to pay so Louie just lets him go. And were this an innocent person who couldn’t afford it, i’d call him a monster.. but it’s glomgold. he brought this on himself.. and also sues himself for it. Wonder if he won. 

So with their stars rising, our heroes get booked on the hottest show in town: Dewey Dew-Night! I had honestly forgotten there was a Dewey Dew-Night segment in there, and delighted I get to talk about this recurring bit.  It’s one of the shows funniest runners and just perfectly FITS Dewey: of course the most egotistical and energetic of the kids would not only want to be a late hnight host but make up his own show. I also love the slow evolution of it: it started as something everyone clearly knew about but he stlill tried to keep hidden, slowly escalated to him allowing the rest of his siblings (Webby very much included) and the giant man who stalks his uncle in, and by later this season he’s putting the show online in the web shorts and gladly shooting it into space, with Season 3 having him spend the first half of let’s get dangerous making a documentary that includes an episode of the show featuring Darkwing. It’s a small thing sure, but it’s the little things like this that make the show special. 

The show does reveal a problem though as it turns out they’ve GOT all the harpies and while Storkules merely wanted to help, Louie points out they need more to keep a buisness going and naturally never bothered to ask Storkules just how many there were. They need SOME plan to get going. Webby submits a legitamte and great idea, training the harpies as she’s been trying to do in the background of the episode and aside from a hole in the floor they are starting to listen. But Huey is an ass about it and not only shoots it down saying let’s keep the dangerous creatures contained, even though A) he has no idea WHERE they’ve been kept so he can’t verify it’s safe, and since i’ts Donald’s Closet no no it’s not. and B)There’s no where he knows of to keep them. He isn’t aware of the other bin till next season. and C) it’s not ehtical to keep creatures locked up forever epsecially since while the harpies are dangerous they arent’ MALEVOLENT and are clearly acting on instinct. oh and for D) at least she has a plan to keep the company going instead of just wanting to end this and cash out. 

Which Huey tries to.. but naturally Louie spent all their money on...

So their broke.. and Storkules has no rent money and feels like a failure despite having done NOTHING wrong. We do get a clever little nod to Disney’s hercules though “I”m not a hero, i’m a zero”. Webby rightfully glares at Louie who decides to fix it... by sneaking into Donald’s house that night to free the harpies. 

Though to the shows credit it’s a VERY bad idea, and Storkules coming in mid attempt and congradulating Louie when he lies about checking the door gets the kid to come clean. And it’s a nice character moment: He could still go through with it.. but it’s clear he realizes just HOW low he was about to sink to save his own skin and that as much as Storkules WANTS a paycheck and deserves one, it’s not worth hurting people to get it. Louie tries to justify after this.. but can’t. 

Unforutnately Donald took a lot of stupid pills this episode, yells about his no pets rule and frees them instead of you know, THINKING for five minutes.

So yeah NATURALLY Donald is an angry shit about it , refusing to actually TALK to Storkules about this or maybe admit this is partly HIS OWN FAULT. Yes their both at fault, Storkules shoudln’t of shoved a bunch of harpies in a closet. That’s a classic blunder. But Donald still opened it and isn’t called out on taking zero responsibility. Huey sees the fracas and just takes down their days without an accident placard, good stuff and he and webby arrive to help. Donald fights with Storkules and Storkules worries about loosing his friend.. lead to them going after the thing he values most aka donlad and hyjacking the house boat, though the kids manage to get aboard. 

As Storkules saves Donald, Louie realizes the most precious thing he has is  his merch and willingly gives it, and his buisness up to save everyone. It’s good character stuff and shows that despite his problems with greed, Louie IS a good kid and will do the right thing. It’s what seperates him from the Rouges Gallery the family faces: He has FLEXIBLE morals but he has morals when it comes down to it. So everyone tosses the stoff to help direct the hapries and make it home tying them up. Donald has a heart to heart with Storkules and agrees to help him find another place, but still considers him a friend and they hug. Awww.  One intresting thing I DID find out from rewriting history is they originally fully intended to have Storkules STAY on the houseboat. He was going to be a permenant member of the household, at least as far as Season 2 was concenred and plans were made for several episodes down the road: the whole bit with him in “The Golden Spear” was simply because he lived there, he was going to be the one Della met in the houseboat, obliviously guilting her about what she’d missed, and he was going to set off the kids subplot in “Whatever Happened to Donald Duck?”

This ended up not happneing for logistical reasons: Frank, and I swear this was the term he used, felt they already had the perfect Himbo in Launchpad and it was just too much HImbo energy for the two to coexist without one taking the others screen time or neither getting a lot. 

The next reason was having a god around simply broke the story: He cited the gilded man from “Nothing Can Stop Della Duck!” as a specific example. There were just too many hoops to jump to have him not break any story he should be around for.  Finally with Della being added to the cast soon there simply wasn’t room in the main cast. Della brought it up to 9, Storkules would make it 10, and as i’ve gone on about the show already had trouble ballancing it’s cast, something Frank admitted to. Adding him would both be too big a stiatus quo change and be one on top of the massive one of Della joining the cast. So he was dropped back to recurring and only showed up one more time. And while it was the right call I am dismayed he didn’t show up for the whatever happened to donald duck subplot and it does feel very weird he never adresses Donald being gone despite, at least for season 2, apparently living in Duckburg. Otherwise though as funny as this wouldv’e been.. yeah it was the right call. 

Scrooge returns... having been absent all episode because otherwise it wouldn’t work and easily saw Louie loosing it all coming.. but gives him a can of lemonade for his troubles and comforts the boy. The heart of htis arc and what makes it work at it’s best.. is these two. Scrooge GENUINELY wants to help Louie see his potetial successor in buisness: oh sure adventure wise he’s throughly covered.. but Webby, Dewey and Della all are more focused on the addventure part and that’s where their passion and talent lies, Huey’s better at science and given his close frinedship with fenton and how much that part of things seems to truly inspire him, i’ts what he was born for, and Donald just wants a regualar life and can’t manage his own life much less a company. 

Louie is the only one in his family whose the right fit to inhereit that part of his legacy and I feel that’s why he takes a special intrest in him and webby over the other two: While he loves all of them and will clearly again leave a piece of his fortune and empire to all of them, Webby is the most like him, as we later find out not coincidentally in the slightest, when it comes to adventuring and curosity and a love of exploration. But Louie is the most like him in other ways; He’s cynical, money driven and passionate. Scrooge simply wants him to be as good a person and buisnessperson as he can be and is trying to push him in the right direction. And does so here by pointing out that failure isn’t a huge problem..it happens, comes with the terriotiry and as we’ve seen with life and times, even with portions of it clearly not happening in this universe, he failed a LOT to get here. What matters is that he tries and tries to do it the right way. 

Scrooge also sympathizes as he was buying a lemonade company in cape suzette, giving Louie the can as a present... but laments there’s no cheap effective way to deliver the lemons. Louie notices the harpies going after the can after he throws it and Webby controlling them with it and muses that theyd idn’t think about what THEY wanted.. nad rightfully gets punched across the lawn by Webby, whose had to spend an entire episode having her surrogate brothers talk down to her and ignore her valid ideas. She dosen’t even open her eyes she just bops him one.

So we end with Scrooge having enlisted the hapries, Louie trying to take credit again and both realizing they might just steal the lemons instead of work for them. Ha ha ha their going to get so sued. 

Final Thoughts: This one was mediocre. It has some good points, Louies arc continues to fascenate me, Huey’s done with this shit attitude is hilarous, and Storkules is at his best in this episode: his crush on Donald is toned down from this..

To this

To the point I could see shipping them off this one if Storkules episode didn’t have him do eveyrthing short of .. well see above.  So it’s not WITHOUT merit: I love me a ghost busters style plot, there are great jokes and Chris Dimatopolis is a gem as always. Glad he’s getting work after this show on Invincible and hope he gets to play Darkwing again some day. But the Donald stuff and the fairly predictable plot drag this one down. I’ts fairly obvious they’ll run out of harpies, Louie will have spent the money and they’ll somehow get free. It’s not a terrible episode but it’s it’s sandwiched story wise between two straight up classics on both sides: the previous two episodes were even better than I remembered and the next two are incredibly good: Whateve Happened to Della Duck?! is one of their finest hours and The Outlaw Scrooge McDuck, while not making my best of list for the series as a whole is still one of my favorites for the season.  It’s just disapointing this one wasn’t nearly as good as I remmebered and it’s understandable why I forgot almost all of it, unlike the previous two episodes. Thankfully as I said better’s over the horizon.

NEXT TIME ON OF MOONS, MILLIONARES AND MOTHERS: I’m taking a break for a week. One of two weeklong breaks for the arc, the other being the first week of July where i’m on vacation anyway (Though i’ll be doing the episode I would’ve done for that week the week before to keep the pace up, so no worries),

 As for why, it’s my utmost honor to announce GOOF WEEK! Goof Week is a weeklong celebration of Goofy’s birthday. The idea came about because as I do for the big three, I intended to just do a shorts special. But Kev , the guy who made this very review possible, suggested doing the two part Goof Troop pilot. And since kev pays for a house of mouth episode a month anyway and thaks to you lovely people I hit my patreon stretch goal to review the goofy movie, I figured “why not make a week out of it. Hence Goof week. So next week we’ll have a review of the two part pilot for Goof Troop, the special Sports Goof, the House of Mouse episode Super Goof, your regularly schedule shorts spectacular, with The Goofy Movie for the grand finale! yaaahoooooieeee! 

When we come back i’ll be shuffling episodes around slightly so I can do the Della comics from the Ducktales Tie-In Comic before her debut and in time for Donald’s own theme week in June, i’ll be saving “Whatever Happened to Della Duck?” for the week after Donald Week. Instead next we get a fun wild west adventure as Scrooge tells a story of his outlaw days, his tension with goldie and his encounter with a certain robber baron as John D Rockerduck FINALLY makes his screen debut. Yee-Haw!

If you liked this review, subscribe and follow for more and consider joining my patroen, patreon.com/popculturebuffet. I have exclusive reviews, my most recent duck based one being an obscure carl barks story about wigs and the boys attempting to murder a guy with a blow gun, and your contribution helps me reach my goals and thus gets everyone, patreon or not, a bunch of neat new reviews. If you get me to 20 dollars a month, i’m currently at 15, EVERYONE will get a monthly darkwing duck reviews, reviews of the two remaning ducktales 87 mini series including the origin of GIZMOOOODDUUUUUCCCKKKK, and a review of the Danny Phantom movie The Ultimate Enemy. And with the month running out NOW’S the time to join. YOu’ll also get to pick one of the shorts for my Donald Duck birthday specail next month, so if you want to join in NOWS the time. But wether you can or you can’t, thank you for reading, i’ts been a pleasure. 

[mariaantonnietta]

Okay, the promised is debt.let"s talk about Gintaka moments!!!

I said a long time ago I was gonna do a compilation of Gintaka/Takagin moments. And I will deliver right now! (op skimmed the jp twitter and is excited/can’t wait to see the movie )

Ok, no, this will be mostly my disorganized headcanons, moments where I can see the ship with my shipper googles on, some paralels? Haha, honestly just to show the ship some love!!!

It’s also my perspective on why I love this ship!!

Of course, I'm going to talk about all the series and go back and fort, so there’s going to be spoilers all around, so if you have not seen the manga end, best skip it.

The rest is under the cut, let’s go!!!!!

So, I started shipping  Gintaka/Takagin  after the Shougun Assasination arc, best  strangled friends story I have ever seen.  I like a lot of Gintoki ships, but it became my favourite really fast. Then, looking back, I noticed these haha:

the first meeting in the show (ep 17). I know it was threatening, but watching it again the fireworks exploded over their heads as they met.Isn’t that  a romantic troupe? (and also in this scene makes Takasugi face scarier, haha). And also how Gintoki stopped Takasugi blade, so obvious for point one that they knew each other.(the interactions here are so painful in retrospective 'When his father saw his son's head, imagine the rage he felt?😭')

(and then there’s also , in the extra episode where the yoroyuza go to China, they help a poor dude with his first date with a girl, and Gintoki comments how the first date  should have fireworks, haha, at the time there were some images on pixiv of child Gintoki and child Takasugi seeing the fireworks together, it was so lovely, good headcanon!)

There's the Senbonsakura arc, and Takasugi appearing at the reunion scene looking at the moon, woah (there's also them crossing paths, but that's more dramatic of the ideologies maybe, still this a shipping post so ' them crossing paths there, the athmosphere of fated (rivals) people!!!')

( ‘They both had sad eyes’)

I like how even as they are different their core is the same, even if not these character are so raw together in their feelings

Let's talk about the movies for a moment: in the movie version of the Benizakura arc, Gintoki dreams with Takasugi, and IDK, but for how haunting it is, it also feels intimate, and that makes it hurt most.

About the second movie when we saw it we didn't know what the hell happened to Takasugi, but looking back he's dead by that time....maybe. (why didn't you give us a clear answer at the end sorachi).Okay but for practical purposes of what the cast knows he's dead (maybe...ahhh let's says it's like that) and well, haha, gintoki of the future dying looking at the sunset haha don't think of him daydreaming things.(When I saw the movie I had the impression that takasugi was dead, for both katsura clothes that are not called as a joke, and future gintoki 'the only one that can kill me is me', if takasugi was alive, he wouldn't let gintoki claim that so hypotrically, that's what I believed.)

There's the mini arc of the underseas dragon palace, (I remembered this one because of takasugi 'monster' form) I'm just gonna said that even if I read too much into ot there are some interesting paralels maaaaaybe, this one is a strech.

Talking about far fetched things, you people remember the Love Chorris arc? The one with the virtual girlfriends game? I think I am not the first person to point this out, but if you analyze Gintoki girl:

Gintoki selects her and (accidentally)kills her son.After that, she is bend of killing him in return in revenge. With his son corpse at her back to haunt him too.

She later confesses to him that she knew he wasn't at fault for her sons death, and that she focused on blaming him to be able to handle the pain, that she's grateful of Gintoki for understanding this.

The spirit of her son aproves their relashionship.

Now tell me this doesn't remain you of someone in particular and his relashionship with gintoki. And this is gintoki mind perspective and hopes, and fears.

(Well it probably isn't that deep, its the chorris arc, but still)

The way you can see Sakamoto’ jokes as a friend teasing because he knows they like each other. The fight when they to a red district gaining another lining.

The rajuko arc, when they exchanged blades to save the other newfound friends/family. The fucking red string of blood that they form together.

In the manga there was the famous saying attributted to takasugi historical counterpart :

'I want to kill all crows in the three thousand world, and sleep in with my heart's master'

This if I remember correctly because crows caw mark the morning, and in a brothel you have to leave.

So the meaning is ' I want to kill all crows in three thousand worlds(so that morning never comes) and sleep/stay in (forever) with my heart' master'

(Of course this could refer to shouyo, but it could be about gintoki, they go directly to meet the other)

It's a famous saying used in songs, I believe.

The part when he doesn’t want to see more rain, its of course because seeing gintoki's crying was imprinted in his mind for so long and influenced how he thinks. He is so important to him!!

And of course the final arc, where they are more open to each other,(the strangled friends are so happy to be together again) both Takasugi who finally let go of that 'burn the world down' and of Gintoki that walks besides him. The way Gintoki looks at Takasugi with a soft expression on his eyes. Matako ' I have never seen before Shinsuke sama with those eyes, I couldn't stop them'

The Glorious Days ending, that's when one (me) realises, 'oh ... this two care about each other and want to save the other' and while it isnt surprising for Gin, it was for Takasugi at the time.Rewatch the openings and endings in general, and see Takasugi place in them. IDK, he is usually the last alone waiting under the moon. And it gets me...cant really explain that.

The radio call, how we couldn’t see gintoki's initial reaction as Takasugi talked to him, gintoki even pretending not knowing (painfully bad) he didn’t know the other voice.

And of course the myriad moments in the final arc, Gintoki promply saying he is the one he wants to protect, the death sequence 'maybe we were just born under that kind of (tragic) star'

Gintoki teading takasugi that his parents would cry if they see the delincuent he is bringing home 🤣🤣.

Fuck, in the spin off Takasugi as a student novel, when he and Gintoki meet they can't keep the skit up, they talk directly to each other.

Also about the special episode, there's another...uh this is more of a paralel, and purely a headcanon, but here it goes: the yorozuya meet with kamui while trying to help a woman about her mother setting her up in blind dates, and in one moment she starts mothering both kamui and kagura and they get, well their eyes are animated different in that moment, and then they start listening to her. They were probably remainded of their own mother. And then I realised that I have seen Kamui make those eyes before (I will look for a pic, it's a very distintive shift), when talking to Takasugi. Is in one op too.

Of course the childhood friends dynamic. Regardless of nature, nobdy can deny the deep connection these two have.

(Here's the image from the op, is less obvios in the ep I think...or I'm overthinking, that's more possible)

Here’s Kamui and Kagura’s eyes when tehy get scold by the mother:

(I’m not crazy, they are similar XD Maybe XD)

I remember thinking to myself at the time 'woah, Kamui shows a admiring expression with takasugi somentimes' and now I fully believe is a childlike more like expression because takasugi reminds him of his mother(subconsiously). I can see the resemblance, especially towards the end of the series. As Gintoki and Umibozuo paralel too(both of them act like Kagura's dads) I just....haha parallel things.

There's a hundred things more, I'm sure I'm forgetting some (may add in a reblog after). All their fucking dialogue with each other is so intense. I I just love this ship sooo much

Totally up to talk about this ship if someone wants to!!

[forestlingincorporated]

Bernard Dowd

DC made me do it. Fandom made me do it. So here it is, the character retrospective I never thought I’d ever write. 

Bernard Dowd was introduced on December 17th, 2003, in Robin #121. Tim has recently transferred to Louis E. Grieve Memorial High School, his fourth school since his introduction when he was 13; Tim is 16 now, and was recently forced to drop out of Brentwood due to his father’s bad investments loosing them their upper class status. Jack and Dana Drake are still alive. 

Bernard Dowd is the first person Tim meets when transferring to this new school. Bernard picks him out of the crowd as new, and immediate tries to determine what Tim’s clique is, only to determine, as we all know, Tim is pretty much impossible to cleanly box. 

Bernard thinks very highly of himself. He views himself as also being above cliques, and wants to give Tim the impression that he’s “runs the school.” He thinks of himself as a cool guy, and he doesn’t like to be called “Bernie.” 

His attempts to befriend Tim are rather presumptive in a way that comes off as rude. He treats Tim like a lost little lamb in need of guidance. 

So, Tim ends up casual friends with Bernard. In fact, at this point in time, Tim says he’s his only friend at school. 

Bernard has a crush on fellow classmate and lowkey daughter of a crime boss, Darla Aquista. (Yes, that Darla Aquista, of TimSteph relationship drama fame.) He is the one to introduce Tim to Darla, and Tim embarrasses him by calling his bluff over whether or not he’d actually ask her out if her jock friends were removed from the picture. This is when you start to get the feeling Bernard might be all talk and bravado. He’s not the cool, confident, popular guy he makes himself out to be. 

After Tim looses Robin, he invites Bernard over for dinner with his family. His and Tim’s relationship seems... complicated. On the one hand, Tim likes him enough to invite him over to his house, and he’s probably Tim’s closest friend during a period of time when his other relationships are distant (friends at other schools) or cut entirely (the hero community). That said, Bernard is CLEARLY depicted as... skeezy, and skeezy about people in Tim’s life, in a way Tim doesn’t appreciate. 

Months later, if the passing of seasons is to be believed, Bernard is the person to inform Tim that there’s a new Robin. Tim seems to have a larger friend group at Louis E. Grieve, he’s worked out a friendship with Darla even though she still seems to have a slight crush on him, and seems to be friends with several of the footballers, but he still has time for Bernard. 

Bernard believes wild conspiracies that Batman works for a shadow government and owns secret orphanages full of Robins that only last for about three days before they die and get buried in secret government graveyards. 

We don’t see Bernard for a while after this. Darla Aquista is shot at school, dying in Tim’s arms. Stephanie Brown’s death is faked. Tim’s father dies, and his stepmother is in such mentally bad shape she has to be checked into a special clinic in Bludhaven, so Tim transfers to John Wayne High School, his fifth school since he was 13. 

A lot of shit goes down between the school shooting and the next (and last) time we see Bernard in Robin #140. He’s meeting up with a girl named Linda, when his vehicle is destroyed by none other than Darla Aquista, back from the dead as Warlock’s Daughter, who is looking for Tim. 

After she scares the shit out of him, they go to Gotham Grille for age-appropriate drinks, and Bernard tells her that the high school closed down after the shooting and all the students’ families received settlement money. With that money, Bernard attended an unnamed private school. 

He offers to help her become a superhero, which she turns down. While he’s pretty rude to Linda over the phone, he’s depicted softer here, He seems earnest in his desire to help Darla, even if he still has an underlying bit a selfishness. I personally feel like he comes off a little less like the Annoying Try Hard he started out as, and has a bit more Booster Gold-esque charm to him. 

But, we never see him again, after he helps her track down Tim’s new address with his Fake Uncle, so he was lost to the pile of Tim’s former normal boy friends to be forgotten. 

UNTIL BATMAN: URBAN LEGENDS! 

Right now, everyone is excited because Batman: Urban Legends #4′s been released and Tim Drake has some strong Might End Up Coming Out As MLM Soon? vibes. He’s got this Discovering New Things About Himself arc in this comic that’s framed in a very Gay Coded way. Focusing on a gay male couple with the dialog box “like me” over it, Barbara talking about how he’s afraid looking too deeply at himself might “change” him, stuttering over how his old friend “looks,” and of course this pseudo date he’s goes on with Bernard. 

I cannot actually analyze the whole comic in depth, because I don’t own it; I ordered the trade, so I won’t be receiving it until December. This is what I’ve gathered from screen shots of this comic alone. I don’t think Urban Legends is technically in the main canon, but I would not be surprised if this was a test to see how audiences respond - like Joker shooting Barbara Gordon in The Killing Joke (which isn’t canon) resulting in Barbara Gordon’s very canon paralysis. 

There’s some speculation at the moment that Bernard himself might actually be evil, or working for the bad guys. I think it’s equally possible he might be targeted by the bad guys, and not necessarily evil himself. But neither scenario would particularly surprise me, it seems unlikely he would be reintroduced as solely a potential love interest for Tim, if that is indeed the route they’re going down. Consider old flames of Bruce’s that get reintroduced, they’re often connected to the plot in some way. 

I... have not exactly sugar coated that I don’t like Bernard. Honestly, I AM trying to be fair. THIS Bernard seems lovely, from the screen caps, but my most recent experience with Bernard was a recent reread of the Robin series, and I just don’t find him historically likable. Some people may disagree, but I personally think some of those some people are maybe going back after reading THIS comic and rereading him with rose-tinted glasses he hasn’t quite earned. 

So, I personally am not going to start shipping this, at least not right now, though I am putting on my clown make up getting my hopes up that Tim might come out as gay or bi. I’m personally hoping he’s gay, but that’s just me seeing a lot of myself in Tim, and projecting my own experience with compulsory heterosexuality onto him, and I think it would be interesting to explore that with an established character. I would still be happy with bi/pan Tim Drake, and I think that would probably make the most people happy - fans of Tim’s opposite-sex ships get to win, and fans of Tim’s queer ships get to win, and bi/pan people would get a big name character as representation. What would make the most people angry, is if this ends up as a queerbait during Pride Month of all things. 

I... have no hope they might make him demisexual, I don’t know if DC even knows what that word means. 

[ihatetaxes99]

A Brief Retrospective Look At MVA (In The Anime)

Well. Here we are. Every end of the time is another begun. After what has felt like years of anticipation (mostly because it actually has been years), My Villain Academia has been fully animated. Well, "fully" may be the wrong word here, but that's something I'll get into later.

To honour the end of the arc, I decided to do two things: One, I re-read the entirety of the arc in the manga all in one sitting; Two, I rewatched all five episodes of the anime's adaptation back to back once again. My life is pain and I know not of sleep. Anyway, the reason I did this is because of a little project I proposed to myself back just before the first episode aired; Once MVA was done and dusted, I would go back and give my own retrospective on the whole thing. Because why the hell not, sounds like fun. This will also hopefully be less emotional than my thoughts I shared as the episodes were still airing, but who knows?

So, let's begin. And I wish to start by stating that My Villain Academia is my absolute favourite arc in the manga. It did a lot of things right. It focused entirely on my favourite faction, the villains. It offers a glimpse into their lives and goes a long way in humanising them, particularly Spinner and Shigaraki. It sets up key points for others too, such as Mr. Compress' habit of thinking more about the bigger picture than the others, which would factor into his major reveal during the Paranormal Liberation War and of course the formation of the Front itself. It introduced us to Rikiya Yotsubashi, one of my favourite characters in the manga, even if he honestly peaked in this arc and was never as good again. And it gave us a large-scale, grueling fight for supremacy in which I found myself actively rooting for the League. It is, in my mind, the very best of BNHA, the only arc I would want them to do well in the anime. They could screw up literally everything else and I would be happy if MVA was even just as good as the manga, it didn't even need to be better. I would have been delighted to have an excuse to experience the arc all over again, seeing my favourite moments with the sublime soundtrack and voice acting.

Yeah… 

But before I get to that, let us take a little trip of sorts down memory lane to see the road to MVA, what led to it. So, 2021 rolls around. What a fun year. It's just 2020 without the excitement of everything being so uncertain, and frankly it's been really fucking boring as a year. However, BNHA Season Five was announced. In February, we get the first trailer for the upcoming season. It's... It's fine. Obviously, it focuses heavily on the Joint Training Arc (in fact, that is all it shows) and although I despise that arc with a passion, it's not too bad. I had not watched the anime since Overhaul ended, so my plan was I just wouldn't watch JTA and would wait until the big attraction, MVA. And so, Joint Training starts. And it goes on. And on. And on. I checked back almost two months later to discover it still wasn't over yet. Now I found this odd. Joint Training Arc was horrible for many reasons, but the big one was that it dragged on for so long as a result of Horikoshi's health complications, which is by no means his fault. But, surely the anime, which would consistently release on a weekly basis, wouldn't have the issues associated with this. Episodes of BNHA have always encompassed around three to five chapters, and Joint Training's were shorter than usual, so why was it taking more than ten episodes to adapt it? 

Very strange, but I didn't question it much. Then, the key visuals released, confirming that MVA was at the very least happening. Great, wonderful. I love it. We've got the whole gang there, seeming like they're in Deika, looks pretty good.

Wait, did I say whole gang? Yeah, my bad, there was someone missing. Spinner. Now, I am not the biggest Spinner fan so I wasn't prepared to riot over his exclusion like I would have been if Compress wasn't in it. But this was starting to get strange. Spinner was the main narrator of MVA. Even if his importance was not on the level of Shigaraki, Twice and Toga, it was certainly more than Dabi and Compress, who did both appear in the art. Why was he excluded? Obviously, I bet you're all having a good old chuckle to yourselves right now because in retrospect, this makes perfect sense now.

Alright, then. I heard from a friend around June time that Joint Training was finally over. Awesome, great, time for the good stuff- why is there a Christmas episode here?

Yes, this was probably what really started to get the alarm bells in my mind going. The Christmas episode- in June. Very, very strange. Also, absolutely no mention of Rikiya, which even if they were reshuffling things, I would have expected him to appear in the episode of Bakugo and Todoroki getting their licenses, since it directly ties in. Concern levels rising, I shrugged it off and waited for next week.

Bam. Major reshuffling. Now, Endeavour Agency comes first, fuck you if you want context for who the hell the PLF are or the significance of Destro's memoirs. This was really starting to worry me now. I told myself that the key visual meant that MVA had to be happening, but it was starting to seem like the villains were being shafted. A fact not helped by the new OP.

Look, I'm sorry. I don't mean to complain or whine, but season five's second OP is just bad. The music is fine, I have no problem there. But the visuals are just awful. Not only is there an extended focus on that stupid bloody trio of Midoriya, Bakugo and Todoroki, not only is there more screentime given to characters who don't appear in MVA or EA than the main cast of the former, but the animation itself is just so stiff and lacking. It had potential, but the visuals are the worst out of any recent anime opening I've seen in a good few years and this was what got me really panicking.

Boom, a beach episode smack in the middle of Endeavour Agency to promote the upcoming movie. Boom, adapting two chapters per episode during EA. Boom, the Shirakumo episode, which I always thought was part of the War Arc and not EA. But finally, mercifully, the title leaks came and it was revealed that episode 20 of season five would be the start of MVA.

20. Out of 25. And it was pretty obvious that they weren't going to end the season with MVA, so really, up to 24. Ohhh no…

But hey, I'm an optimist sometimes. I was excited to just finally be clear of all this nonsense and get to the real good stuff. Hell, in preparation, I watched the entirety of the season up to that point. I finally realised why JTA took so long and it's one of the most depressing things I've ever learned, in a bad way. Were all those flashbacks really necessary? EA was okay, as someone who as a manga reader, already had the necessary context for the PLF stuff. The beach episode, I watched half of, got too bored and skipped the rest of. And you know what, I liked the Shirakumo chapters. They weren't as good in the anime, but it was nice to see.

And then, finally, in comes episode one of My Villain Academia, on a cold, dark August morning. I even bought Crunchyroll Premium to watch it as soon as possible, I was excited. All the messing around, all the crap, it was finally over and the time had come to enjoy what this season was really all about.

I can now safely say why Bones kept pushing back MVA, because if I was them, I would be embarrassed to show this.

No, that's not fair. I promised I wouldn't get too snarky, so let's reek things back in. As a whole, MVA has been… fine. Just fine. Not good enough to justify the bullshit, but not horrendous (mostly.) In fact, right now, I'll give a ranking of the episodes, my worst to best:

5) Episode One 

4) Episode Two

3) Episode Three

2) Episode Five

1) Episode Four

Yeah. So, there's a clear pattern here, that things more or less got better as time went on. From just straight up bad, to still not great, to alright, to the final two episodes being what I would comfortably call good. This is not a good look. I'm sorry, but Episode One, an episode that I just called bad, is still one of the season's best in spite of that. That spells out awful things for this season as a whole. But what exactly made this such a disaster?

Well, cut content is the big thing. MVA in the anime cuts out:

The League's battle with the CRC

Their struggle with poverty

The sushi joke setup

All of Spinner's character

All of Rikiya's character, including most mentions of Detnerat and Miyashita

Fairly integral pieces of Skeptic's character

Most of Giran's integrity and bravery

This doesn't look too bad at first. It could be far worse. We got basically everything else from the arc, so what? Well, I would already be annoyed about all of these cuts, but the issue is that they cause a knock on effect. Without the establishment of the League's poverty, the payoff of Toga's duffle coat now makes no sense. Without the setup of Spinner's characterisation, his battle with Hanabata now feels hollow. Rikiya's surrender to the League now makes even less sense, as his love of human life and desire to cause no more death is completely non-existent. The first time Rikiya being a CEO is mentioned is in the closing minutes of the arc. The sushi scene is hamfisted into a two second flashback just so that the payoff makes some sort of sense, but again, it is hollow without it being at the start (this is also the first mention of the League's poverty and it literally happens just as they are freed from it.) Can you see how these little seemingly unimportant cuts spiral into bigger problems? I would have been pissed even if they hadn't caused some tremendous cascades, but the fact that they did just makes this from a subjective issue to an objective one.

Yes. They did some things well. Toga's backstory is mostly intact, SMP is just as satisfying as the manga, Tenko's backstory is one of the best things the anime has ever done, the awakening is very well done, I adore the PLF formation as much as I did in the manga. Everything important is intact, but as I keep saying, you cannot just keep the bare minimum and expect it to work. How about in the next arc, they decide to cut everything involving Bakugo out, and only keep him jumping in front of Midoriya because it's the only absolutely necessary thing he does in the arc? People would be pissed, and it's the same thing that's happening here. It's a problem, it's not just a bad adaptation, it leads to bad storytelling in general.

The animation. Now, I do not believe this is a be all, end all. BNHA's anime is never going to look as gorgeous as Horikoshi's art, that is a fact and I do not begrudge them for that. They have a week to draw hundreds upon hundreds of frames, it's not a process that lends itself well to good looks and the animators and artists do their best with what they have. This does not change the fact that it is extremely hit or miss. Some things, Tenko's backstory in particular, look fantastic. Other things, mostly every action scene, make me laugh at how bad they can look and some things, particularly Twice and Re-Destro's hideous designs in the anime, make me cringe. The lighting is also an issue. Garaki's lab looked fantastic, but every other scene is just boring mid-afternoon with dull, basic lighting. I don't expect huge detail, but sometimes, it fails to achieve competency and as an extremely popular show, I don't think that's okay. I don't blame the animators, I blame the higher ups. And while I wouldn't mind the poor animation and art in an MVA that at least has all the story content, this does not have that and so I am even harsher than I would have been.

MVA was rushed. That's not up for debate. It took forever to get to it and once it came, things moved so quickly that they gave me whiplash, with no time to think or lament. Now, this could be attributed to the story structure of the arc, which is essentially a series of big fights, and it just isn't as bad in the manga because I can stop at any time to catch my breath. But I think it's worth noting that the anime at least highlights these issues. Curious dies in the same episode where she first appears, really driving home how pointless she was in the end. Episode Two alone tries to cover everything from the journey to Deika up until Jin finding Toga's body. That's a lot of content to fit in one twenty minute period and it was bound to feel messy in the end. I will say that, much like everything aside from the animation, this did get better as time went on, with episodes three, four and five adapting more reasonable amounts of content, compared to one giving us almost nothing and two giving us too much.

At the end of the day, that was it. The show's over. MVA has been closed in the anime. It will never be given a chance to improve, to go from just fine to anything even close to the manga. Why did this happen? I don't think we'll ever truly know. Some blame the new movie, others the studio's lack of faith in the villains, and there are those who say that it's just how fate turned out. I personally think it's a combination of all of these things. Without the movie, that beach episode wouldn't exist, giving more time to MVA, without the studio's hesitation, we'd perhaps get stuff like an actual good OP and perhaps some more general hype for it (I mean, MVA didn't even get a trailer.) Whatever the reason is, we got what we got. My verdict is something that's very overplayed as of late, but seriously, just read the manga with the fantastic soundtrack playing in the background. The anime's adaptation of MVA is not worth the time investment, when you could read the manga in roughly the same length of time and get more content, a more coherent plot and beautiful artwork.

So, what may come next for Season Six? I don't know. Season Five has definitely been one of the most unpopular seasons in the anime, with a lot of people speaking out against it, but this mostly seems to come from the Western fanbase, so it's up in the air if Bones will learn from their mistakes. Since they'll have a full season to do presumably the War and Rouge Deku arcs, then I feel like they'll put on a better show. But we just don't know. Spinner had his spotlight stolen this time around, will Compress suffer the same fate in Season Six? Dabi and Toga will probably be handled well, since they have inexplicably high amounts of popularity, but with his own lack of recognition rivalling Spinner's, I can see Sako ending up much the same way. Time will tell, I suppose.