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tame-the-lion-writes · 3 days

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anything but worthy [pt.2]

This is reposted from my ao3!

[SFW Arthur Morgan] tags: omegaverse

Ever since you were a teenager, you've loved romance books. First you pretended to hate them, and still occasionally do, but for all the tropes that you’ve scorned, there’s something inherently addicting about them, too.

You shared this little obsession with Mary-Beth, and as such, occasionally shared each other’s novels. She was an aspiring writer, you knew, and as an avid consumer, she’d appreciate your tips and critiques. But if there was one thing you couldn’t share, it was how much more you fantasized compared to her.

Pride and Prejudice was lovely, really – a testament to the change people will go through because they love someone. Romeo and Juliet was more of a tragedy, and while you understood the political metaphor, as a story, it felt a little too juvenile. There were the non-romances, too – Robinson Crusoe, Tom Sawyer or Huckleberry Finn. Hell, you’d even read Charles C. Chestnutt, since you were so invested in the politics of the time. Equality for everyone, past the bare minimums of the Civil War!

But, on some level, you didn’t want the sensical. You didn’t want things that made sense – you craved suspension of disbelief. You craved something more primal, something that could be set aside from the sociopolitics of everyday life – something private, and personal, and perhaps a little… perverted.

Ugh. Putting it like that made you sound like you needed church.

(And perhaps you did.)

– but that wasn’t the point!

The point was – that for the past year, you’d been miraculously saved by a big strong mountain man, and now, in a time when women only had the options of marriage, elementary schooling, or prostitution, you had been swept into the wild drama of a gang of outlaws. This in itself was perfect romance material!-- if not perfect – ugh – Victorian erotica material.

(Because yes, those existed – though you certainly wanted something better than a couple dozen pages written from the perspective of a fucking flea.)

Now Arthur Morgan, in particular, was perfect romance material. You and Mary-Beth – and even Tilly – yes, Tilly! – had agreed as such. John was taken, Sean and Bill both idiots – though Karen would probably settle for the former. Javier was a romantic with a lovely voice, but you didn’t know him all too well, and Charles was almost too quiet. (Again, almost – he was handsome and kind and patient.) Dutch was taken, Hosea was more of a father, but Arthur – Arthur – he was a perfect mix of rough and sentimental. A perfect mix of rugged and gentle.

Though you might have underestimated just exactly how rough he could be.

Not to mention that he was an alpha – the greatest one in the pack, even above Dutch, you’d decided.

Admittedly, you didn’t notice at first – notice how often he looked at you, at least. You noticed his strength right away of course, and how much of a leader he could be when necessary, but it took Mary-Beth and Tilly and Karen – all of them – to make you realize he had taken a liking to you.

“God, you’re oblivious as hell, ain’tcha?” Karen had said one evening, throwing her hands up in the air. “The man’s been eyeing you like a piece of meat!”

“Now, I wouldn’t say a piece of meat–” Mary-Beth countered with a nervous chuckle, shaking her head. “More like a… a male lead!”

“A male– a fuckin’ what now?”

Tilly giggled in the background, covering her smile with her hand. “You know, Karen, like the main love interests in Mary-Beth’s books.”

The blonde made a face, scrunching up her nose. “You know I don’t read that shit. Too sappy for me.”

“It’s not… ‘shit,’” you defended with a smile, albeit an understanding one, but seeing Mary-Beth pout, you had to say something. “They’re pretty good in my opinion.”

“Oh, don’t you dare change topics with me, girly,” Karen scolded, rolling her eyes. “Either way, you know what we mean!”

Actually, you didn’t – not until then. It was hard to believe a man like that could like you. But ever since that conversation, you found yourself looking over your shoulder more, darting your eyes in Arthur’s direction to try and catch him in the act. For the longest time, however, he seemed normal – busy with something else, not even close to facing you. You had nearly given up when, one night, when the gang was celebrating a successful job with drinks, that you looked up to see blue eyes staring you down, laced with a certain expression halfway between affection and lust.

That day, you looked away, red face hidden in the darkness. But from then on, with his whatever toward you confirmed, a returned interest had started to grow. And boy, did you try to hook him.

It started with simpler gestures, really – an odd form of courtship since you were shy and he just felt so big compared to life. You’d do all his laundry, hand him coffee or stew, or leave him a newly repaired shirt on the table by his bedside. One time, you even managed to scourge together enough money to buy him a new ink pen. Your excuse?-- that if he kept writing in his journal with pencil, the graphite would rub the letters clean off one day. And you knew how much his writing and drawing meant to him, even if he denied any form of intelligence.

But it took another few months before you’d finally gathered the courage. The courage to ask him to stay with you, through the heat – during your heat. But–

“I am anythin’ but worthy of that honor, little girl.”

The response made your heart sink, and for a moment, you thought that was that.

“I’m sorry, Arthur.” Your voice is shaky. “I just thought it would be nice – me and you.”

You felt like a little girl, trembling quietly in the night. All that staring and time wasted – but it was just staring, not him actually planning to act on you. Well, now you just felt a little silly, too. Silly little omega. What kind of omega chases an alpha – not the other way around?

“I guess I’ll just ask Sadie or Miss Grimshaw to go with me again. Or maybe Karen, ‘cause she can handle a gun, too.”

But before you can disappear into the darkness, escape the vicinity and curl up – cry yourself to sleep – he speaks up again, explaining himself.

“I don’t wanna hurt you, omega. I don’t wanna hurt you. That’s all.”

“Oh, Arthur. I’d be okay if it were you.”

Something shifted that evening. And you parted ways with a better understanding.

The following day, the girls helped you pack – Miss Grimshaw being helpful in particular. She’d made sure some herbs for soothing tea was going with you, and had the others wrap up enough blankets for comfort. There was a tower, the older woman explained, back up north in the Grizzlies – nice and cool to keep your fever from being unbearable, yet not quite buried in layers of snow. Compared to the humid mists of Lemoyne, it sounded like sheer paradise. Arthur himself had scouted it out while on one of his trips, and after tidying up the place a bit, deemed it a safehouse for omegas like you, Mary-Beth, and Tilly. (And Kieren, too, but the boy didn’t like to admit it.)

But when you expected Miss Grimshaw herself to hop onto the wagon with you, instead of a woman with makeup too gaudy for her features, you heard a rough groan as a man clad in brown leather pulled himself up to sit at your side.

“Er, Arthur, this is my wagon,” you said, dumbfounded, brain not quite working.

“Yup, I know.”

He cracked the reins, getting the horses to start their little trotting.

“It’s– it’s my wagon. I’m not going to town, you– you know that, right?”

“Yup. I know.”

You stare a few more seconds, stare hard, then sink into your seat, facing forward.

Oh my god.

You hear faint laughter from behind you and raise your head to look over your shoulder, where you see the girls waving – grinning – and Karen hooting and hollering, knowing how things were likely to go.

“Why– why did you change your mind?” you ask, breathless, gripping your hands tight in your lap. “You really didn’t have to.”

“Just thought about it last night. Thought– hell– once thought no one would have me. Then some pretty girl shows up an’-- well– guess your words hit a chord last time we talked.”

“Arthur, nobody in their right mind wouldn’t have you.”

The rest of the trip is spent in relative quiet, your mind busy processing the fact that Arthur would be staying. The stop at Rhodes for food was brief, the pass through Emerald Ranch even briefer. Then it was up to O’Creagh’s Run, where Arthur stopped by an old man’s cabin. The man had spared you a knowing smile, clapped Arthur on the back, offered to take you both fishing later, then sent you your way.

After that, it was just a little roundabout trip to avoid the steep parts of the mountain range, and soon, you two were passing into a clearing where a log tower came into view. It was a sturdy, impossibly pristine place, likely recently abandoned. A nearby campfire was still smoldering, but Arthur noted that people rarely passed through. Ambarino was a scarce place after all, with few homesteads and little reason to visit. And – on the off chance some other alpha was too nosy for their own good – the top of the tower provided ample range for Arthur to threaten them off with a gun.

Settling in, you were starting to feel the haze of your heat, but luckily, Arthur had given you some privacy to prepare. He waited outside, by the campfire, scavenging through the leftovers of the former occupants to see if they’d abandoned any cans of food. In the meantime, you’d bundled up your extra blankets and pillows,

Once overcome by the sweltering heat of Lemoyne, now the cold of the Grizzlies has drifted through the opening at the top of the tower, allowing the cool air to sink and settle around you, and paired with the blankets still lightly scented with the smell of fellow omegas, it begins to slowly you into a sense of security. The stove can be turned on later if needed, to warm both some food and you – but for now, the temperature is satisfactory, and in your chemise, the urge to sleep is instant. You don’t even fight it. Within minutes, you’re drifting off into peaceful nothingness.

And that’s when the sound of a gunshot awakens you.

“Arthur?”

You call out his name in the dead quiet, clutching the blankets close. Your heat is on the edge of full force, and you’re just barely lucid enough to stand. Which you do.

“Arthur?” you repeat, bare feet falling in succession on the wooden floor.

Then it hits you – the swarm of what felt like dozens of other scents. The disgusting mixture of chalk and rotten food, pungent chemicals, and more. But somewhere in the middle, there’s the familiar smell of leather – the warmth of whiskey, and the freshness of rain.

And you notice – it’s raining.

There’s no more gunshots, not that you can hear, but now there’s the sound of a struggle outside. Gasps and coughs and grunts, among the sound of fists landing hard on flesh and bone. You flinch repeatedly at each blow and finally decide to peek through the window, where in the dark of night, you can barely make out the silhouettes of several people.

Two bodies lie still in the grass, water gathering in the wrinkles of their shirts. Three more are standing – one, you make out to be Arthur, while the other two are clearly trying to beat him to a pulp.

Emphasis on trying.

With a well placed kick to the gut, Arthur sends another one flying, and now it’s just him and the seemingly equally large man left.

You can’t make out what they’re saying, but you can make a good guess. Why else would a group of alphas swarm to one spot when an omega’s in heat? The thought makes you sick, and you cover your mouth, slumping against the wall by the window and forcing the bile down.

It takes seemingly forever, but after a while, the sound dies down. One more glance out the window confirms that Arthur is the only one left standing – because of course he is – and the sight of his outline, standing against the bright of far-off lightning strikes, shoulders rising and falling with every labored breath – it makes you want to crawl right into his arms.

But as you open the door and the full strength of your scent floods down the path towards him, his body goes rigid. There’s something wrong.

“Arthur?” you call out a third time. Then a pause.

“... Arthur?”

He turns, and you see the spots of red splattered across his face. There’s this wild look in his eye – not the mix of affection and lust that you’d seen so long ago, but the pure animalistic drive of alpha pheromones. In the rain, the scent hits you. Yes – leather. Whiskey. The smell of dust after rain.

The heat pools in your blood, but so, too, does your body call you to run.

And you do.

Oh, you want the third part? The lovely, lovely smut? Check out my ao3

#omegaverse #arthur morgan #rdr #rdr2 #red dead redemption 2 #arthur morgan x reader #arthur x reader #x reader #reader insert #fanfic #fic #drabble #omega!reader #alpha!arthur

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soubiapologist · 7 months

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does anyone think it's kind of fucked up that seimei is absolutely doing to nisei what he did (and is still doing) to soubi and we're all just like yeah that's fine fuck that guy

#IT IS NOT FINE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!#you don't have to like him but it most certainly is not fine!!!!!!!!!!!!#idk i think we've sort of turned soubi into a bit of a perfect victim archetype. i mean not all the way but i feel like he does something-#fucked up and we sigh and roll our eyes and are like hopefully he becomes normal soon cuz i want to root for him #and understand the tragedy of him doing those things #but nisei is a lot more resistant to this interpretation partly i think because the manga is more up front about presenting him as--#an asshole and partly because nisei believes himself to be an asshole #nisei is an abuser and a monster he is not a perfect victim #i think we see soubi's past and can kind of understand where he's coming from and why he thinks the way he does #we've seen a lot less of nisei's past but from what i gather he's been very isolated all his life #like as soubi's foil it's like #soubi was ''loved'' too much and nisei it seems was never loved at all #more beloved theme naming irony but anyway.#nisei is a victim too.#i'm less interested in who is a bigger victim and how much of an allowance of forgiveness that entails than i am with like #the systems that have allowed nisei to become this isolated in the first place. all he wants is to be. well. beloved #but that's the thing that's going to destroy him.#because every safety net and avenue out has been systematically cut off by seimei.#like what sort of support system is there for people who have done the things he's done to well. stop doing those things.#if nisei escapes seimei he will no longer be. beloved*. he will have no one. he will have to face the fate of being. erm. loveless.#if you will.#and i think that's a fate that a lot of the named paired will have to grapple with in some way or another.#finding identity outside of a self destructive power structure.#anyway nisei is soooooooo much more interesting once you acknowledge him as soubi's foil. to me they are basically the same guy. tbqh.#just. going in different directions.............#you know. how foils work. you understand.#*wrt both the identity sense the way all the pairs are wrapped up in their unhealthy soulmate spiral #but also in the sense that he will have to reckon with the fact that he was once again never truly loved because seimei does! not! love him

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gingermintpepper · 1 month

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I know everyone knows the story of Actaeon and how he met a terrible fate by stumbling upon Artemis bathing in her forest but did you know that Actaeon was Apollo's grandson? That his father was Aristaeus, lord of the bees and the rustic arts and his mother was Autonoe, daughter of Cadmus and princess of Thebes?

Did you know he was trained by Chiron? That he was considered a hunter so skilled his talent was considered divine, that he was his parents' only child and that he was loved?

Did you know the grief that consumed the household when word of Actaeon's fate reached them? That Cadmus cut his hair, that Harmonia wept and was disconsolate and that his parents... well, Autonoe walked the length of the forest, keeping a sharp eye out for her son, but all she saw were the scattered bones of a fawn. Aristaeus too, had heard his son was torn apart and so fruitlessly, foolishly searched for the bones of a man. (There was none to be found)

Did you know that it was Actaeon's ghost, unhappy and unburied, trapped on the earth, who leaned over his sleeping father and told him of his fate? "You will not find me as you knew me, gather me as a stag." And Aristaeus immediately woke his wife and told her the truth, and together they grieved all the night long.

(Did you know that this is why Aristaeus abandons Boeotia? He could not stand the sight of it and so he went to Ceos. And there he slayed the dog-star. And there he became a healing wind. All in the name of his only son, that foolish, beloved Actaeon.)

#ginger chats about greek myths #greek mythology #I'm fascinated by Aristaeus tbh #He's very underrated as far as sons of Apollo go but to my understanding #He's the only one of Apollo's sons that's as multitalented as their old man LOL #Actaeon is also a very sad story #Actaeon only ever knew one side of his family - they never told him that Artemis was his family #In the Dionysica Nonnus writes that Actaeon intended to bring glory to his family by taking Artemis as a bride #And in Callimachus' Hymn they say that his parents thought he was going to JOIN Artemis' hunt and they didn't question him missing #Because they thought he would be running free in the wilds alongside Artemis and her nymphs where he surely belonged #I feel especially bad for Autonoe - she passes by the bones of that deer so many times - almost like she's on the verge of recognising #that those bones belong to her son but she never picks them up - so fixated on looking for her son's body as she knew him #And of course Aristaeus takes it hard too #Some people say this tragedy was enough for him to abandon all of Greece in his mourning and that he took sanctuary in Sardinia #A lot of them say he consulted his father's oracle at a loss for what to do and that it's Apollo that leads him to Ceos #Interestingly - Ceos is also where Cyparissus is said to have lived by some authors and as we all know #Cyparissus had a beloved stag that he cared for like his own heart #It's just very very interesting how some of these things connect to each other #apollo #actaeon #aristaeus #autonoe #cadmus #harmonia

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bylertruther · 1 year

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do you ever think about how will probably wishes he was braver?

that he could tell mike the truth about himself without having to speak in code. that he could stick to his guns when he's been wronged and stand up for himself rather than tucking tail and turning the other cheek. that he could be less shy, less sensitive, less cowardly, and maybe then his loved ones wouldn't forget about him as often as they do.

maybe then they would pick him first, rather than leaving him for last. maybe then they would want to hang out with him and hear what he has to say. maybe then they would treat him like they used to, like he can still take care of himself just like they can, instead of like a fragile little thing that they pick up only when they need him. maybe then they would care about him as much as he cares about them. maybe then he wouldn't doubt that it could all come crashing down once they know who he really is, and always has been, because the rest of him would've been enough.

like, maybe he wishes he didn't freeze or run away so much. maybe he wishes he wasn't so afraid all the time, of every little thing. that he could be brave like mike, el, or his mom. i mean, el's been through so much, too. why can't he be more like her? why does he have to hide behind her? he hides behind her when the monsters come crawling back, and he hides behind her when he can't bring himself to say what he really means—even after getting on her case about it.

he spent so much time on that painting. he didn't let anyone see it—it was that special to him. why couldn't he own up to that? there's no monster in the van with him; it's just him and mike and this painting of the party, nothing inherently incriminating or romantic, and still—he can't help himself. he retreats back into the shadow, shrinks into himself, and tells lie after lie to the person that he never lies to, that he knows doesn't fucking deserve that, just because he's too scared.

of course he'd feel like a mistake sometimes. of course he'd hate who he is (if That script is to be believed), when he can't even talk to the one person that would understand without lying straight to his face, over and over again, like a fucking hypocrite. of course he'd feel so lost without the person that tells him it's okay to be this way and shows him that there is indeed strength in it. of course he'd hate who he is when he's encouraging someone to be true and speaking about their courage, all while being incapable of taking his own advice, and giving the credit for all of his love and efforts and emotions to someone else.

so many people died to bring him back, so many people died just because he didn't stay dead when maybe he should have, and for what? so that he can continue to hide rather than live his life? so that he can turn into a "worse" version of himself? so that he can live in fear? so that he can continue to ache for a past that he can never return to, while everyone else moves forward and berates him for not doing the same? time stopped in the upside down when will went missing, and he's been stuck there ever since, too. too much has happened for him to move on from. too much has changed—he's changed. he's too different now, in every way, and the older he gets the more clear it becomes.

of course he'd feel like a mistake. of course he'd hate who he is. he's the common denominator here: in his loneliness and in this war. the boy who came back to life when others didn't. the boy that got possessed and couldn't fight it. the boy that turned into a liar and a coward and must learn to live with it, even if it's at his own expense. the boy that can't let go of the past and whom the past won't let go of either, because even after everything, he's still connected to this great evil that won't let him go. they got it out of him, and yet the tether remains, because of-fucking-course it would.

just—why? why him? why can't anything ever go right with him? why is he always the outlier? i think that overwhelming amount of fear, shame, grief, guilt, exhaustion, and loneliness would wear anyone down, let alone a teenager that never asked for any of it and has experiences so unfathomably unique that the only other people that could have possibly understood are literally dead.

#will byers #byler #mine #long post #will #anyway. this is how i always interpreted the i hate WHO i am line especially in conjunction with the word ''mistake'' + being different #within the context of EVERYTHING that's happened to will and continues to happen to him and how unique it is to him in this narrative #bc rly. if you were will.... wouldn't you feel like a mistake? even outside of that outside of the supernatural i'm speaking to my #friends that have ''Something Wrong'' with them. when something happens to you and you're not the same after and you're surrounded #by people who are able to move on and be normal—don't you ever have those moments where you feel like a mistake? when you're #growing up and still interested in your same old interests but your friends start moving on and then you see that they went back to #those interests in your absence—don't you feel like you were the problem then? when people are able to be brave and you can't #find it within yourself to overcome your fear—don't you hate that feeling? don't you feel that negativity towards yourself when you #know that you SHOULD do something but you can't bring yourself to and it works against yourself? like. everything that has happened #to will E V E R Y T H I N G !!!!!!!!!!!!! can easily make anyone no matter what part of him you relate to the most understand that #u kno wht i mean? anyway. i jus wanted to bring this up bc his life is a fucking tragedy even without the gay stuff n his current pov on th #and the way that That conversation always centers on fear and bravery it's like. obviously being gay is not easy in that era but i don't #think that line is ''i hate being gay'' with no factoring in of the great many things that have happened to him which alienate him further #as well as with how he does want mike to know and his alan turing poster and his talk with jonathan etc etc #his conflict has always centered around how other people treat him and his issue with that bc that's what makes him feel bad #that just because he's different that doesn't mean that he's Different and must be treated as such #he's different and has people that make him feel BETTER for it like look at s2 for example all of those talks abt using what he perceives #as a weakness abt himself as a strength that no one else can bring to the table. and in s3 when he still believed in being a nerd #and never getting girlfriends etc but when it came from mike thts when he called himself stupid n started down this path bc now #there's that sprinkle of doubt. n tht doubt is the scariest thing in the world—understandably so #also. he literally has an evil monster in his brain like bdkfjhsbkdjhfbskj IT'S JUST A LOT.#he is different for many reasons and has even more reasons to hate Who he is the kind of person that he is #jus my take 😁👍

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strwberri-milk · 3 months

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Hi, good morning/ afternoon/ evening. I've probably read all of your work on LnD, and I love them all. If it's not too much, can I request like the boys getting a call/update from MC after a disastrous wanderer attack on the city after not being able to contact them?? If possible, established relationship😅 ... thank you for your time!

im glad you like all my writing for them!! im so aefjaweofaw please give me the next main story update - also theres lots of references/imagery of death so if youre not chill w that i will see you tomorrow [salute] - theres also some very very slight references to their myths!! it feels a little ooc to me but thats bc. i think theyd be a little ooc when faced w a tragedy like this!! i hope you like it anyway <3

Zayne holds his breath every time a new patient is admitted. The hospital is busy with all of the patients that are coming in with the disaster, a mixture of those hanging on and people running up to him because he's the closest doctor in the vicinity to confirm death.

He volunteered himself to do triage because he was convinced that he'd be able to stop you from dying, that if you came in through those doors he'd be able to separate his love for you from the mind that studied all those nights but that's impossible - he only got here because of you.

His mind runs circles around himself, almost separated from his body as he tries to figure out why you weren't there. Hopefully it's because you're fine - you don't need medical attention or the medics on site were enough for you. However, he knows there's an equal chance that it's just because a doctor onsite was able to confirm your death and now you were in some bag, stored away with the others waiting for him to come identify you.

When he finally gets a moment to himself he obsessively checks his phone, praying to something that might take enough pity on him to listen at the very least that you'll call him. Minutes turn to hours as he's called back to work. Silence is a commodity now as he's stuck in the theatre, only able to go home after he's exceeded the legal amount of hours he's allowed to work in one night.

The long turned cold water hits his muscles as his mind wanders in the quiet of his home. You still haven't called - nobody's called. He understands that surely, all of you are busy but he's been there when the calls have had to be made. To hear the sobs on the other side of the phone as a squad captain confirms the death of another hunter as they softly ask if they'd like to see the body. He's also seen the calls when the bodies are far too mangled, a sight that no loved one should have to bear. He's waiting for it, almost falling in his haste to grab his phone once it finally rings.

Your number pops up, the letters of your name taunting him as he tries to answer it. He's about ready to throw his phone on the ground from the water on his hand refusing to make picking up the call an easy feat.

"Hello?" Zayne asks, an uncharacteristic shake in his voice.

"Zayne! I'm okay!" you say, voice sounding a little weak but definitely better than he could have ever anticipated.

"Zayne? Honey? Hello?" you ask when you're met with only silence, now beginning to grow anxious yourself. You knew he must have been busy - you were too - and you thought he was safe. He should have been, you'd heard no reports of the hospital being attacked.

"You're alive," he chokes out, falling to his knees.

"Of course I am! Things have just been chaotic so I haven't had enough time to call you until now," you explain, continuing to talk to him.

You hear rustling on the other side of the phone, trying to get his attention again before he cuts you off.

"Where are you right now? Home?"

"Oh - yeah I'm on leave now. Most of us who were in active duty are to let his recuperate. How come?"

"I'll be there soon."

He hangs up immediately, leaving you a little stunned. You decide to clean up a little, having nothing else to do really until he comes over. Zayne never acts this impulsively so you assume that the day with no contact really wore on him.

Once he arrives you open the door for him, planning to apologise for the lack of contact when he almost throws himself at you. You hold him back just as tightly, a little shaken yourself as you close the door after him. You realise that for whatever reason he's soaking, unsure if you should confront that but you decide to ignore it.

He leads you right to your couch, too exhausted to even find your bedroom as he buries himself against your chest. It's not the normal way he lays with you - typically he likes to hold you - but you know not to bother him now. You can't deny you were worried about him too, knowing he probably put in a bunch of overtime at the hospital.

He holds onto you tightly, measuring out the beat of your heart. It's the only way he can remind himself that you're still alive, that the two of you have one more day together.

Xavier has never felt like he wanted to die more than in this moment. One minute you were running with him, trying to stop the Wanderer from attacking the group of civilians the next you're totally gone. Logically, he knows you're most likely fighting a Wanderer by yourself and you can handle it but somewhere he's convinced you'll die without him at your side. You've proved yourself more than capable but he worries about you all the time - he knows how to fight these things, he's been fighting them for far longer than you have - and if you died here he'd have no more reason for living.

He practically goes beserk, tearing into each and every creature with the hopes that one of them can take him to you. With each failure he starts to spiral, standing atop a pile of rubble as he watches the recovery teams start to spread into the city. It practically took an entire squadron to force him to go home, promising him that he'd be the firs t to hear once they found you.

You were diligently following Xavier when you noticed another Wanderer going after a child. You knew that he'd panic once he couldn't find you but you couldn't just abandon them. You tried to tell him you'd be splitting off but over all the screams and screeches he couldn't hear you and you couldn't waste any more time trying to get his attention.

You were able to defeat the Wanderer but not before sustaining an injury that made it too difficult for you to continue active duty, taking the child to a safe spot and staying with them until help arrived. You ended up passing out from the pain shortly thereafter, waking up a day later to Tara in your face heaving a sigh of relief as she called for a doctor to come check on you.

Your body was simply fatigued and after an extra day of monitoring and ensuring you were receiving everything you needed to make sure you wouldn't collapse again when you get home. You nod, knowing what procedure is at this point. You reach out for your phone once the doctor leaves, knowing that Xavier must be worried out of his mind.

You're right, of course. He's laying in bed, staring up at the ceiling as he waits for someone to call him. He saw the scale of disaster this attack was, knows that everything is absolutely awful and he's not the only one waiting for news but every minute that passes is another minute you could be trapped, praying that he's coming there to save you.

He decides to ignore the strict orders he's gotten, suiting up to go help the recovery efforts. He was going bad staying in bed all day, unable to get a wink of sleep as pictures of your suffering flash across his tortured mind. Working on pulling valuables and any remnants of life is depressing on a good day but right now it's downright torturous. He can't help but think that the next thing he pulls out is going to be your hand, severed far from your body.

When his phone rings everything disappears. He quickly picks up, steeling his expression to avoid making things worse should someone look over at him. He doesn't even notice who called him, just hoping that it was someone with news.

"Oh! You picked up fast. Are you just sitting at home then?" you ask casually, so casually he thinks it's almost cruel. How could you act so nonchalant about the fact that you held his life in your hands, that you are the only thing in this world he can bear to wake up for?

"No, I'm helping the recovery efforts despite orders. I...it was too quiet at home," he offers as an explanation and you hum. He can imagine you nodding, tapping your chin as you think to yourself.

"If you missed me you could have just said so," you tease, hoping that the ease in your voice will make him relax.

"Of course I did. Is that even a question? Are you able to take visitors?' You know what, doesn't matter. I'll just wait there until you are. I'll see you soon love."

He hangs up quickly and you know that he'll appear in the hospital within the next two seconds with that uncanny ability of his. You straighten yourself out a little, knowing that you were injured but not wanting to look like a total mess.

You can hear his footsteps running up to your door, slamming it open as he catches his breath. You've never seen him out of breath before - maybe he's much more tired than you initially thought.

"You made it," you laugh, making a slight sound from the impact of him practically jumping at you, holding you tightly as he buries his face into your neck.

"I was worried about you," he says softly, looking up at you. "I thought you'd been hurt, badly. And I wasn't there to protect you."

You sigh, helping him sit down into the chair at your bedside. You offer him your hand which he holds gratefully, never taking his eyes off of you.

"I know. I'm sorry. But look, I'm okay now, aren't I?"

He ignores the pain in his chest, trying not to imagine how heavy your hand would feel in his if you really had drawn your last breath. That weight is far too familiar to him, haunting his every thought in the hours that passed between then and now.

"You are. And I'm going to make sure you stay that way," he promises.

Rafayel didn't even know there was an attack until far after it. He knew you were working and that sometimes, you'd accidentally go MIA. You'd already texted him before your mission anyway and then he got drawn into another project of his and completely lost track of time. It's not until the next day that he finally sees his phone and the message from Thomas telling him not to come into the city for supplies for a day or so.

He immediately starts looking through articles, scouring pages that are constantly updating the death toll in search of your face. He curses himself for not paying attention earlier - every minute he wasted on some stupid was another minute you could have spent at Death's door, all because he allowed himself to forget that nothing matters if it's not you.

It's obsessive the way he looks through all of them, calling your phone non stop all the while. Every time he gets sent to voicemail he feels his breath get knocked out of his lungs, resorting to blowing up your phone with texts. When it's clear you aren't replying he grabs his keys to drive into Linkon despite Thomas' suggestion, knuckles white on the steering wheel as he heads to the hospital.

Even in all the chaos people can't help but stare a little as Rafayel makes his way to the counter, demanding someone tell him where you were. He's really trying not to be a brat, promising you that he'd be nicer to people but when it's your life on the line everything is up for debate. He goes through any and every possibility, figuring out what he can do to guarantee your survival.

Unfortunately for him, he gets escorted out. Jenna tries to calm him down, telling him that he'd be the first to know if they had any updates on you. Right now everything was just far too messy to know anything about anyone and there was a good chance that you were just being treated at a different hospital than usual due to the high causality count. He doesn't take no for an answer and manages to strong arm the name of the other hospitals you could have been sent to, starting up his car again right as his phone lights up with your name.

"What do you think you're doing not answering your phone?!" he yells, making you flinch.

Rafayel's never been mad at you, certainly not to this extent but you know that it's because he's anxious. He immediately catches himself too and you hear it, catching the sound of his hands against his steering wheel as he takes a deep breath.

"I'm sorry. Just - where are you?" he asks, sounding so exhausted that you feel like crying.

"I'm okay Rafayel," you say instead, adding the name of your hospital. He's immediately driving over as you talk to him, keeping your voice even.

"I was split up from the group is all, then triaged at a different hospital. I'm fine though - I managed to just sprain my wrist from overexertion so I'll have a sling for a bit-"

"You're staying with me then. I'm not having you stay alone with a broken wrist. Knowing you you'd do something dumb and make it worse," he scoffs, trying his best to drive safely to see you again. You don't bother to correct him, knowing that's the least of your worries.

You fall quiet, not sure how to respond. Rafayel has always been good at masking how he feels, rarely showing you what he's hiding behind his mask. Now he's an open book, making it clear that nothing will be okay until he sees you again.

"Okay," you agree, leaning further back into the pillows of your hospital bed. "They wanted me to be released into the care of someone if I could anyway. That's why I was calling you - that, and trying to return all your missed calls."

"Thank you," he says so quietly you barely hear him over the sound of his car.

"Of course my love," you say just as softly. "I knew you'd worry as soon as you saw the news."

Another moment passes between the two of you. Rafayel thinks his heart fell out of his chest - or it would have if it was still his to hold. Instead, it's beating firmly in your palm, only able to do so under your affections.

"Rafayel, I'm really fine, I promise. I'm just hungry. Let's get something for dinner, yeah?" you offer, hoping to redirect his energy.

"Yeah," he replies, exhaling deeply.

"Anything you want my beloved. Just name it and it's yours."

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dead-g0rl-walk1ng · 2 years

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Happy late birthday to Cliff Burton! My favorite bassist 🫶🫶

#cliff burton #metallica #bassplayer #bassist #bass #Clifford burton #also y is every birthday post I see more ab his death than it is his birthday :(#and like I get I’m doing no better by bringing it up here but still it needs to be said #he is so so so much more than his death #and I understand everyone’s sad about it still and his birthday is one of those days where people would acknowledge that #however with him it’s a constant thing #I’ve never seen anything posted ab him without someone bringing up his death #try to talk more ab who he was #and not what happened to him #and I’m not saying don’t talk ab that sad event #but try acknowledging him more as a person than a tragedy yk #much love to him

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maybeiwasjustjade · 2 months

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Genuinely, perhaps 99% of me, believes that the only reason Condal and Hess made HOTD Aegon a r*pist/have adult Aegon’s introduction the aftermath of the SA of a maid, was because they knew that if Aegon was just a drunk and a cheat—like almost all Westerosi men—he would be too tragic of a character not to root for, and they really couldn’t have that. No, Aegon has to be the monster to Rhaenyra’s saint, because if you took away the act that made him monstrous, he’s so easy to root for, and the TB/TG divide would be significantly larger.

Cheating and visiting brothels are quite common in Westeros, with the vast majority of male characters doing one or the other or both. Drinking is even more so. Aegon would still be palatable with either or both traits because it doesn’t make him worse than Rhaenyra. Rhaenyra had three bastards with Harwin because Laenor’s gay, so it makes her affair understandable and valid. Aegon was forced to marry his own sister as a young teen, and clearly despises the whole targ-incest tradition. Why is it a crime that he doesn’t find his little sister sexually or romantically attractive???

Aegon’s basically a Greek tragedy made flesh. The eldest son conceived to be a long-awaited heir, yet simultaneously cheated out of a birthright. Born wanted yet unwanted, the heir who is not an heir. Meant to be loved, yet raised without it, with a mother’s disdain and fear as his only companion. His father stopped wanting him sometime after his second birthday (probably around the time Jacaerys was born), and his mother never wanted him anyway. His mere existence is a threat to a crown he never wanted, yet nobody cared when they placed it on his head. He wants love but no one loves him, and contrary to popular belief, that lack of love didn’t just stem from adulthood. He was a little boy once too, who very much didn’t deserve that level of apathy.

Married to his sister despite his clear disdain for his family’s incestuous tradition. Forced to father children on her at the grand old age of sixteen (and she fourteen). The only thing he ever really loved was his dragon, and the children he had. And even those he loses to tragedy, and someone else’s doing.

It’s not at all a surprise that Aegon’s defining trait is his love for Sunfyre. A ridiculously strong bond, born from years of having only each other. Moreover, a dragon is the symbol of power, which Aegon has little of. He can’t protect himself from his own family’s abuse or machinations, and unless he claims the crown everyone he loves will die. Dragons also represent freedom, and the ability to just fly away. And if there’s one thing Aegon wants more than anything in the world, it’s to run away from his family and the accursed throne.

In that, he’s not so different than a young Rhaenyra (pre-personality change anyway). Young Rhaenyra hated having to conform to societal standards. Hated having no choice but to marry, and to whom. She too wanted to fly away to freedom. There’s too many parallels between the two, even down to their ages pre-timeskip. Rhaenyra was about 18, and Aegon now is only 20. Yet Rhaenyra at 16’s only problem was whether her infant brother would replace her as heir, while Aegon’s was being forced to play house with his sister and newborn twins.

Perhaps misogyny and society would always be Rhaenyra’s greatest opponent, and the same Aegon’s ally when it comes to their claims, but it was not the only issue. Precedent declared that Aegon would be heir ahead of her, yet it was Rhaenyra’s position and honor that Viserys defied law for, even when she committed high treason against the crown thrice. She got everything; Aegon had nothing. He’s the underdog of the story, not her. So had they not made him an on screen r*pist (unlike Daemon who was off-screen one and merely an on-screen pedo and wife-killer), it would’ve been very hard for the writers to push their “Rhaenyra good, TG bad” narrative. Those two would’ve had too many parallels and foils for it to work, and they really couldn’t have that, could they.

No, Aegon has to be the villain; Rhaenyra has to be the hero. It’s a black and white war, good vs evil. That’s the story HOTD is trying to sell, and not at all the complex tragedy of a family tearing itself and its dynasty into pieces over greed and idiocy.

#aegon ii targaryen #anti hotd #team green #Rhaenyra critical #though not really #merely pointing out similarities that her fans won’t like #anti rhaenyra stans #anti tb stans #because i can #anti team black #because some of them found this and no i don’t care for discourse atm #dont like dont interact

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brionysea · 1 month

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when it comes to the umbrella academy, a lot of people seem to think that the first half is great and the second half is terrible. personally, I think only the first *season* is great, or even good. here's why:

the mission statement at the end of season 1 is fixing viktor, but viktor isn't the only broken one, so you can infer that they're all going to have to fix *each other* - as a family, the one thing their abuser never let them be. and the world's burning down around them because of the most dramatic sibling confrontation to ever grace the earth, but they're holding hands and escaping together and surviving the impossible with the intent to move forward, even if that means momentarily moving backwards. it's a masterful allegory for finally growing up, accepting responsibility for your personal trauma and tragedy and how they shaped you, and the moment you take that power back by choosing to heal your inner child, only after being slapped in the face with the fact that if you don't, it *will* destroy everything you've ever built, ever cared about, and ever could.

and then the rest of the show forgets all of it. as it were, it goes in the *exact opposite direction.*

on the surface, the second season isn't *as* bad as the subsequent ones are. but season 3 and 4's faults can be traced back to season 2 by how it pivoted away from the serious subject matter that the story (not the plot - the *story*) was heavily baked in, leaning hard into the goofier elements instead, without ever understanding the contrast that those conflicting elements served to highlight. it made them both more powerful; the jokes were funnier because you were just devastated, and the trauma was more devastating because you were just in tears laughing. the emotional roller coaster is key to understanding these people, and you *have* to take the serious stuff seriously for it to work. at least half of the show doesn't, and as a result, the emotional moments feel hollow.

controversial opinion: as a character, luther is better in season 1 than he is anywhere else. he's more unlikable, but that's because he's implicitly there to show what *not* to do - even if he'd succeeded narratively by locking viktor up and saving the world, he still failed thematically by emulating their father and continuing the cycle of abuse - so luther's a character that's being very effectively used to add to the core theme of the story. he feels like a real, frustrating person, whose brain chemistry got messed up by years of abuse and isolation, all for the crime of thinking his father loved him and wanted the best for him. not like a made up guy on your screen doing silly stuff solely for your entertainment.

season 2 was also the start of the characters getting love interests instead of storylines, which season 1 never would have *dreamed* of; klaus and dave's tragic romance only served to further klaus's character arc, viktor's creepy boyfriend was actually manipulating him the whole time, five's fractured-psyche-mannequin was a narrative tool to let us see into the head of such an emotionally reticent character, and so on. the romance served the character, but fairly quickly into the show's progression, it felt like the character started serving the romance. five was immune to this curse for a long time due to aidan gallagher's age, which is why he's (for the most part) the best, most consistent character across the show, because they had to use their *imagination* for him and actually *write an arc* instead of falling back on tired romance tropes that any selection of characters could slot into to fill the dead space.

after season 1, the umbrella academy is entertaining, but it doesn't have anything to *say.* which is extremely disappointing when the show initially made such a strong case for what it wanted to be.

#the umbrella academy #tv: tua

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la-pheacienne · 3 months

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I feel like I understand people's blorbofication of Javert because I get why someone would really cling onto a complex (male) antagonist with a traumatic past whose entire life is a lie and who kills himself when he reaches that final moment of realization. It is absolutely tragic, and it is easy and natural to cling onto that, we've all been there. But you need to understand that two things are in motion here: the first one is Javert's individual tragedy, and the second one is the broader system he personifies. He's a symbol. His primary function in the narrative is to personify the hateful, bigoted, cruel, inhumane legal system that intervenes after the fact and crushes all those that society has already put down. He, the incarnation of that bourgeois legal system, delivers the final blow. He finishes off what society started, and he does it with joy. When we say that he killed Fantine, it's not even about Javert the individual per se. It's about the entire system he represents. That system killed Fantine and Javert is its flesh and bones. Fantine was a poor girl that was exploited and let down by society in every single way and when she was herself a victim of actual physical violence, the Law, personified by Javert, instead of protecting her treated her like an animal, dehumanized her, humiliated her. The Law was scandalized that a woman like her dared attack the bourgeoisie. The Law was horrified that such a disgusting creature got medical care because she should just drop dead on her street. The Law rejoiced in tearing down her sole protector. The Law prevented her from getting her child back from the con artists that have been stealing her for years because the Law doesn't care about the crimes committed against marginalized people. That's not its function. Its function is to use its discretionary authority in order to dehumanize and punish people that ended up on the wrong side of the street.

So when you come at me with nonsense that Javert "didn't tEchNIcALLy kill Fatnine", "he was just rude", "he was just bitchy", "he just stole her final happy moments", respectfully, you don't know what you're talking about. Javert absolutely killed Fantine. He's not the only one who did but he eagerly and enthusiastically precipitated her execution, and that is the entire point Hugo is trying to make. Your arguments against it are nothing but a mere technicality that stems from the fact that the individual's actions technically do not qualify as manslaughter. It's as if we literally had an individual at court and we were thinking of whether or not to condemn him for manslaughter. It's not about that. It's not about your blorbo and his sadness. Your blorbo has a whole other function in the narrative. You have completely missed the mark of the entire book and you have let your personal emotional attachment for a character prevail over Hugo's main argument about the structural punitive violence that literally kills people. Javert being the product and the embodiment of an entire system that exceeds his individuality does not mean that, as a police officer, he's not responsible for his actions or their consequences. On the contrary, he's precisely entirely responsible for the structural violence committed against Fantine, that's what "embodiment" actually means, that's what we mean when we say that he personifies that system. Absolving Javert of his crimes goes directly against the themes of the book, because while systems operate above individuals by definition, they need those individuals to function. The system needs Javerts. Javerts are everywhere around us, yes even today and it is important to hold them accountable for their crimes. I can't believe I have to explain this tbh.

#javert #les miserables #the brick #les mis letters #lm 1.8.4 #aspa reads les mis #fantine

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vrystalius · 25 days

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What does Sanemi like in a woman in terms of appearance and personality?

💕 The hashira’s preferences and likes in a partner

What do they like and prefer? Keep in mind that those are what I imagined for them and maybe won’t align with your imagination! Forgive me. <3

Note: I know you asked for Sanemi, but I decided to add the other hashira. I don’t want to neglect the others, but I made sure to make Sanemi’s part extra long! I hope you don’t mind <3 Anyways, thank you for requesting and enjoy!

Pairing: Sanemi, Kyojuro, Gyomei, Tengen x female!reader

(Mentioning of being motherly in Gyomei’s part)

💚 Sanemi Shinazugawa 💚

Sanemi doesn’t care about appearances, at all. The only thing he would prefer someone with a little more weight.

If you let him, Sanemi adores to just lay his head on, or preferably, between your thighs. They are so warm and feel so perfect resting on his shoulders. He’ll wrap his muscular forearms around them and gently give them a squeeze, smirking up at you.

Sanemi is a cuddle-bug and loves to be the big spoon and hold you. His calloused palms would travel over your whole body, lingering a little longer on your stomach. He likes holding and squeezing it a little, just to feel you squirm a little. It makes him chuckle.

Another thing I can think of appearance wise is that Sanemi would like someone shorter than him. He loves picking you up and just toss you around for giggles. Also, head-pats!

You’d be doing whatever when Sanemi would walk up behind you and give you a small head-pat, and then move on with his schedule. He’s also loves it when he needs to lean down slightly to kiss you. It makes him grin every single time.

Personality wise, Sanemi needs someone patient. He has a lot of issues, some he isn’t even aware of himself, so he needs a lot of time to work through them all, step by step. He craves reassurance and safety because that’s something he never truly had.

Sanemi needs someone that listens and understands what he’s trying to express, even if that’s through yelling or desperate attempts at trying to explain himself. He needs a partner that can calm him down, that listens and that shows him reassurance.

Also, Sanemi is incredibly afraid that he can loose you any moment. Perhaps by you being fed up with his personality or through a tragedy like a demon or crime, so he’s going to be very overprotective and clingy. He needs to make sure that you are safe and are going to stay with him. Again, this poor man needs a lot of reassurance and love, so be patient and loving with him.

Something that he needs in a partner as well is someone who is openly affectionate. He wants you to show him off, that you are glad and proud that he is your partner. It may make him flustered and he will complain about it, but please continue doing it.

In conclusion:

Appearance: Big thighs and stomach

Personality: Patience, reassurance, lots of affection

❤️‍🔥 Kyojuro Rengoku ❤️‍🔥

Kyojuro doesn’t care about appearance either, but he’d had to choose something, it would probably that he prefers someone with a bigger chest. He enjoys putting his face right between them, enjoying the warmth and intimacy.

They’re also like pillows for him.

Kyojuro can rest his head on top of them, listening to your breathing and heartbeat, while at the same time getting cuddles from you and being affectionate. It’s perfect!

Kyojuro perhaps also appreciates bigger thighs, just like Sanemi. He likes watching them “melt” when you sit down. Looks like a perfect place to rest his head if you ask him.

His favourite thing is when Kyojuro lays his head down onto your thighs while you run your fingers through his hair. He’s going to have the biggest smile ever while his chest rumbles slightly, almost as he’s purring. Maybe he’s a cat in disguise?

Personality wise, I think Kyojuro would prefer someone either that matches his loud and booming personality, matching his energy and loudness, or someone very calm.

If were to match his energised and cheerful personality, you two would be unstoppable. Your conversations will be heard by everyone, if they like it or not. You both support each other in the fullest in whatever you’re doing, and you will be each other’s biggest cheerleaders and supporters. Also, you two would play wrestle around, tickle each other and have affectionate play-fights.

If you are a calmer person, Kyojuro likes how much of a calming effect you have on him. Not that he looses any energy around you, he just has more moments where you two can relax and lay low for a while. Kyojuro will still be your biggest cheerleader and motivator out loud, while you are quietly support him with lots of kisses and praises. Also, being around your calm aura gives him reassurance and safety, wich he appreciates greatly.

In conclusion:

Appearance: Bigger chest, thick thighs

Personality: Either matching his or a calming one

🧡 Gyomei Himejima 🧡

Appearance wise, again, Gyomei doesn’t care what you look like. The only thing Gyomei would perhaps prefer in a partner is someone short. Not that that’s hard. Gyomei knows that he is a giant, and he absolutely adores holding you close and feeling the size difference. It just makes him cry and melt at the same time.

Also, perhaps Gyomei likes it when his parter is physically weaker person. Again, not that it’s hard to be weaker than him given that he is the strongest hashira, but Gyomei gets warm on the inside when you need his help to lift something. It makes him smile when he hears you gasp when lifts something you could never imagine lifting or carrying yourself, while Gyomei does it with ease. It’s adorable to him.

Regarding personality, I think Gyomei would appreciate someone who is very caring and attentive, even to strangers and especially to children. We all know that Gyomei has a soft spot for children, and he would cry a river if he’d hear you interacting with children and being motherly with them. It makes him think things.

Also, Gyomei would like someone that is affectionate. Doesn’t necessarily need to be pda, he just loves it when you randomly kiss, hug and call him pet-names throughout the day. It makes him cry and feel loved for.

You once made multiple bento boxes for Gyomei, being worried about how intensely and long he has been praying and training. You thought that he would pass out at this rate, so you insisted on him taking a break and eating every single dish you made for him. He appreciated it greatly how much you were caring for him.

In conclusion:

Appearance: shorter, weaker than him (I really hope this doesn’t sound weird)

Personality: Caring, motherly, affectionate

🩷 Tengen Uzui 🩷

Now, Tengen would care a little more about appearance. He probably likes it when you have a bigger chest. Looking at Hinatsuru, Suma and Makio, it’s not a big surprise he’d like that. When group cuddles come around, Tengen will whine if you don’t let him rest his head on your chest and he will not stop until you let him cuddle your chest.

Also, Tengen would probably like someone that knows how to take care of oneself. For example, skin-care, elaborate shower routines, maybe even make up. Out of all the other hashira, he probably values appearances the most, although it’s not the most important to him.

Tengen would maybe value someone who is shorter than him. He himself is a giant, and he loves comparing sizes to you. Your hand in his? So adorable! You’re a head shorter than him? Head-pats, all day every day.

Tengen would maybe like someone who more calm and collected. You just radiates a safe aura to him.

If you are on the calmer side, you’d be like the voice of reason along side Hinatsuru. Tengen appreciates it how you can calm Suma, Makio and himself with just a couple of words or touches.

He loves it when you cup his face and just hold him quietly, permitting him to rest his head on your chest as well. Your calming aura makes him feel safe and comfortable.

💠

Thank you for reading! I’m sorry if it fell a little short or doesn’t fit your own headcanons, I tried my best.

Anyways, make sure to EAT, SLEEP and DRINK enough!

Take care of yourselves <3

Here’s my masterlist for the hashira.

Here’s my masterlist for the demons.

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linkspooky · 3 months

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JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

#mha meta #mha spoilers #mha 426 #mha 426 spoilers #shoto todoroki #dabi #toya todoroki #enji todoroki #under the red hood #jason todd #bruce wayne #batman #mha critical #todoroki family

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amuseoffyre · 1 year

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I’m emotionally ruined by the fact that Aziraphale hasn’t broken out of his heavenly conditioning. He still loves doing good. He gets happy when people tell him he’s an angel and says “it’s nice to tell people about the good things you’ve done now that I’m not reporting to Heaven”. He will literally put himself in harm’s way to make sure he does the Good and Right thing.

It can’t be understated how much Heaven’s influence still impacts on him. Aziraphale has been created, ordained and conditioned to believe it and he can’t just switch it off or walk away. Crowley didn’t get the choice. He was Fallen. He was kicked out and - as per the rules of toxic and terrifying cults - Aziraphale was always told for centuries and millennia, Falling was the worst thing that could happen. If you’re bad, you’ll be forced out. If you’re bad, you’re not one of Us. You’re one of Them.

When he did something he perceived as Right (ie. saving innocent children from death), but knew it wasn’t what Heaven intended, he broke down. Crowley found him a crying, shaking wreck afterwards because he was so convinced he was Evil. He was so convinced he was going to be dragged to Hell and that he was now a demon because he did one thing that saved some children but because it wasn’t a specific directive, it was Bad.

It shapes so much about him and it’s why the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it. He’s happy and excited and he’s doing his human-life things and having a lovely time, but he’s also constantly stressed because of the Need To Do Good. From the moment Gabriel turns up, he’s a nervous wreck and is trying to hide it by Doing Good, by Solving the Problem, by Fixing Things, by being so active and reactive rather than letting himself think about it. It’s a sign of exactly how frantic he is that he starts giving away his books and letting humans touch them.

Watch his face when the Archangels show up unexpectedly: that isn’t joy. That’s blind terror. He’s so afraid of doing the wrong thing in Heaven’s eyes, even though he made the active choice to do so because it was the Right thing to do. He’s a Guardian and he will protect, but he is so very afraid of the repercussions, even now.

At the end of S1, Crowley said “they’re gearing up for the big one” so Aziraphale’s not oblivious. He knows a big one is coming. He knows something worse than the Antichrist will be on its way. And he’s trying so hard to pretend that everything is normal and fine and if he ignores all the looming bad stuff, it won’t happen. If we don’t say anything about it, nothing has to change.

But then the changes come knocking at his door holding a box and the choice is gone. He can keep trying to blinker himself to it, but then there are angels and demons in the bookshop and he’s had to use his halo and everything is falling apart.

So when he realises that he can get himself into a position where he can guarantee those repercussions won’t happen to Crowley? He will absolutely take it. He says himself “I don’t want to go back to Heaven”, but the instant the Metatron offers him a free pass for Crowley, to take Crowley out of both Heaven and Hell’s sightlines, to keep him safe (Another bee inside the hive, if you will), no wonder he grabs it with both hands.

The tragedy is that Crowley thinks that when they saved the world together, that was the end of Heaven’s influence in Aziraphale. When he was cast out the split between him and Heaven was sharp and clean. He doesn’t - he can’t - understand how deeply it has tangled around Aziraphale. It’s built into Aziraphale’s entire being and unravelling it isn’t that simple. Aziraphale’s trauma is a horrible, terrible Gordian knot and Crowley can’t understand that he couldn’t simply cut through it, because that’s just not how Aziraphale works.

#good omens s2 #good omens season 2 #good omens #good omens spoilers #gos2 #go s2

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sunderingstars · 4 months

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don't be a coward, roll the dice 🎲

✩ ‧₊˚ ⌞ DICE ROLL #43 — A BLOODY KISS ⌝

based on this post!

word count: 1.4k

what the stars reveal: boothill x reader, gn!reader, boothill calls reader "darlin'," slight mentions of blood, i'm allergic to not putting a Narrative™ in everything i write

— thank you for the excuse to write angst cheerisse >:3

Three days. That’s how long it had been since Boothill told you he’d return. Three long, grueling, torturous days. You thought you’d be used to it by now — the stretches of time he went radio silent for one reason or another, flickering out of your life like a candle. Yet, it was impossible to truly release.

Despite occupying such an important role in his life, a partner in all its meanings, it was so easy for him to dissipate, to leave wisps of smoke behind as his flame dwindled. It was the fleeting nature of a Galaxy Ranger, you knew, but you couldn’t understand. What was the point of making you worry? What was the point of those sleepless nights?

On day one you had forced yourself to be patient. Quiet. You molded yourself to the chair at your workstation and sat, eyes roaming over the bits of machinery and time-worn tools scattered about. Once in a while, you’d even let yourself tinker with a piece or two, just to make sure everything was ready for his arrival. You had an important job after all; not just the maintenance of his body, but of his soul and mind. Nothing was quite as sweet as the moments your eyes met while tuning him.

But the second day began to gnaw at you. Twist, in your stomach, like snakes. Their sour venom began to leak into your mind, swirl your worries in a cocktail of potential tragedies, and you contemplated sending him a message. Just one. Enough to ease your mind, to let him know a small blip of you was waiting for him back home. After a few hours of pacing back and forth in your shared kitchen, you worked up the determination to do it.

… No response. Not at dinnertime, not in the evening, and certainly not in the early hours of the morning — most of which you lay painfully awake during. Only the cruel static of a blank screen remained, blinking once, twice, as it tried and failed to reach him among a sea of stars.

The third day was the worst. Everything seemed to compound, balloon out in your mind to the point it began to seep into other parts of your being. You bounced your leg, bit your fingernails, peeled at your lip without even registering it. Eventually, you made your way to the storage closet for some whiskey, if not to take the edge off then to at least give your mouth a diversion.

You had just popped open a bottle when you heard a clank. Immediately, you stilled. Listened again. The bottle, prone, hung in your grip.

Clank.

It was outside, not in.

You were out the door faster than you could blink, legs weaving around rocks and brush as you trampled anything too small to get caught on. The sun was beginning to set, casting the arid landscape in darkening hues of pink and gold, but you knew this place like the back of your hand; the lengthening shadows did nothing to stop your pursuit. Under normal circumstances, you’d be more concerned about threats — wild animals, loose tools, even the stray IPC guard who managed to track down your location, but you didn’t care about any of that now. Not when Boothill was on the line.

So you persisted. Drew closer to the noise as much as you could, eventually picking up an increase in frequency and the soft humming of a tired engine. You squinted. Then, you almost collapsed in relief; trundling down the paved dirt road was a motorbike. Boothill’s motorbike. It was a ghost of its former self, laden with loose parts and constant stuttering and a headlight practically severed from the rest, but it was his.

Not wanting to waste any more time, you picked up your pace with a clear destination in mind. It’s not like he could properly run you over anyways. You were surprised the thing was even moving.

“Boothill?” you called into the dusk. Out-of-breath and ragged, your mind began to filter through your fears, fearing silence, fearing stillness.

However, as the silhouette slowly resolved into familiarity, so too came a voice that pricked tears at your eyes.

“Yes, darlin’?”

Whatever sharp spark of anger coasted through your chest at the causal response fizzled into nothing once you laid eyes on his face. That signature smile, those red-tinted eyes, all backlit against the rays of a dying sun. Healthy. Whole. Alive. Once again, you felt as though your legs might give out.

You made it just far enough to lean against the shuddering fuel tank before using the last of your willpower to vault yourself towards the open embrace of Boothill’s chest, wrapping your arms tightly around his torso. A hearty laugh sounded against you.

“Missed me that much, huh?”

You mumbled an unintelligible response. The loud hum of the bike became an irrelevant backdrop to the soft hum of metal and leather, the feeling of machinery quietly whirring against the skin of your cheek. No stutters, no pauses. Unlike the dying corpse below, Boothill was running smoothly. You breathed a sigh of relief.

“Why…?”

You didn’t have to finish your sentence before a sigh crested against the crown of your head. A hand, firm and comforting, came to rest on the back of your neck. “’M sorry, darlin’. Damn phone got busted. I knew you’d worry, but tryin’ to make a call in IPC territory was too risky.”

“It’s okay,” you mumbled, breath hitching in a vain attempt to keep tears from falling. “I’m just happy you’re— you’re safe.”

In your arms, the leather of his jacket shifted. A warm weight pressed to the small of your back.

“Aw,” he cooed, breath fanning across your cheek as he shifted you into a more comfortable position, “it’s alright. I’m not goin’ anywhere.”

Something about the combination of his words and actions, the familiar smell of gunsmoke and malt clinging to him like home, made it all bubble over. Before you knew it, you were tilting out and up, cupping your hands against Boothill’s cheeks, bringing him home. In the last painted rays of the sun, your lips met in a stroke of vibrant color.

It felt like everything you had wanted over the past half-week — brightness, relief, the surety of something alive and warm against you. An immeasurable weight left with the tear-tracks down your face, each fear dissipating with a new round of wetness. His lips slotted against yours with the ease of practice. Drifted with purpose to wash away your worry. By the time you tasted tang, you thought it must have been you. It wasn’t uncommon for a part of your lips or tongue to get caught in Boothill’s sharp canines, rupturing the skin ever so slightly to form a pinprick of blood. However, it became clear this wasn’t the case when you surfaced for air.

As your eyes adjusted to the growing darkness, you began to make out faint, dark splatters against your partner’s face.

Fear returned to you in a rush. You hadn’t even checked for flesh injuries when you first saw him, too caught up in the relief of seeing him again.

“Boothill—” you said, fingers tracking carefully along the edge of his mouth where you could see a blossom of dark blood emerging, “—Boothill!”

The man in question hummed in confusion. Slightly frantically, you traced the pads of your fingers along the edges of the splatter. It was fresh. Oh, Aeons, it was fresh, and you hadn’t even thought—

“Woah, hey.” The low timbre of Boothill’s voice brought you out of your spiral. The hands on your back rubbed soothing circles, the kind he used when trying to calm a horse. “It’s nothin’, darlin’.”

“‘Nothing?’” you asked incredulously.

“It’s not mine, if that’s what you’re askin’.” He shot you an infuriating smile. “A few folks from the corporation got on my nerves, that’s all.” Then, when your skepticism remained: “Promise.”

You bit your lip, trying to tamp down the fluttering revival of fear in your chest. You couldn’t deny it, though — even in the night, the drying splatters clearly arced in a passing motion rather than a bleeding one. For what felt like forever, you focused your eyes on the spot near his mouth, burning it into your mind until it dispelled any doubt.

Eventually, you slumped, more out of fatigue than anything else. “Okay.”

“Alright?”

“Okay,” you repeated, “but we’re going inside first. And I’m still checking you over.”

Boothill chuckled. “‘Course. Wouldn’t have it any other way.”

Then, he smiled, and you found yourself silently glad for the darkness, for the ability to see the radiance of the man before you in place of a sun.

It was beautiful.

#⌞ ✎ sunder.writes ⌝#⌞ ⋆⁺₊⋆ ⭑ ⋆⁺₊⋆ constellation: cheerisse ⛵️ ⌝#fanfic #boothill x reader #hsr x reader #gn!reader #boothill #hsr #boothill hsr #honkai star rail x reader #honkai: star rail x reader #x reader #boothill hsr x reader #boothill x you #hsr x you #honkai star rail x you #boothill x y/n #hsr x y/n #honkai x reader

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darealsaltysam · 7 months

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I JUST GOT BACK FROM SEEING DUNE PART 2 AND HOLY FUCK OH MY GOD HOLY SHIT HOLY FUUUUCK I NEED TO. I NEED TO. I NEED TO TALK SO BAD HOLY SHIT

below the cut because oh boy do i have a lot to say and i dont want my poor followers to suffer when i post this

oh my god okay okay where do i even start

opening with irulan's narration to mirror her notes in the openings of the chapters of the book. oh yeah baby. i ate that right up

watching paul get close with the fremen,,,,, fucking hell that hurts. dune really is a tragedy at the end of the day huh. they go from reluctant allies to friends but the whole time you know the switch will happen any moment now and they will be devotees and he will be messiah and that gap between them will never be as small as it is out in the sand. huddled in those tents. sharing drinks and laughs. im not doing ok

this especially hurts with chani. their love is so genuine and pure and she wears blue for him (which by the way sticks out so much more with how muted the colors of the rest of the movie are... i could talk about this all day) but she can see what he is becoming and he's trying to avoid it for her so hard but there's no avoiding fate. LORD ABOVE!!!!

i loveeee jessica being the manipulator thats pulling all the strings, urging paul towards becoming messiah. rebecca ferguson is such a talented actress she really understands the character so well. also as a hashtag certified alia atreides enjoyer her scheming with her unborn fetus might be the most unhinged thing ever but thats also so fucking funny aka its as dune as it gets. dune is WEIRD and im glad theyre not shying away from that. thank u denis

arrakis looks so much more beautiful in this movie like theres defo been some changes with how its framed and presented it feels so much grander and idk just ??? what it makes me think is that we're not seeing arrakis, we're finally seeing dune. we're seeing the land as the fremen see it as paul becomes one of them. i might be looking too much into it but who cares. god i love this movie

but yes more on the fremen in the first section of the movie. i like how there's this cluster of non-believers almost?? its a nice breath of fresh air. its hard to believe every single person would be just devoted to the prophecy and it adds some depth.

i will say the one thing i didnt like is the way stilgar is characterized?? i dont think he was so blindly devoted to paul in the books, and definitely not alia and leto ii after him as the atreides line went on. he's always been a source of small doubt towards paul but i think they're moving that element of him onto chani, so i think i can let it slide. i'd like to see him question alia more in the future though.

the scene where paul was named muad'dib and usul??? god it was so cute which made it so heart wrenching. all the fremen coming together and welcoming him into their lives. as a brother. as a friend. only for him to turn around and make them all bow before him. ohhhhh i cant do this

OH BOY THE WORMS THE WORMS AND THE WORM RIDING AND THE AHHHHHHHHH OH LORD

jesus christ. what the fuck. how is this allowed on cinema screens how is something so amazing allowed

the tension. the effects. the sound design. the sand rushing past the wind the worm moving forward paul struggling to hold on the fremen all watching and then cheering him on HOLY FUCKKKK HOLY FUCK I WAS HOLDING MY BREATH

all the worm riding scenes were so intense and so well done like. when i first read that stuff in the books i didnt think anything could ever capture how i imagined it exactly and yet. AND YET. DENIS!!!!!!!!

once more dune hits the idea of scale SO well everything is HUGE and they MAKE YOU FEEL IT. that shows especially with geidi prime but ill talk about that in a bit. but yes this applies to the worms too lord above them WORMSSSS ARE HUGEEEE AND I LOVE THEMMMM

rebecca ferguson put her heart and soul into that water of life scene and we all need to thank her for it

the way jessica is so quick to switch up and go all in on the prophecy. it makes me think of leto's "im not asking his mother, im asking the bene gesserit" like. the bene gesserit really come first for jessica and she takes her opportunity to fulfill her duties. to be the reverend mother. to rub it all in the faces of the other bene gesserit. she is the mother of the messiah and by god will she make everyone well aware of that

okay. okay okay. i think i said my peace on the early fremen stuff. i think. okay fuck okay SHIT fuck SHIT

FEYD FUCKING RAUTHA LADIES AND GENTLEMEN

oh my god okay. okay ill admit it. i doubted austin butler. i saw the cast list and i was unsure(tm). i saw him in the trailers and my faith was restored. and holy fucking shit did he DELIVER

stellan skarsgård's baron harkonnen is already such a threatening figure it feels like it would be impossible to make someone even more terrifying and yet. AND YET

just the way he's introduced. killing servants with zero remorse. LICKING THAT KNIFE THE WAY HE DID??? OKAY WHORE. I SEE YOU. GO RIGHT AHEAD. MAKE IT SLUTTY IN HOUSE HARKONNEN. I RESPECT IT

when the arena doors open and that loud ass fucking music BOOMS. makes the room fucking SHAKE. thats a PRESENCE right there. THATS how you introduce your antagonist.

the music playing as he fights being as fucking deranged as he is. chaotic and weird and unsettling. just. oh my god feyd had such a presence from the moment he showed up and he did not lose it for a single second. you could feel him LOOMING over the movie the whole time just as he looms over the whole book from his very first scene. oh my goddddd oh my godd

GEIDI PRIME. THE ARENA. THAT MASSIVE HARKONNEN PALACE. oh my god. once more. that sense of scale. the harkonnens love to flaunt their wealth so ofc they have huge fuck off arenas and castles where everything and everyone feels so SMALL in comparison.

dont even get me started on the black and white. the way it accents those coal black teeth and mouths. the way it makes everything look so much more inhuman and clinical and PERFECT because harkonnen power is so absolute and ruthless.

and the way the baron sits so so high above watching the fighting. literally impossible to picture his elevation above his people above the rest of the universe. the way feyd looks to him for approval after every movement. even as his uncle is trying to kill him they exchange those little looks and feyd knows hes getting his chance to show off while the baron gives him his "gift" what a fucked up family what the hell

speaking of fucked up family! wow! they are SO fucked up! there is something seriously strange being hinted at with feyd and the baron! feyd making his own brother bow and kiss his boot! those constant threats of death against rabban as if theyre nothing! this family is capital f FUCKED up. they hurt each other as much as they hurt everyone around them. theyre made of violence and blood and they could never show each other kindness because they dont know such a thing

what can i say about the feyd/margot scenes that hasnt been said already. like wow just unpack the boy's trauma like that. use him and then throw him to the wolves. once again the bene gesserit make it so clear this is THEIR empire and THEIR bloodlines and THEIR messiah. too bad jessica doesnt see that collective "ours" and instead settles for "mine" when it comes to the messiah

special shout out to dave bautista before i move on. just cause. his rabban doesnt get enough love. he really sells that balance of ruthless power but also incompetency compared to his brother so well. can you guys tell i REALLY like this cast

WE ACTUALLY GOT TO SEE GURNEY PLAYING THE BALISET WE FUCKING WIN Y'ALL

the paul/gurney reunion being the last shred of the old paul. how he gets so happy "i recognized your footsteps, old man" shoot me in the fucking brain stem it would HURT LESS

a bit off topic and it happened earlier (sorry my thoughts are so all over the place) but i like how they actually showed the process of how the water of life is made. it was actually exactly like how i imagined it when i read the books so thats neat !!

anyway. back to the horrors.

i already talked so much about feyd's presence so just another small note. that scene in sietch tabr. he is a MONSTER and i am EATING IT UP

i cant even begin to explain. how much it fucked me up. when paul took the water of life. i knew thats where we were going. i knew it was unavoidable. and yet still. when chani bent over him and screamed at everyone for making him follow this prophecy. when she was forced to shed tears to save his life. when she got him back only to realize she lost him and he wasnt the person she loved anymore. it broke me

chani's utter hatred for the prophecy and what paul is becoming added to it so much. i know some people are unhappy with how much shes been changed from the books but i think its elevated her character and all these scenes so much. and oh my god does zendaya DELIVER when the spotlight is on her. i never doubted her for a moment but all those changes to chani really allowed to let her shine. thats that euphoria acting coming out baby !!!!

SPEAKING OF GOOD ACTING

TIMOTHEE

FUCKING

CHALAMET

listen i hate the fact that he gets cast in everything these days as much as everyone but hes such a talented actor and i cant deny this anymore. the water of life scene really sold it for me.

he was such a perfect paul already in the first movie but this was the moment it really came out. the way he wakes up so calm and collected. lifeless. monotone. theres nothing theres literally nothing

paul atreides the boy who became duke far too young is dead usul who was the lover of chani is dead muad'dib the fedaykin fighter is dead only the kwisatz haderach remains and thats what the prophecy was always leading us to and yet the moment it happens its so haunting

like i cannot say this enough. that complete switch is so sudden but so subtle at the same time. its still paul technically but hes so different

what makes dune's weird concepts so easy to take in once you get into the book is all that internal monologue that really leads you through these complex concepts slowly. and yet in a few shots and a few lines of dialogue timothee chalamet somehow manages to express the idea of "i just learned the secrets of the fucking universe and im about to start a holy war" ???? HOW DO YOU EVEN DO THIS???? HOW ARE YOU THIS TALENTED???? OH MY GOD!!!!!!!! IT WAS A FEW LOOKS A FEW MOVENTS JUST THE RIGHT TONE OF VOICE AND THATS HIM!!! THATS HIM BABY!!!! THATS THE KWISATZ HADERACH AND THE UNIVERSE IS FUCKED !!!!!!!!!

also. anya taylor joy alia. we only had you for a split second but i cannot wait for you. im sure youre going to completely slay the third movie. give us our beloved tragic meow meow. alia is my fave character so i will be JUDGING HEAVILY. she better bring her a-game istg

when paul storms the war council and just completely takes control of the room so easily. thats the bene gesserit conditioning giving him his pedestal and he is making the most of it. he knows exactly what the fuck hes doing. and once more oh my goddddd all that shouting all that emotion and yet a complete lack of it. timothee spare a crumb of talent for the rest of us

also the way in that scene gurney is hesitant about it all until paul proclaims himself the duke of arrakis. and suddenly gurney has house atreides again and he doesnt care what chani does anymore. hes a follower to paul just as everyone else in that room. nothing changes. fuck me man i cant do this anymore

have i mentioned yet im so excited for chani in the next movie. her arc is so interesting. children of dune is defo not happening with the way chani has been set up so i doubt we'll see leto ii and ghanima but. lets hope we still get all the cool stuff wit alia at least. and maybe chani can be the one who leads the charge against her

okay i need to really fucking. get along with it im dragging this post on im so sorry this movie is eating my brain alive

chani still wearing blue during the final fight. im not saying more than that i might cry if i think about it too much

THAT. FINAL. FIGHT. OH MY GODDD OH MY GOD

IT ALL CAME TOGETHER SO SO WELL

THE WORMS

THE SENSE OF SCALE

THE FIGHT CHOREOGRAPHY

THE MUSIC HOLY FUCK THE MUSIC HANS ZIMMER YOU OUTDO YOURSELF EVERY TIME

THE SOUND

EVERYTHING FLOWING TOGETHER SO WELL

the way the fremen fight for their messiah but still fly the atreides banner. the way paul leads them as their messiah and as a "fremen" but always proclaims himself duke of house atreides first. oh lorddd im unwell

every time paul menacingly emerged from fog/sand/smoke my life was extended by like 10 years thank u denis

gurney killing rabban with as much ease as he did cleared my skin and watered my crops <3

the way the baron was literally dying and still crawling towards the throne.......... the way at the same time feyd ignored him completely and looked towards the doors reveling in the fight ahead..... if that doesnt tell u everything you need to know about house harkonnen idk what will yall

i also love how no one intervenes as paul walks in and kills the baron. not even feyd. feyd looks like he was a little TOO into it as paul killed him tbh. feyd u little freak. austin butler you talented talented man. im unwell

i AM sad we didnt get to see baby alia stab him but ah well. we got a bunch of other weird dune shit so ill let this one slide. the psychic toddler may be too much even for denis and everything he did give us. we'll always have our 1984 alia <3

OHOHOHOHOHOHOH. OH. HERE WE GO

HERE WE GO YALL

THE SCENE IVE BEEN WAITING FOR SINCE READING THE BOOK

THE SCENE THEY SHOWED BITS OF IN THE TRAILER AND THE SCENE IVE BEEN NON STOP YEARNING FOR SINCE!!!

THE DUEL!!!!!!!!!!!!!!!!!!!!!!!!!!!!

oh my god oh my god oh my goddddd where do i even start

okay so. the way theres no music. no fancy cuts no slow mo no over the top effects. its just the slashing of the blades and those BEAUTIFUL shadowed shots with the setting sun in the background. this really is the sun setting on the peaceful universe. just pain and suffering ahead marked with the blood spilled from the two who were meant to produce the messiah but who both got thrown off this path by the greed and selfishness of their forefathers. guys im normal about paul and feyd. definitely. i definitely have very normal thoughts about how they are foils and yet two sides of the same coin. yes guys

paul making the emperor kiss his ring is already such an insane fucking scene and it translated to the screen so well. amazing performances all around

i didnt talk much about florence pugh's irulan but she really didnt have much time to shine. im excited to see where she goes next and i definitely think shes a great fit but i need to see more of her to really be able to say more

i will say this. the way chani, irulan and jessica are the only ones who dont kneel for paul. the three most important women in his life who give him his power, everything he has. jessica made him and she made him the messiah. chani opened her life up to him, helped him become and in turn control the fremen, and she shed her tears for him and fulfilled her role in the prophecy against her wishes. irulan is his path to the throne, his key to being emperor. and none of them bow before him because why would they bow before a power they are responsible for, a power they own, a power they gave?

but for chani its different ofc. she also refuses to bow because she despises everything paul stands for.

oh my god i could say so much about the last scene being chani. not paul reveling in his victory. paul leaves for his next bloodshed and chani is left behind crying for the person she loves who she knows is gone. crying for her people, again enslaved. crying those same tears that brought the messiah back into this world.

theres a lot to be said about the role of gender in dune and how it hangs over every facet of this world but thats a whole separate analysis post to be had so ill just throw it down here in this little point

another thing chani does very well in the movies is she really makes paul's villainy explicitly clear. SO many people read dune and completely misunderstand it and walk away from it concluding its a "white savior narrative" and nothing more which. yes!! yes it is!!!! but thats not a good thing!!!! its never stated to be a good thing!!!!

this movie is not gonna let you misunderstand the message of the story no matter how blind you try to be to it. paul is not a good guy. hes never been the good guy. hes the protagonist, but hes not the hero. and chani allows that to translate from book to movie very well. have i mentioned yet i love movie chani

chani fills in the holes left behind by the narration and internal monologues of the book and, bonus points, she holds the people who dont understand what dune is about by the hand and tells them explicitly "PAUL IS A BAD GUY!!! DONT IDOLIZE PAUL!!!! DONT WALK AWAY FROM DUNE THINKING ITS PRAISING PAUL'S ACTIONS!!!"

i think thats pretty much all i had to say. i might reblog with additions as they hit me but yeah i. i enjoyed the movie. so so much. i think i might watch it again sometime soon while its still in cinemas.

sorry for being unhinged hope u enjoyed my rants. kiss kiss night night <3

#dune #dune part two #dune part 2 #paul atreides #chani kynes #jessica atreides #feyd rautha #feyd rautha harkonnen #rabban harkonnen #vladimir harkonnen #stilgar #alia atreides #irulan corrino #im so crazy im so feral holy shit #okay im going to bed now #its 1 am lmao #ive been writing these down for like 2 hours since i got back

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