#especially when the protagonist is a teenage girl

[missabnormal]

Been on a Junji Ito binge lately and this guy takes the most ordinary things in modern society and goes “ok but what if it’s weird”, but also can go “what if putting physical beauty above everything and trying to impose that on others leads to bad stuff” and it does

[linkspooky]

Kusakabe the Last Man Standing

Is Kusakabe going to defeat Sukuna all by himself?

Probably not. I fully expect Maki and Yuji to get back up and join the fight. However, Kusakabe is a character that has been slept on for awhile and with him being reluctantly shoved into the spotlight I think it's time to write a meta analyzing him. Especially since the revelation that Kusakabe is the strongest first grade fighter didn't come out of nowhere, in fact Gege has been building up Kusakabe in the background for quite some time which I'll explore under the cut.

So Okay, He's Average

I want to begin this analysis by saying that Kusakabe represents a type of character that Jujutsu Kaisen is desperately in need of. He's just a normal guy. He's our only example of an everyman character. Usually in manga the protagonist serves as the everyman character, especially ones like Yuji who come from a normal life and are being introduced to a fantastical world for the first time, but Yuji ain't normal. Someone who willingly eats a finger that may kill him just so he can be useful and save a stranger isn't normal. Gojo has Yuji pegged as one of the crazy ones within the first few chapters.

Gojo says that sorcerers have to be crazy, that the best Jujutsu Sorcerers need to be broken in the head otherwise they can't get over their fear of curses and risk their lives fighting them on a daily basis. The cast is full of eccentrics, Gojo the strongest of all isn't even able to relate to other human beings, Sukuna is termed a calamity, Yuta kisses cockroaches without hesitation there's not a normal one in the whole bunch.

The ones that are normal, like Miwa who acts like an average high school girl, has no technique, and Mai who desperately craves to be a normal girl and doesn't want to be a jujutsu sorcerer, either are minor characters or they die.

You could say Ijichi provides the point of view as a normal character, but he's a minor character at best and uninvolved in the plot. Then there's Nanami, who represents the typical japanese salaryman. However, Nanami is extraordinary in that he is far more moral than all of his coworkers, such as returning to be a sorcerer because the work helps people instead of keeping his cushy job, and prioritizing the lives of children over himself.

Us mediocre and average people are in desperate need for representation. Cue, Kusakabe.

His introduction clearly demonstrates his attitude is different from most sorcerers, rather than running straight into danger, Kusakabe is trying to search for an excuse to stay out of danger where it's safe. While it's cowardly, it's also what a normal person would do in this situation. We are so used to sorcerers who either risk life and limb without a thought for the sake of other people like Nanami or Yuji, or sorcerers who enjoy the fight like Gojo that Kusakabe stands out.

Miwa who is basically the example of the normal girl among the teenagers shares several parallels with Kusakabe, they're both simple domain masters without cursed techniques, they're both self serving, and also Kusakabe is her teacher and probably the one who recruited her considering he shows up to save her at the end of Shibuya.

Kusakabe is meant to represent what a normal person with common sense would do in the world of Jujutsu, but that doesn't mean he's weak. As I stated above Gege has actually been building up Kusakabe's strength in the background for quite awhile.

When training with Yuji, Gojo first brings up that some sorcerers rely on their techniques too much and that Yuji doesn't necessarily need a fancy technique to win, he can overcome them by learning to control his cursed energy and then using it to strengthen his already amazing martial arts skills and physical prowess.

The Big Three clans like tend to overvalue inherited techniques too, the downfall of the Zen'in is that they didn't recognize the strength of people like Maki and Toji with no cursed energy because they believed their cursed techniques to be inherently superior.

In Mechamaru's fight against Mahito, Gege makes a big deal spending an entire page explaining the history and mechanics of simple domains. There's obviously no need to put this much attention into detail to explain simple domains unless they're going to come into play later, and while Miwa uses them as stated above she's a minor character.

A technique called the "Domain for the Weak" what better technique for a normal guy like Kusabe, who is stuck in a cast of super-human characters. When fighting with Yuji, Mei Mei compares Yuji to Kuskabe.

"You're on par with a grade-1 sorcerer at this point. To be this good without a cursed technique... I think you're the only one since Kusakabe."

To further compare him to Mei Mei, Mei Mei monologues about how because her cursed technique of controlling birds is weak she tried to strengthen her body. However, eventually she hit a brick wall and couldn't get any stronger and reach Grade-1 on her efforts alone. Which is when she decided to start using Ui Ui as a tool to make herself stronger by making binding vows between him and herself to strengthen her, in addition to inventing her suicide crow technique.

However, Kusakabe is even stronger than Mei Mei and he managed to reach that level by himself without needing to groom and manipulate a child.

Kusakabe also spends all of Shibuya avoiding getting in a fight with a special grade cursed spirit, and yet at the end of Shibuya he ends up tanking an Uzumaki Maximum from Kenjaku at point blank. Kenjaku even praises him.

This is the same Kenjaku who can use Suguru Geto's cursed technique even better than Geto can, and who wiped the floor with Choso while bragging that a cursed spirit that's ranked Grade-1 like Choso could never go one on one with a special grade. We never saw Kusakabe directly fight Kenjaku (he would probably run in the opposite direction if given the chance) but the fact that he can use a simple domain to cancel out one of Geto's strongest techniques point blank is really telling.

All the while having relatable thoughts like this one. In a lot of ways, Kusakabe reminds me of Todo, someone who Gojo mentioned as being one of the next up and coming star students alongside Hakari, and Yuta. Todo has a cursed technique that's simple but effective, but he also fights similiar to Yuji by his expert control of cursed energy. Todo fights mainly with his fists and martial arts and his impressive knowledge of how cursed energy moves though the body, his cursed technique gives him an added bonus.

Up until this point in the manga though Todo is the most knowledgable about cursed energy, he teaches it Yuji very easily and explains it in ways Yuji can understand. Fighting alongside Todo also brings out Yuji's full potential as a sorcerer. Todo is all muscle, but he fights with his head and is the smartest student in Kyoto.

All of this to say, Kusakabe's strength without a cursed technique can be explained by relating him to Todo. In the Gojo vs. Sukuna fights who is the main voice explaining to both the other students at Jujutsu High and the audience just how the battle is going down.

Kusakabe is not in there in the field, he's watching it on TV, and yet somehow he can disect and explain to the others how both Sukuna and Gojo are using high level Jujutsu Techniques. This is Sukuna and Gojo we're talking about, two geniuses who are the height of jujutsu and can often improvise and make up new techniques on the fly and yet Kusakabe is able to keep up with what's going on.

Kusakabe gives the play by play, he somehow knows what falling blossom emotion is even though he's not from one of the three big families. He explains to Hakari and Higuruma who are natural geniuses who don't quite understand how their powers work, how Gojo can change the conditions of his barrier and how exactly he made the barrier smaller.

Remember Kusakabe is also a teacher at Jujutsu High. Unlike Gojo who doesn't try to explain basic concepts to Yuji because he's such a genius, Kusakabe is also educating all of the students here and phrasing these high level techniques in ways they can understand. You can't really do that unless you yourself have an intimate understanding of the subject matter.

What I mean to say is by putting Kusakabe in charge of the discussion, Gege is demonstrating that Kusakabe is a character who understands the mechanics of cursed energy and domains on practically the same level as Todo who as we said is considered a prodigy. This is also some clever foreshadowing, because Kusakabe here seems like he's still a background character because all he's doing is essentially expositing to the audience and yet... how impressive must he be if he understands all of these advanced domain techniques when he's just a guy with a sword and no cursed techniques that uses simple domains.

Kusakabe also understands Higuruma's legal talk in about ten seconds, and can explain the mechanics of Higuruma's domain and why their plan to put Sukuna on trial might not work. He is much smarter than he seems at first glance, Miwa even makes a joke about it. He even analyzes Sukuna's techniques after facing them head on once - and he's the only one who notices how odd it is that Sukuna's not using his fire technique like in Shibuya.

Sukuna mentions that Kusakabe along with everyone else's cursed energy reinforcement techniques must be on another level if they're able to stand up to his slashes (even if they're in a weakened state right now). After all, Ishigori who was not only one of the strongest fighters of his era but was also hyped up for his massive pool of cursed energy that rivaled Yuta's was torn to pieces by Sukuna's slashes.

Kusakabe also seems to be the one in charge of the strategy for the fight (though it was Angel's idea to let Takaba handle Kenjaku, maybe they're both coordinating but Kusakabe is definitely leading them in the field).

My point being, as much as he's accused of handling his large cast Gege is often able to give a lot of characterization in a limited screentime. Kusakabe is more than he appears to be, and it's clever how Gege built up his importance without anybody noticing, because Higuruma himself likes to avoid conflict, hide in the background and is constantly downplaying his own talents. Ino even made another joke about it last chapter.

The commonly held view is that the sorcerers who reject their humanity and only care about refining their technique are the ones who become the strongest sorcerers. However, Kusakabe was able to climb to the top of the Grade One sorcerers despite lacking that attitude.

In my opinion, Jujutsu Kaisen is fundamentally about balance, so while there's a definite trend of Sorcerers who resemble Sukuna are the ones who become stronger - it's not presented as the only way to be strong. Yuji only defeated Mahito by cooperating with Todo. On top of that, Sukuna while finding Yuji boring admits that Yuji a mostly selfless person still demonstrates an indomitable will that Sukuna can't break no matter how hard he tries.

If Sukuna represents the thesis that the only way to become strong is to throw away all your humanity and become wildly selfish, then Kusakabe represents the antithesis as a mostly normal person (if a bit cowardly and self interest) who somehow climbed the ranks over people like Mei Mei who represent the kind of selfish monster Sukuna is.

This is actually the pattern for most of the Sukuna fights this arc too. Gojo and Hajime both represent the desire to be understood, and Sukuna rejects both love and says he doesn't need people to understand him because he understands himself.

Yuji is a human who is mostly selfless, and has inherited the curse of his fellow comrades as sorcerers, specifically carrying on the torch for Nanami who is also content to be a cog in the machine if it means he can help his fellow sorcerers out. Sukuna is a selfish monster, who is an individualist and sees other people as toys to amuse himself with.

Higuruma is a genius on the level of Gojo Satoru, but when challenged by Sukuna he ends up sacrificing himself instead in a direct parallel to Nanami in order to pass the torch onto Yuji.

Yuta's domain is literally called "authentic and mutual love" and Sukuna said to Hajime that he understands exactly what love is and he still rejects it. Sukuna's entire philosophy revolves around rejecting the love and friendship, while Yuta only fights for the sake of his friends, and can't believe that his life is worth living without people in his life who love him.

Sukuna gives a whole speech on how by rejecting cursed energy, and using a heavenly restriction to push her body to the peak of physical strength a human can achieve, she's forcing a role on Sukuna to compete with her as the peak of sorcery to determine which one is better.

Now it's Kusakabe turn to have a role in this fight too. While Maki has no cursed energy, she doesn't really represent humans because she's you know, a she-hulk. Kusakabe might be the most human character present that's willing to face down Sukuna. Kusakabe is the most human character someone who climbed this high without being born with any technique, Sukuna is the most inhuman monster in the series, a calamity that Yuji refers to as a true curse.

Gege even threw in these callbacks to Gojo panels.

That in itself might be foreshadowing that maybe Kusakabe stands a better chance against Sukuna then anyone in the audience thinks. As the number #1 Kusakabe stan, I'm definitely willing to bet on those odds!

[cienie-isengardu]

Zuko and Azula in "The Beach"

Lately I think a lot about "The Beach" episode [x], especially about this small detail of great teamwork Zuko and Azula have during the game.

Zuko is looking ahead, directly facing their rivals (who had the control of the ball at this moment) but his body is clearly lowered to the ground, left hand most likely touching the ground, legs bent and widely spaced - a clear contrast to Mai standing near and how he stood before on two separate occasions

which is why I think Zuko willingly create an opportunity for Azula, so she could jump higher - something she definitely used to their team’s advantage. If Azula simply jumped on her brother’s back when he wasn’t expecting it or wasn’t ready, he would probably just fall face down from the impact but as the scene shows, he had no such problem nor was angry about it in the following scenes.

During the game sequences there was no dialogue shown between our protagonists, so it is hard to determine if Azula in advance called Zuko to give her a “lift” or Zuko offered on his own, or did they were that much in sync they just acted without thinking. Regardless I like this few seconds long interaction, because for me it implies how they trusted each other despite all the rivalry and bitterness from previous episodes. Like Zuko trusted Azula won’t use that moment to hurt/humiliate him by overuse of force, the same as Azula trusted in Zuko’s strength and that he won’t mess up by losing his balance. It is a small thing but no less sweet to see them working well together when fighting for the same goal - what reminds me a bit their teamwork from the previous season finale.

Interestingly, it was also the second time Zuko assisted Azula in scoring against their rivals while not scoring himself any point on screen. The first time happened almost right at the beggining of the game (second from total five sequences)

while each girl have the solo sequence of winning a point:

Azula's first attack,

later Ty Lee landing on the net

and Mai kicking the ball (and presumably scoring)

while Zuko’s two actions are shared only with his younger sister while there is no sense of competition between the siblings, something contrasting a lot with some previous and later episodes.

Azula is bossy and competitive through most of the episode and her brother lets her be that without a complaint. Azula and Zuko get along pretty well and A) do not argue (with the exception of the campfire scene and then they argue not even for the whole scene itself) and B) don't get on each nerves the way they do in the palace, with Ozai's presence looming in the back of their mind. I absolutely adore this episode, as it humanizes all our Fire Nation characters by showing them as teenagers outside the war zone but also giving us a bit of insight into what Azula and Zuko could be if Ozai didn't pit them against each other. And they could be a great team!

[spop-romanticizes-abuse]

i think i've said this before but i want to elaborate on it. i genuinely feel like the spop crew wrote c//a as some sort of torture p*rn. they know that people usually find an enemies to lovers arc sexy and intriguing. but the problem with c//a was that their fights were never equal. i don't know about y'all but when i think of enemies to lovers, i think of a dynamic where both individuals are at least somewhat on equal footing. i don't think about a relationship with a huge power dynamic where one of the characters is helpless and weak while the other takes every opportunity to torture them.

adora never tried to harm catra apart from self-defense, she always held back when she was fighting catra. she tried to reason with catra or just hold her off. meanwhile catra never held back on hurting adora. not once.

and all of this is framed as “hot”. it's framed as “sexual tension”. it's framed as “gay pining”, even though it's not. not to mention, most of the “homoerotic” fight scenes are where adora is either weak or helpless in some way. she's either restrained or too scared to fight back or actively stopping herself from injuring catra. and catra takes advantage of her kindness.

so what's the torture p*rn part of this? well. torture p*rn is basically a trope where a person (or multiple people being tortured) is the main attraction of the plot. c//a is supposed to be enemies to lovers, meaning they should be fighting equally, right? especially since adora is stronger and the “chosen one”, you'd think she'd definitely be defeating catra a lot more.

but no, most of their conflict is catra taking joy in harming adora. these scenes are framed in a more “intimate” way, with catra often touching adora without consent, saying vaguely flirtatious yet threatening one-liners and overall fueling the whole “sexual tension” part.

just take a look at these scenes. i can't completely blame the fandom for thinking these are sexy or erotic because they are framed that way. the crew themselves have admitted that c//a were supposed to have some sexual tension (despite being teenagers for at least two seasons, mind you) and it shows. adora may look scared or uncomfortable but it doesn't matter because the writers wants us to think that this is hot.

villains being creepy and borderline perverted is not a new thing, it's something that mainly came with queer-coding villains. but people often only do this to villains who are supposed to stay villains. and especially with the context that catra supposedly “loved” adora during all this, it just adds another layer of discomfort. it just feels like catra is taking the opportunity to not only hurt adora but also make her deeply uncomfortable by touching and interacting with her in a way that she did not consent to.

keep in mind that whenever adora has the upper hand, the show never frames their fights as homoerotic or weirdly intimate.

most of the time, she uses long range attack or she just goes on defense. the one time she attacked catra head on, she just decks catra in the face and is done with it. she doesn't cross catra's boundaries, she doesn't act flirtatious or touch catra inappropriately. the only scene where she can be described as “flirtatious” (though i would say she was just being smug) was when she wasn't attacking catra, but instead destroying one of entrapta's robots.

(and of course with no remorse, catra orders entrapta to activate the self-destruct on the robot so that adora could be blown to bits.)

so yeah. just because catra is a villain doesn't mean she has to be a creep. if the goal was to make her sexy (which is still weird since she was a teenager but regardless), there are other ways. there have been plenty of villains who are attractive and have a charming personality without being a total creep to the protagonists. for example, azula from ATLA is widely known as a queer awakening for many young girls because of how attractive she was (i know she was also a teenager. these are not my words, i'm just quoting the general public). and yet, you never see azula being creepily intimate with any of the protagonists. she often used long-range attack and she only goes as far as using some condescending language. it's just weird to write a villain who we should sympathize with, but then also make them a total creep.

[punkeropercyjackson]

Batfanon Jason stans need to suck it up and accept that JT is a super gritty dark character that's a commentary on trauma,poverty and nuanced justice that he's sometimes straight up wrong about on PURPOSE for depth and to truly achive this instead of a white male power fantasy,he needs a diverse cast and he canonically has a fantastic one.This is why the original Rhato run was so awful and the reboot so much better by giving us Artemis and same for Lost Days continuing his and Talia's bond and making Duke and him eachother's Robin and Dick,Stephanie,Damian,Rose and Dana recurring Red Hood lore characters.In addition to multiple disorders and being lower class with a hatred for rich people,Jason has shown countless instinces of most likely being aroace either non-partnering or romance favorable,has the personality of an afro-dominican man with a backstory and following plots that would work as good representation too(that i will link evidence to as an irl one in the notes for any doubters,nonblack and gringo concern trolls especially)and is heavily audhd-coded on multiple levels

Not an infantalized teenage girl-coded adult white man like Roy treated him.Not an uphoalder of pure moral righteosness who's misunderstood because to be fair,you have to have a very high intellect to understand Red Hood.Not a poser asshole who just wants to be held and isn't actually goth punk but a rich daddy's boy.Not a 'fuck away the trauma' type or a bad friend and ESPECIALLY not a bad boyfriend.Not normal,not shallow,not palpable.The DC world dosen't revolve around him and contrary to the weirdass text posts i'm always seeing on here he's okay with that and cheers on his loved ones when they get the spotlight-Tim and his legit enemies are the exception to how he feels about other people,not the rule.Jason Todd is NOT just a white boy and he would NEVER even look in other characters general direction just for being white boys(and yeah,this is about Danny Dead Weight and Borky Barnes and Deadlastpool)or horny white girls or whatever neo-trad bullshit y'all got going on

If you actually watched Under The Red Hood or read Jason's comics that aren't og Rhato,you'd start getting scared not because of the extreme brutality and darkness but because you can't even handle a white cishet male protagonist who respects women and poc and prioritizes them over other white males instead of chasing oppressive fantasies.Your projection is showing and it ain't pretty

[nyaagolor]

The SV characters are written as such realistic teenagers that headcanoning their ages even a few years apart makes for such hilarious dynamics. I always defaulted to putting all of them at around 15-16 but playing around with ages and how it might impact their dyanmics is so fun AND funny

The idea of a really traumatized 19 year old Arven hanging out with a bunch of 15 year old girls is actually a genuinely hysterical concept to me. All these high school sophomores are just hyping the fuck out of this loser boy they picked up off the side of the road. He's part of the girlies now. He's their special little guy. He's the only one of them who can legally drive or buy lottery tickets so he's practically a god to them and they treat him exactly like they would any other 15 year old girl

Nemona being older already kinda slots her into a mentor-esque position and I think it's really fun to explore how her dynamic with Geeta intersects with her dynamic with the protagonist, and how the person that Nemona tries to guide ends up surpassing her and becoming a worthy rival. Also her and Arven being the older teens looking at the protagonist meeting the "formidable boss of team star" who turns out to just be this really rude 14 year old is really really good

Having the protagonist themselves be the youngest of the group, especially if it's by a few years, is another one of my favorite concepts, because all these older teens being so desperate for help and attention that they see a random freshman and are like YOU is really good. Also with the eventual realization of Oh My God the person helping me out with all this heavy stuff is so young what am I doing.

On the flip side, adult protagonists are not taken advantage of as a possibility in this game. The academy has adult students and also Clive exists so it isn't out of the realm of canonicity. It's extremely possible that Arven is like "hey little buddy can you help me find Herba Mystica" to a 45 year old office worker who is going back to school during his sabbatical. A fully grown man can just be adopted into this gaggle of emotionally unstable teenagers. They don't discriminate

Just generally speaking, these tiny tweaks can put some incredibly fun twists on character dynamics and I think it's really cool when people play around with the concept more

[ficsinhistory]

Ok, I can't believe that in the middle of 2023 I have to say this, but I will:

None, I repeat, NONE of ATSV's female characters deserve the slander they're getting.

It's pure and simple misogony.

Gwen is one of the protagonists and the film shows us her point of view in relation to the film. She made a mistake and made a lot of mistakes, and yes, she needs to apologize. But it was established that it was not out of malice but desperation, in addition to residual trauma. She has regrets, wanna fix her actions plus it's clear that the guilt eats her alive the entire movie. She's not happy, she's devastated.

She is not a liar, snake or heartless villain. She's a lost and confused teenager who just wants to do what's best for the ones she loves in a difficult situation.

Margo Kess is an icon and a valued member of the team. She is a brave black girl who deserves to be highlighted and who has had and will have a more relevant role. She is the character herself and is far beyond the person who "is better than Gwen for Miles". She sure as hell doesn't hate Gwen, especially when they both have complicated civil comings and bonding about it, no doubt. She joined Miles' rescue team and certainly has as much regard for Gwen as she does for Miles. In the middle of 2023, I think it's time to stop pitting female characters against each other. Margo exists beyond ships and female rivalry, and is part of the spiderband.

Jessica Drew is an incredible character who is far beyond a cold and hard mentor. She is the one who extended the olive branch to Gwen, she is clearly a sweet and fair woman, who loves her family and tries to balance kindness with the seriousness that her work demands, she is Miguel's right hand man. She has a greater loyalty to him than Gwen for obvious reasons and that doesn't make her a heartless monster. She also believes in canonical events, she thinks about her own safety and that of her husband and son. And she has affection for everyone who cares as we see her at the end of the film.

We don't have to hate one of them to like another. Every character has flaws and the movie doesn't hide it, and that's okay. Because people, women, are failures. And all are being judged unfairly for simply being well-written characters.

And we know why this happens.

[kudouusagi]

I find it so frustrating seeing the criticism regarding Bucchigiri, particularly its main protagonist Arajin. I believe that his dumb behavior is meant to eventually be a critique and deconstruction of insecure masculinity, especially with the male power fantasies of the Japanese bancho genre. He's a horny dick of a main lead trying to assert his masculinity, but he's acting this way for some reason they'll get to down the line ala ADAM in SK8. I trust that Utsumi knows what she's doing with him

I will follow Utsumi to the ends of the Earth. I have full trust she's going somewhere with this lol

I just think Arajin is supposed to be unlikable right now. And honestly, I'm enjoying him being unlikable but I understand why other people don't lol

In the newest episode we're finally starting to see why he's not friends with Matakara now. We saw Arajin and Matakara as children training to be honki people (god I still hate that translation but I guess that's what we're calling it now) and he ran away when Matakara got beat up because he was scared.

So, I think Arajin started avoiding him, gave up on being a honki person, and moved away because it was his idea to train to be a honki person but that got Matakara hurt when he wasn't strong enough. He runs and pretends he doesn't care about being a honki person because he wants to protect people he cares about.

And main quality of honki people is they don't run away. It's the first thing they say about them in the show when they introduce them. So this must be the story of him learning not to run away lol

I'm not sure, but I think his girl craziness is part of his running away. He has to act like a normal teenage boy, not someone who wants to be a honki person.

[horizon-verizon]

I hate how Rhaenyra is being written. In F&B, her place as the protagonist is taken by Daemon thanks to GRRM’s fascination with him.

During the war, Daemon:

Advised the Black Council to send envoys to the Great Houses that hadn’t declared for Aegon, which helped get the Arryns and Starks on their side.

Captured Harrenhal without bloodshed with his dragon, allowing the Riverlanders to majority declare for Rhaenyra.

Led “a strong force” of Riverlanders to capture the last big Green supporting Castle, Stone Hedge.

Hired his mistress to kill one of Aegon’s children, resulting in his mother’s insanity and removing her as a dragonrider/voice of reason/even ability to escape.

Was the principal factor for the fall of King’s Landing for the Blacks. He led the Gold Cloaks decades before which inspired them so much they killed Alicent’s brother and turned the city over to Daemon.

Refused to obey Rhaenyra when she demanded Nettles be killed under guest right, allowing her to escape.

Waited 2 weeks for Aemond to appear at Harrenhal; succeeded in killing him by driving Dark Sister into his blind eye, as well as the biggest dragon Vhagar. His body was never found, so it’s still speculated he lived to be with Nettles.

Meanwhile, Rhaenyra:

Sent Knights Inquisitor to pursue those who let Aegon II escape the capital, and apparently the spikes on the gates started to be filled with more fresh heads each day.

Levied higher taxes on the peasants each day, turning them against her, especially when she planned lavish celebration to mark Joffrey as heir to the Iron Throne.

After the Two Betrayers burned Tumbleton, irrationally decided that the other two loyal dragonseeds were also going to betray her, so sent warrants for both their deaths. She even tortured her former father-in-law Corlys Velaryon because he’d helped Addam escape, making him defect to the Greens. Her warrant for Nettles’ death under guest right (a sacred custom) led both Lord Mooton and her husband chief supporter to turn on her as well.

Overthrown by the smallfolk and forced to fled King’s Landing after the Storming of the Dragonpit to Dragonstone.

Was betrayed at Dragonstone by a senior member of her garrison, her remaining knights killed. Eventually, Aegon fed her to his dragon Sunfyre, who ate her in 6 bites in front of her 10 years old son.

Side by side like this, there’s no comparison. Daemon despite being characterized as impulsive and ruthless, was able to win 3 victories with relatively little bloodshed, and gets a heroic and epic death (and he might still be alive!), killing a legendary dragon and the biggest threat to the Seven Kingdoms, saving the Riverlands from Aemond’s tyranny and ending his reign of terror, but abandoning the Black cause to save an innocent teenage girl. Meanwhile, Rhaenyra orders executions and high taxes and tortures, turns her biggest allies against her, is chased out of the city in 6 months, gets betrayed and eaten by a dragon (she’s definitely dead, since hundreds of people saw it). She doesn’t get a single success of her own (even Aegon managed that in getting Dragonstone to defect), while he gets several despite having someone kill a child. Caraxes is an “old, fast, clever dragon” who helps win Harrenhal without a fight and kill Vhagar, while Syrax is a lazy dragon who mainly exists to get Joffrey killed and then die in the dragonpit (even Sunfyre is better than her, essentially coming to Aegon’s rescue). It’s not necessarily that Rhaenyra’s cause fell apart when Daemon abandoned her (though considering how he’s made so epic it’s a blow), it’s that her irrational, tyrannical actions caused nearly everyone to abandon her. If she hadn’t issued the warrant for Addam and Nettles’ deaths based on nothing but paranoia, then Daemon and Corlys wouldn’t have betrayed her, and considering the Dragonpit would’ve still happened, she’d at least have 3 dragonriders plus the wealth/loyalty of Driftmark on her side. Daemon gets introduced as “made of lightness and darkness in equal parts” meanwhile Rhaenyra is written as one-sidedly incompetent and tyrannical (to the point that even Aegon outshines her sometimes, despite him also being astonishingly incompetent and psychotic). There’s no sense of balance to her, she does basically nothing but the wrong political moves, when she’s supposed to be the protagonist of this story.

[*EDITS* are dated in various posts of post]

"no sense of balance", this is a great criticism of bk!Rhaenyra, or rather the writing for her. finitefall wrote something about Rhaenyra's tyranny HERE, Watsonianly and Doylistically. But my answer will be long and maybe a tedious answer to you so ignore it when it gets dumb, anon. I'm shooting from the dome. There's no analysis happening in this post.

Essentially/To Summarize:

A)

Actually, Aegon was not as strategic as you think. No, he did not plan the Dragonstone fall or deliberate with anyone on how to seize it. that was done for him as much as Daemon taking Harrenhal for Rhaenyra was. And Rhaenyra had a set of circumstances that no other Targ monarch has had to face, not even Jaehaerys.

B)

However!!!! I have out of text v in-text critiques. Basically, as a Doylist argument, yeah I agree. In-text and if we take the story as is? I think it's to pull the these sides into the despair of war and highlight the irresponsibility of it falling here in the first place. Wars must be done for a good reason, not because you killed your sister's son and usurped her for power. Or that you pull your families into a war where they'll die and the realm will be plunged in with you. Yes, HotD had something to the whole "both sides", but not to the extent that they make it: why canon!Rhaenrya wars doesn't matter at all.

And GRRM could have done the above AND emphasize that this never should have happened if not by misogyny without falling back on sexist tropes himself. Which is why this isn't a feminist tale; not because Rhaenyra herself is or should be a feminist (that's impossible) NOR because Fire and Blood was mean to be a "anti-female ruler" sort of thing and this any events where Rhaenrya did ride on Syrax burning people or strategizing and working through her pain was deliberately left out (how can you hide that fact that Rhaenyra would have done the dragon burning at least?! Survivors are also giving testimony! By that argument, we can say it wasn't Baela who burned Aegon, it was some male dragonseed. Nah.)

It's not a feminist tale or even much of a pro woman one because GRRM had so many opportunities to showcase a woman actively participate in a war (in 2 different ways without her being a swordswoman or something like that: flaming bitches OR/AND strategy/tactics/logistics) she was using to reclaim her authority and position and power WHILE showing how Gyldayn's book tries to make her out to be incompetent or evil *[6/1/24]*(and yes real histiographies or versions have both recorded great things women have achieved as they also brought both unsubtle and subtle bad-faith criticisms for those same actions [post from poorshadowspaintedqueens])*[6/1/24], END*…but didn't.

You can still tell the tale of how she became too paranoid and make a point of how the sexist writers saw this as female weakness by forcing them to record major events where she didn't do that but they had to record that anyway because it was so impactful on scale or effect. You can still make us witness her decline at her own hands or have her sons' deaths, one by one, affect her responses to specific events in the war. Make it so that the people around her were being shady and that's what encourages her paranoia to strengthen, that would be better. Make some sort of misunderstanding situation happen with most/if not all her supporters. Make Celtigar or Corlys do some questionable stuff or suspicious stuff (or seem like it, we don't know who's in the shadows trying to divide the blacks after all…) so she reasonably starts to suspect them and lose her trust in them, these men she has to sort of depend on to lead her armies and naval support and direct her funds, and then have some green strike in the moment of unpreparedness. Something!

Instead, canon!Rhaenyra's mental decline is too caricaturistic. *[6/1/24]*There are also some tiny saving graces (listed below, way below).*[6/1/24], END*

I imagine that this is all the motive for why you and some people might prefer show!Rhaenyra and her going to participate directly in the war as we've been clued on. I'll first say that I get why people do for S2 Rhaenyra...not so much S1 her. HERE is why I prefer bkRhaenyra before Rhaenyra-w-a-Sword pooped up AND summarizing, bc the writing for her in the show is still bad and sexist, but worse because it denies the neutral/good parts of bk!Rhaenyra.

Still, Branwynhalfwitch of Twitter explains it better (S2 Rhaenyra, anticipation).

And your ask reminds me of this ASK/POST about the same issues with Rhaenyra's writing. That anon said what you describe:

I don’t get why Martin uses a mother’s grief so often as a convenient plot device to force passivity, silence and absence on his female characters to fit the requirements of the plot, why it’s always the women who break down, rend their garments and retreat from public life, whereas men react to similar tragedies with anger, pursuit of vengeance and singular political focus.

You:

It’s not necessarily that Rhaenyra’s cause fell apart when Daemon abandoned her (though considering how he’s made so epic it’s a blow), it’s that her irrational, tyrannical actions caused nearly everyone to abandon her. If she hadn’t issued the warrant for Addam and Nettles’ deaths based on nothing but paranoia, then Daemon and Corlys wouldn’t have betrayed her, and considering the Dragonpit would’ve still happened, she’d at least have 3 dragonriders plus the wealth/loyalty of Driftmark on her side. Daemon gets introduced as “made of lightness and darkness in equal parts” meanwhile Rhaenyra is written as one-sidedly incompetent and tyrannical (to the point that even Aegon outshines her sometimes, despite him also being astonishingly incompetent and psychotic). There’s no sense of balance to her, she does basically nothing but the wrong political moves, when she’s supposed to be the protagonist of this story. Rhaenyra is written as one-sidedly incompetent and tyrannical (to the point that even Aegon outshines her sometimes, despite him also being astonishingly incompetent and psychotic.

You're right, it's very Daemon-forward. Don't get me wrong, I see his value for Rhaenyra, but if you're going to write about a woman...write about her and don't let her fall completely to the interpretations of the writers against her when everyone else gets more story than her in her own war. IF you're going to make it about her trying to reclaim her birthright, make her decline much more organic, the pressure on her mind must be more gradual and sensical, and not immediately make her fold under pressure or death of sons. Because yes, mothers/women can think through their pain as Daemon did. Like in that other ask I likened your ask to, there are legends of women like that Sforza woman and Olga of Kiev putting their kids in safer but still active positions to participate in war so they them selves can then take over the war proceedings as unofficial head. Rhaenyra is the actual head of her side, with Daemon as her commander on the ground...so let her do something and colloborate! (By legend/history, Olga had her son throw a spear to signal the beginning of a war she wanted to wage, bc only the male monarch could to officially begin a war). Yeah-ish, not every woman, "realistically", can do something like that but this is fiction and again, in the story about a woman trying to take back her power through a war...do not undermine that point of her trying to defend herself by making her not defend herself, only to drive how wrong it was to usurp her through how her kids live with trauma the rest of their lives and "make up" for it by having the Targs descend from her. There's a difference b/t a woman herself gaining wins/trying her best for herself and her propagating "winners" eventually. (Talking about Aegon V and Dany mostly).

It strengthens the impression of high femme-in-presenting people unable to do the "hard"/big man stuff. It solidifies the whole medieval "women can't do war, that's why they aren't leaders" even as you try to say that Rhaenyra's grief this, Rhaenyra's miscarriage that, bc you're clearly creating reasons for why she will sit out when you do have the option of not doing so, as a writer.

It'd have been more meaningful to have Rhaenyra flout that medieval binarism by at least doing logistics or tactical stuff: oh, she may not be a warrior, but she impacts their moves by reviewing the battlefield or thinking up ways to replenish supplies for their armies or ways to infiltrate this castle and that castle, etc.

And have her burn a few soldiers, come in and do a "save the day" in that battle without necessarily having her swing a sword. She already sort of does flout the binary a little by being a dragonriding princess, in the Andal ideology of masc vs femme---like Branwynhalfwitch of Twitter says, lean on that fact that she is a dragonrider!

Why all this hype about her being the youngest rider to have bonded with a dragon if you're not going to allow her to really use said dragon to reestablish her political power?

Out-of-text: Lately I've gotten more frustrated by a lot of this. Yeah...I know I said once or twice that we as the readers, can still draw significance in how Rhaenyra's supposed mediocrity vs Aegon's craziness shows ever more the point of how sexism makes a mid/good woman undeserving in the face of any mid/evil/incompetent man but GRRM not giving Rhaenyra at least one self-generated strategy plan is more than annoying. It helps to make more substantial this "rational man" v "irrational woman" trope we're all done with because it make women way too passive in a story that's supposed to be their own. She is still the protagonist, just a not-well written one.

A better female character GRRM wrote in F&B is either Rhaena (Dreamfyre's rider, daughter of Queen Alyssa Velaryon and Aenys I) and perhaps Queen Alyssa Velaryon. Maybe Alysanne. The best is Rhaena, though. I wrote at least two posts back to back defending her AND made a 3 "volume" maybe 20 video series on TikTok...this girl is my babe.

I resent GRRM for the circle of "reasoning" I'm about to put you through.

Like I mention below abt Aegon at Dragonstone, Aegon "outshines" her in more crazy than genius or rational-ness. He actually never acts rationally. Like at all. So ironically, we got them similar in that aspect. Aegon was also, unlike Daemon, separated his whole life from that. Aegon is not and was never known for being the swordsguy/warrior his brother was. He was mentally and physically unprepared for war.

I believe GRRM's intent was to have Rhaenyra--who actually ruled Dragonstone for years and sat at council with Viserys and his councilmen for years listening and maybe giving suggestions/learning-- still was so separated from the face of violence and death to those closest to her, that she "lost" her will to meet her odds for a time when her Luke died. Why not Visenya? She lost not one but two, ad so she breaks down. But that's so...flaccid(?) to me, too. It's like he's saying that she "lost" herself or some faith there. Paralyzed by the realities of war and choosing to go to war. So both her and Aegon had been living in the lap of aristocratic wealth it seems, but then it also seems like Rhaenrya had a leg up on Aegon by having been an active ruler on Dragonstone....but then he doesn't take advantage of that one element of potential for Rhaenyra, that one advantage...why? Perhaps someone better at this can explain, I'm tearing my hair out!

By contrast, Daemon had experience and lived in with the possibility of his loved ones dying AND went to war in the Stepstones for years.

The arguments for why Rhaenyra's "deserving" to rule being relegated to how incompetently she acts in the war--like I've said in other posts--gets easily confused for she must actively fight in battle to be considered a good leader...which is exactly the sort of medieval thinking that argued femininity is itself an anthesis to war-faring, militancy, and leading; and we modern Americans and other Western nations don't even practice for leaders. Our president doesn't go travel to fight beside the troops, not even in airplanes. Should they start? That's a good question.

Anyway, I get reluctant to question GRRM's thinking here just bc it's so...dumb?

At the same time, I also truly think that Rhaenyra's "arc" and decline into paranoia does have a potentially interesting journey and that it began with her rivalry with Alicent, from the age of at least 12 if not when Aegon is born which when she is 9-10. What effect would Alicent's turning the court against her and trying to mentally tear her down have on a child growing up expected to also have to be queen? How did that look and turn into how she interacted with the men in her life--father, uncle, brothers, husbands....and the women/girls in her retinue, how did she really feel about them and why? We know the women were loyal more or less. How susceptible did her childhood make her to manipulation from men, where/when/with who did she draw lines/why? It's that GRRM also didn't get into how Rhaenyra may have developed an ever-present insecurity alongside and motivating her need to stand up for herself that grew and worsened with the first few disasters of the war...BUT HE FUCKING WASTED IT!!!

Yes, this is a history book with unreliable sources determined to paint female ruler=bad for stability, but they'd be forced or compelled to at least write a few achievements or two. If you're so attached to this concept and refuse to divulge this girls' thoughts through a fucking letter or journal entry or excerpts of such or something of reflection and thoughts of the moment that reveal character like with Daemon and Otto's letters in the Rouge Prince AND one, just ONE tactic she made up on her own during the war...preferably two. I wouldn't remove her grief and the paranoia entirely. (And I'm not necessarily talking altruistic; Rhaenyra is not and never was that. Just bc you maybe a little clever, doesn't mean you're nice or compassionate.)...You may question, why not Rhaena BB then, instead of Rhaenyra? Well, tbh I much prefer if we somehow got this for every single Targ, attached to every history book, alongside how the maesters interpreted those writings so we got meta-on-meta. Its just richer that way, more engaging. And each character would have still given a voice...after all why describe Daemon's actions in such unrealistic detail if you're goin that far? But alas. Maybe it's a bad or even worse idea, but I'm spitballing.

(Ironically, a lot like how HotD does with some of their own changes or tweaks, like Helaena being a dreamer, which makes me want to compare the two)

Levied higher taxes on the peasants each day, turning them against her, especially when she planned lavish celebration to mark Joffrey as heir to the Iron Throne.

Every bullet point aside from the Nettles one are things I don't really begrudge Rhaenyra for, but I do question why GRRM really made her so sheltered(?) isn't the right word but he made her not try. And with each point, why he decided to give her so much at once but not come up with one good plan that soiled anyway? Or is that sexist? Again, she ruled Dragonstone and sat at council for years....where's all that acumen and experience now?

I honestly don't know what I would have done to replenish the treasury after my wicked half brother and his cronies stole it without putting taxes on people if I have been born high classed. I wouldn't execute people at such alarming rates and I think I'd have a smaller investiture ceremony for my "Joffrey". But I don't know what I'd do. Can't go to the Triarchy bec they just killed one of my kids (Jace), wouldn't trust me, and don't really exist as a unified until anymore, less interested in Westerosi affairs after that. The Hightower armies are in the Reach and parts of the riverlands preventing aid from coming in. Cregan Stark is not due until my own death. So I have but my own funds from Dragonstone and my allies' funds. And you can't demand they fork over $ or you risk losing more allies that way.

I suppose that was what GRRM's job was.

Some posts I wrote about this problem, Watsonianly, so don't come for me:

Basically, GRRM also maybe trying to make her one tragic flaw her need to self determing in the face of people acting/telling her she doesn't deserve power bc she is female.

Excerpt:

Doylistically, Rhaenyra's lack of "focus" (not to be that Try Guy) on what would happen after Viserys died can be attributed to GRRM just wanting her to be at a huge disadvantage at the beginning of the war, for that effect of off-kilterness and foreshadowing things never being the same again after 10 years of peace and presumed happiness with Daemon and her kids. However, writing this error -- without providing any sort of other reason other than she made Dragonstone her home -- does still belies her intelligence, or at least sacrifices that for that effect described. Because she had 10 or so years to contemplate the aftermath of her father's death. *EDIT (8/21/23) *And perhaps he did that on purpose to highlight how misogyny doesn't care what kind of person a woman is so much as it tries to reshape her into an evil being needing destroying so she could become the reason why women, in general, shouldn't rule and "disturb" the "natural" order of male rule. *END OF EDIT*

Others:

Some other saving graces:

A) *[6/1/24]*

Rosby and Stokeworth was an issue that I don't think that most women in Rhaenyra's shoes (from this world) could have have avoided without losing important things. It's a thing that reflects what real life Queen regnants also had to sometimes deal with when persuading men who lead their various martial units, provided supplies, aided in coups [Catherine the Great], etc. Against the concerted efforts of several camps (men and the women who lead armies on behalf of close male relatives) to prevent a woman from claiming power in her own right, the same power-claiming woman needs more than herself and a few other relatives to assure she gets the throne/seat/privilege, etc. Corlys is a sign of that very thing--he twice tells Rhaenrya that if she were to go by Daemon's suggestions of giving Ulf & Hugh any dead noble's (rightfully executed or not) past holdings and titles, the other lords wouldn't likely stand for it:

("Rhaenyra Triumphant") -- First Incident (Not Rosby & Stokeworth)

("Rhaenyra Triumphant") -- Second Incident (Rosby & Stokeworth)

Corlys held her naval support. And while yes for the sake pf setting a precedent of girls becoming lady regnants of houses or being considered as possible, more viable heirs, Rhaenyra ALSO has to measure if she can keep those supporting her to destroy the obstacles in her way so she can ascend and set that prime precedent of female rule. She can't do that if she doesn't win.

If she chose to have these girls become the ladies of their houses, it could have alienated some of the lords she needed to stick with her and support her during an ongoing war. With Daeron-the Hightowers and their army doing well against their own soldiers outside of the city. And she denied Ulf and Hugh the Baratheon/Lannister holdings (correctly) in the next black council when they deliberated how to deal with her brothers, Alicent & Helaena, and those who helped the greens usurp her. She measured the high risks and decided it was way too big in lieu of her other circumstances. (We don't get how she herself felt about it, bc no letters, journal entries, self-reminders, no notes...)

The bulk of her argument for being queen was that the past King/monarch chose her, not that her womanness made her a needed ruler. This is our/the reader's argument. What about the person who must do the actual thing of becoming the precedent, though? There are still material steps to be made towards that. While I would love to see a woman choose to take on that risk, I understand it as the risk it is, what world she grew up in, her limitations, etc.

As Rhaena the Black Bride/Dreamfyre's rider could have been much "nicer" to her kids, she wasn't because of extentuating circumstances--where her own family isolated her despite how they essentially made sure she herself couldn't ascend, how she already proved her loyalties, how she was abandoned by her mother, and how she endured Maegor raping her. Rhaena, who also faced patriarchal violence and is blamed for not "rising above it" by fans. Rhaena is better written--her psychological distress much more comes across as organic bc: the distress does that stop her from seeking and achieving revenge against Androw Farman and even Maegor in various ways and levels and it doesn't or stop her from actively trying and sometimes succeeding in making her and her kids' situations better--but this one element of being trapped in the world you are born into with limited options holds true for Rhaenyura. At least with Rosby/Stokeworth and how she intended to deal with her brothers/their supporters.

And the pressure, again, of the stolen treasury, threat of her brothers still out there, two sons dead violently and her unable to bury either of them. Everything of this happening all at once...I maintain that it would have raised more faith if GRRM made her do the Dragonseed bit herself or more events where she took the lead, but that doesn't mean that since she is the final decision maker that we/GRRM should totally erase how this would cause more of a mental toll on her versus Daemon or Corlys. It's just that he refused to write more events showcasing Rhaneyra's getting back into the "game", so to speak. To show any trace of the clued education and resilience SOONER and MORE OFTEN before Jace dies. Those things that he himself clued us in on from the pre-war era, in favor of letting his male characters shine.

Still, Rosby and Stokeworth was an actually difficult conundrum of a rock and a hard place.

*[6/1/24], END*

B)

and he might still be alive!

That's more legend/fandom wishful thinking. He's definitely not alive. But yeah, he's male and an active one in the war so he gets a legend.

Why don't Visenya, Rhaenya and Alysanne all get "legends" of their own? Because Visenya and Rhaena conquered Westeros w/Aegon while acting as pseudo-Queen Regents/Regnants, apssing laws in the realm they constructed. Instead of just being his consorts. As his consort, Jaehaerys I allowed Alysanne to give suggestions and critiques, but she never actually made or passed or enforced laws; while without her many laws wouldn't have been made or they wouldn't have been abolished, she is also still Jaehaerys' consort without any "hard" political power required to directly change structures in Westeros without having to persuade Jaehaerys to do so. It's part of the decline of female non-militant autonomy and direct authority (which came with the Targ assimilation into the comparatively more violent, abusive, and restrictive Andal patriarchy) that was beginning to rise again with Rhaenrya becoming heir and given that male-designated power...until she's usurped.

C)

even Aegon managed that in getting Dragonstone to defect

However, anon, Aegon actually didn't accomplish the Dragonstone thing. There is no indication that he orchestrated or planned in detail how to take Dragonstone. That was Larys and the men who actually took it for Aegon while he sat up in the cliffs of Dragonstone. ("Rhaenyra Overthrown"):

And the only other moment where one could say he displayed some leadership--Rook's Rest--when he decided to fight on dragonback, it was a terrible plan he ended up flamebroiled, which shows how Rhaenyra was better staying out of the battle not already being battle trained herself. Again, we have no indication that Aegon was much of a warrior, like how Viserys was not and Daemon was. Because he rushed too much and wanted to hammer his opponents out of aggreived impatience, partially due to his son getting killed and more so because his ego needed him to show how he can beat the other side and annihilate them. He loses his temper several times at Otto until he dismisses him for Cole's more aggressive approach ("The Red Dragon and the Gold"):

D)

Caraxes is an “old, fast, clever dragon” who helps win Harrenhal without a fight and kill Vhagar, while Syrax is a lazy dragon who mainly exists to get Joffrey killed and then die in the dragonpit (even Sunfyre is better than her, essentially coming to Aegon’s rescue)

Some theorize that Syrax actually shows what happens when you domesticate your dragons or force them into enclosed spaces for long periods of time. But this sentence and other indications that. Plot-wise, it certainly looks like Syrax is completely useless and yet ("The Blacks and the Greens"):

“That makes four dragons of fighting size,” said Rhaenys. Queen Helaena’s twins had their own dragons too, but no more than hatchlings; the usurper’s youngest son, Maelor, was possessed only of an egg. Against that, Prince Daemon had Caraxes and Princess Rhaenyra Syrax, both huge and formidable beasts.

AND

Where's she planned to be a part of at least the KL takeover and ambush if not be the last point of a line of dragons bc the monarch must always be protected...but GRRM makes it so Rhaenyra hangs back for some woman-specific physical reason or other: recovery from miscarriage AND grief or just her anxiety over her sons' deaths.

And Syrax lays many, many eggs that are stored for future Targs--more than other female dragons have been known to. I wouldn't call her completely "useless", it's that she wasn't used for war -- against, that maternal element that feels insufficient for wartime, at least as the only thing she's doing for the blacks.

("A Question of Succession"):

AND

("The Blacks and the Greens")

On the one hand, yay, more dragons and the symbolism of fertility and women being the center of Targaryen magic and prosperity and Rhaenyra is very happy to birth her final two boys and she wanted her Visenya. All definite heirs to the dynasty...

On the other, it seems as if GRRM is also maintaining a binary between female reproductive labor vs masculinized military labor (not just swordwork but tactical, strategy, logistics, etc.). Canon!Rhaenyra is what I've called "high-femme" in presentation and lack of knowledge of how to confront through arms (swords, bow-and-arrow, basically anything physical and war-related). I've also often said that Rhaenyra is not and never will be Daenerys Stormborn, who has many gender subversions without being very "tomboy". Like Arya (no, bk Arya is actually interested in "femme" stuff, it's that she's teased and discouraged bc she doesn't act "ladylike" in the Westerosi paradigm of aristocratic femininity). She doesn't have the same sort of background nor the compassion as either of these two, but does have the backbone to not succumb to other's calls for her to give up something they do not think she deserves due to her gender--in the beginning of her life, events before Lucerys' death, and then when she gets to KL onwards. Daenerys is way more complex and interesting, but if anything this is the only thing I can think of that these two women share and it's very important still. (Even though Dany's not a woman-woman.)

And it presents the question of why GRRM didn't allow Rhaenyra to do both and present more to do with her but make her just fail because of very unlucky shit other than the KL stuff? Like her make her strategic, but luck or the green counteract and got the better of her...because it is a fact that she has to die in some way. Not only that, she has to die/lose partly by her own hand, which she does by not getting a handle on the paranoia that's been accruing since childhood (yes) and relying on her class to carry her in a way where it opposes Dany and Nettles' ingenuity and understanding of dragon bonding. But again, that sort of mania, level of loss of senses, and how its used in the story to disable her from participating in some way in her own cause is...crazy and a cheap and sexist shot to make her fall by her own hand. Making her lose all her sons within a short time is dramatic and expressive of the horror of this particular war...you couldn't do that by giving more to your female protagonist things to do as you kill off her kids?!

I'm actually fine that Rhaenyra doesn't directly participate in war-faring as Visenya or Rhaenys or how Daenerys inevitably will--not every person is a warrior or can be, to enact great positive change. Like Daeron II & Alysanne (Alysanne may or may not be a good example bc she may have been discouraged from using Silverwing for that, but we don't see her confronted with this possibility behind closed doors, so...). Not everyone can/should be a swordsperson, archer, etc. What happens when you were not trained in these things, should you be considered "useless"? Or what if you simply weren't good at it?

But she could OR she could have in strategy or logistics or something. But it's like because she doesn't have those of her body with her anymore, her mind must go as well?

And then there's the definition of a warrior to be discussed: Rhaenys the Conqueror was still war-faring on Meraxes, Meraxes was her war device as much as Vhagar and Balerion were for the sword-wielding other two. It is Andal parameters of "warrior" that has labeled Rhaenys as not one even as she, on a dragon, burnt people at the Field of Fire. Do we not consider Air Force to be "warriors"--well Americans and those in the military have a weird thing about Air Force vs Marines vs yada yada, but again that might (probably) be patriarchy at work. Either way, in this case, yes Rhaenyra could have at least done the Rhaenys thing and stayed on Syrax burning people alive. So I fine with this happening on HotD as well. There's interesting commentary to come from that that GRRM refused to indulge.

Honestly, I don't know. To me it has to do with what the former brideoffires/Twitter's danylanzhou has said about Nettles and Dany, how Rhaenrya did not have what they describe and how GRRM actually went way too hard in the paint for that. but that's as much as I can say.

Do any if these graces make her a more active OR complex/interesting character to read as we are given? Not really. Again, not without PoV chapters or at the very least letter or journals or something(s) she wrote for reflection if she was ever interested in that, IF GRRM just refused to just give her more stuff to do. It's as disappointing as when some Shakespeare fans describe their extreme disappointment with how Merchant of Venice contradicts his other play's wittier and more...compassionate(?) tend to be.

I also still don't like and will never like HotD's Rhaenyra bc they also simply have not developed her with the money they had before the strikes. And now with this DV shit, I definitely will never like the writing for her...because how the fuck is she so determined but performs no domestic power against Daemon after ruling Dragonstone for years?!!! How is this "better" and not more sexist than canon?! [@rhaenin-time's post HERE]

So yeah, in this way, HotD is just following GRRM's lead...while not at the same time.

[thetempleofthemasaigoddess]

Love is a killer that never dies (part 1)

Dracule Mihawk x reader. NSFW!! Discussion of dub-con.

Sex Pollen!AU for the short series that began with Built a haven for your love (until I let you fall apart). Can be read as a standalone.

This is part one of four.

Title taken by another song by Beast in Black -Born Again- since it's not part of the main continuity. Kuraigana Island is Mihawk's home in the manga/anime.

Shanks being in a relationship with his crew's doctor is an allusion to this headcanon list and then to this fic, even though they take place in a different continuity.

*****

Dracule Mihawk was in a conundrum. 

That was more than a little unusual for him, since as a rule there was very little that had the power to actually catch his interest, and when that happened he was inevitably powerful, well-connected and, on occasion, intimidating enough to get what he wanted without too much hassle. Most of the time he was content, even happy with his life, and with what he owned, and he rarely found himself wanting for more.

Well, it appeared life still had the power to surprise him, because at his age, after years in which no opponent had been able to seriously trouble him and he had grown bored with his occupation as one of the Seven Warlords, he suddenly found himself highly interested in a certain matter, something he deeply desired, that he craved, even that he physically needed, and that at least for the time being was not only outside his reach, but Mihawk had not the faintest idea of how to make it his.

Well. He said something, and it, but somebody, and she, would have been more appropriate; a she who had a lovely smile, and very pretty hair, and a particular way of walking that made her hips and backside sway in such an enticing way…

“What are you thinking about?” (name) asked, looking curiously at Mihawk and unknowingly distracting him from thoughts that not only concerned her, but she had a protagonist role in “I’m sorry, I’m boring you…”

“Not at all.” he rushed to reassure her, forcing himself to swallow and act normally; he had not made a fool of himself in front of a lady when he was a hormone-prone teenager and surely he would not start now that he was decades older “I just… got distracted. I’m very impressed by all of this; you and your mother must be very proud of yourselves.”

It was the third day of his permanence on (name)’s island, and the woman had brought him to visit the site of her newest project: a museum, which was going to be inaugurated soon in a large building that had previously housed the island’s chamber of commerce. Once the organisation had moved to a new headquarter, closer to the centre of the city, (name) and her mother had decided to repurpose the old location, destining it to the preservation and display of works of arts and other culturally significant pieces. 

“There are excellent schools on the island, and libraries, and even an astronomical observatory.” (name) explained as they crossed one of the still half-furnished rooms, that according to the panel hanging out of the door was destined to house archaeological artefacts “But no museums. I got the idea reading about the inauguration of an art gallery on the paper; I have visited quite a few, as well as botanical gardens and other institutions, when on holiday with my parents as a girl or on my own; but not everyone here can travel freely as I can, and I want my people, especially children, to learn to appreciate art, and that learning doesn’t necessarily happens inside a classroom.”

Mihawk nodded; he admired how dedicated his friend was to the well-being of her island, and of the people she would one day rule over. “What about the collections? How did you acquire the pieces to fill all these rooms?”

“Well, the art section will mainly house paintings owned by my family; they will look better here than in rooms that no one but me and my mother have visited in years. Some others have been donated, or lent, by larger institutions my mother has written to; and a few… well, my latest two bounties were particularly high, and after I bought a new dress there was more than enough for a few antiquities.” she answered proudly “I can’t wait for this place to open, I was thinking about inviting the lords and ladies of a few other feuds to the inauguration…”

The two spent a while walking around; they were alone, the construction workers having left an hour before. Mihawk did his best not to look uninterested in the project the woman next to him clearly cared so much about, but as he listened to her talk, and saw her proud smile as (name) described the way the artefacts would be arranged in the various rooms, and how she had invited the kingdom’s leading archaeologist to attend the museum’s inauguration, all he could think about was how pleasant would it be to take advantage of that solitude to press her back against one of the building’s unpainted walls, rest his hands on her deliciously feminine hips, and kiss her long and hard enough to leave both of them breathless. She would taste heavenly, he was sure of it, but what he wanted the most, what he would give half of his blood to experience just once, was to hear her say his name in the throes of passion, their bodies pressed against each other, his mouth avidly swallowing her moans as her lovely hands, that Mihawk had seen delicately holding a fork or a pen, and then confidently clench around the butt of a gun, caressing and stimulating his skin under his clothes.

“M-Mihawk… don’t stop… oh, Mihawk, I want you so much…”

Gods. He could get hard just by thinking about it; what was happening to him? How could he manage his urges… and, more importantly, the feelings that had aroused them? 

“I’m sorry if all this feels dull to you.” (name) said later as they, sitting in the small but elegant horse-drawn carriage, looked at the people and building of the city pass in front of them on the way to the fortress; Mihawk saw many passers-by respectfully bow their heads at the vehicle’s passage, no doubt imagining who was riding inside “I love my island, but there is not much to do, especially for a guest who is used to a more… active lifestyle; also, I have so little time…”

Mihawk smiled - briefly, and only for a moment, but sincerely. “You have nothing to apologise for; I don’t need to be entertained every waking moment, and I understand you have duties to attend to.”

(name) smiled, relieved and almost shy; Mihawk saw her bit her lip -her lovely, rouge-tinted lips, that he recently had found himself dreaming of more than once- and briefly move the hand resting on her lap, apparently without a reason… or maybe, Mihawk allowed himself to believe for a moment, to touch his, only a few inches away. 

“Still, you are my personal guest; it is my duty to make sure you are well looked after, and do not regret accepting my invitation.”

“You don’t need to fear in that regard; you are an excellent host.” he reassured her. “I am actually enjoying my stay more than I expected.”

“I’m very happy to hear you say so.”

The two of them spent the rest of the ride home in a comfortable silence, simply enjoying each other’s presence as they always did - with each other, and few other people besides. When the carriage stopped in front of the fortress’s main gate, Mihawk allowed a servant in livery to open the door, stepped out and then offered his hand to (name) to help her descend, receiving another smile as a reward. Gods, her smile, he thought; that alone could be enough to make his self-control crumble.

“Thank you, kind sir.”

“It was my pleasure, my lady.”

They were about to walk inside when the servant cleared his voice. “Apologies, my lady, but the lady Veressa asked me to inform you that lord Theon has honoured us with a visit.”

Looking at (name), Mihawk thought the woman didn’t seem to feel particularly honoured; rather, she had the face of someone who had been told they would never celebrate their birthday again. “You mean today? Now?” she asked “He was supposed to come for my mother’s birthday, next month.”

“Yes, my lady; he arrived less than an hour ago. He is in the banquet hall with your mother.”

“Alone? I mean, are his wife and son with him?”

“No, my lady. He came alone.”

(name) frowned. “Which means he could want to stay a while. Just what I need.” she muttered, clearly unhappy; realising she had actually uttered those words instead of simply thinking them, she rushed to dismiss the servant, who bowed low and left.

“I gather this guest is not of your liking.” 

“He really isn’t. He… well, Theon is my cousin. If unpleasantness were a sport, he would be a world champion, but since he is one of my closest relatives besides my mother I can’t always avoid him. He has the unspoken right to come visit whenever he pleases, a privilege he makes large use of with the sole purpose of vexing me, even though he doesn’t enjoy my company any more than I enjoy his.”

 “Why has he come visiting, then?” Mihawk wondered; he thought the question harmless, but he saw the woman in front of him frown, the good mood of the afternoon spent together disappearing like snow at the coming of spring.

“Well… you remember I told you I can’t have children?” she said in the end, not even attempting to hide how painful it was for her to discuss that topic. It had been unintentional, but Mihawk mentally kicked himself for leading their conversation towards such a difficult topic.

“Of course.”

“Theon is not simply a close relative of mine… he is the closest, obviously after my mother, which technically makes him my heir. He’s two years older than me, which means he’s probably not going to enjoy being the lord long, but five years ago he had a son, and since I was still unmarried and childless, he formally asked my mother to exclude me from the line of succession, naming him her heir. My mother obviously refused, which only helped exacerbating Theon’s resentment against us both.”

Mihawk tensed. “You think he could attempt to depose her? Or hurt one of the two?” he inquired, and (name) actually considered his hypothesis for a moment before shaking her head.

“Theon is an idiot, but he’s not a fool; he knows the people of this island would never accept him if he took power by force.” she reasoned “He only wants to check whether my mother is in good health, clearly hoping she is not… and if I have a partner who could get me pregnant, since we have kept the fact that I am now infertile secret. He’s becoming more insufferable every passing year…”

She looked decidedly unhappy, an unusual circumstance for a normally self-assured woman, her eyes downcast as her hand almost unconsciously brushed against her stomach - against her womb, that would never grow heavy with a child. 

For a moment, Mihawk seriously considered offering to tell (name)’s cousin she did have a partner - him, a powerful and menacing pirate with a six foot four sword hanging from his back, who would have no qualms defending her from any unpleasant comment or insinuation; the woman could take care of and stand up for herself, but she might be forced to be polite to her cousin, while he would happily introduce the fool to Yoru’s cutting side to save her the torment. 

“I’ll have to ask him to dine with us.” (name) muttered as they both set off towards the inside of the fortress “I’m so sorry, Mihawk.”

“I don’t mind.” he lied “To be honest, I can’t wait to meet your cousin.”   

His desire was fulfilled only a few minutes later when, crossing the banquet hall to reach their quarters, they met the lady Veressa, deep in conversation with a tall, well-dressed man. The older woman smiled seeing them come in, but her gaze grew tense a moment later; she clearly did not appreciate Theon’s visit any more than her daughter did. 

“Hello, my love; Mihawk. Was your afternoon pleasant?”

“It was, mother, thank you.”

“Good. Look who came to visit us.”

There was a vague resemblance between Theon and his cousin and aunt, Mihawk found, even though the man’s face was devoid of the beauty they had been blessed with; he was tall and broad-shouldered, but a weak chin was visible under his well-kept beard.

“Theon. We were not expecting you.” (name) pointed out without a smile, fake or otherwise.

“I’m returning home from a trip abroad, and I thought I would pay my family a visit before returning home.” Theon explained “Good to see you, (name);”

“And you. How are your wife and child?

At the mention of his family, a touch of sincere affection coloured the man’s voice.

“Very well, thanking all the Gods. My son has just started his classes with a tutor, the man says he has never had a cleverer pupil.” he said, before smiling sweetly at his cousin - the sort of smile one could expect from a snake ready to gape its jaws “And what about you, dear cousin? No man in your life… and no child in your womb?”

“Not for the time being, no.”

“You should hurry. After all you’re no longer a girl, am I wrong? I thought you’d be more interested in the future of your feud… even though I understand it’s not always easy to find the right person, when one is not exactly… well, of course there’s nothing wrong with having high standards…”

(name)’s expression had turned to ice; clearly she was used to her cousin’s subtle cruelty, but Mihawk could see the hurt in her eyes. 

“Did you spend your afternoon working in a construction site?” Theon insisted, before (name) could utter an equally biting answer.

The dress the woman had chosen that day was one Mihawk had seen her wearing more than once; she looked lovely -and oh, how deliciously she filled it, the shape of her body caressed by the fabric- but neither her nor Mihawk had noticed there were traces of plaster dust on her skirt and sleeves, no doubt a residue picked up at the museum’s site.

“Let’s say that is my new hobby. To be honest, I’m quite busy these days; unfortunately not all of us can spend our time hunting in the woods and playing chess.” she answered sweetly, without even attempting to hide or clean the dirt on her dress “Duties of the heir, you will understand. Or maybe not.”

Mihawk felt a smile tug at his lips; meeting the lady Veressa’s eyes, he saw the older woman hide her own amusement behind a hand. Theon, on his part, went red in the face; like all cowards, Mihawk thought, he enjoyed making fun of others, but was unable to defend his own honour when he was the one attacked.

“Theon, I don’t think you’ve ever met our guest.” the lady Veressa intervened, stepping closer to rest a reassuring hand on her daughter’s back “Meet Dracule Mihawk.”

Theon blinked; only then he seemed to notice the presence of the tall, menacing man in black next to his cousin. “Dracule Mihawk? That Dracule Mihawk?” he asked, disbelief evident in his voice “One of the Seven Warlords of the Sea?”

“I am not aware of another man with my name.” Mihawk replied, his tone icy. Theon gulped; both Mihawk and the two women saw him eye the man in front of him, and then the huge black sword hanging from his back.

“What… what are you doing here? Don’t tell me the Marines sent you…”

“I am not here on business; I am (name)’s guest.”

“Mihawk and I have known each other for many years.” the woman interjected, moving in turn marginally closer to the man; Mihawk felt her fingers brush against his “He’s a good friend.”

“R-really? I… had no idea…”

“I admire your cousin’s ability with a gun; I have seen her shooting a man between his eyes from a hundred and twenty feet away. Do you remember, (name)?”

“I most certainly do. It wasn’t a criminal I had been assigned to capture by the Marines.” she replied innocently, her hand now brushing against her faithful derringer, hanging from her waist in its holster “It was just someone who was irritating me and should have minded his own business.”

Theon gulped. He looked at (name) as if he was seeing her for the first time, seriously wondering if the woman would actually shoot him, rules of hospitality and familiar bond be damned; then his gaze moved to Mihawk, and even though he had just met him Theon did not doubt for a second the pirate would happily slice him without a moment of hesitation. 

“W-well, that’s interesting. I hope we’ll have time to talk some more at dinner… now, if you excuse me, I need to… you know…”

He quickly retreated towards the door; (name) almost didn’t wait for him to be out of earshot before laughing. “What an asshole!”

“(name), language.”

“I’m sorry, mother. But Theon really deserved it; one day I’ll use him for target practice!”

The lady Veressa giggled; she smiled gratefully at Mihawk, who silently bowed his head in response, and took her leave.

“Before I forget; your cousin has brought you a gift.” she added before departing, nodding in the direction of a large box placed on a nearby table “I don’t ask you to like it, but you should at least see what it is.”

(name) promised she would; she waited for her mother to leave, then she smiled at Mihawk, and after a moment of hesitation she took both of his hands in hers - a chaste, completely uncompromising contact, that nonetheless filled the swordsman’s heart with a feeling he struggled to find a name for. 

“Thank you.” she murmured “I’m sorry you had to deal with my cousin, but… thank you for supporting me.”

“You seemed perfectly capable of putting him in his place by yourself.”

“I am; I have been practising since I was maybe six. But having you near… made me feel stronger; safer, even. I’m sorry, you’ll think I’m an idiot, a weak woman who needs a man to protect her…”

Mihawk huffed. “I could never consider you weak, (name).” he murmured as he delicately caressed the back of her left hand with his thumb; his heart was pounding, hard enough it almost hurt “Nor could anyone who knows you. You must be one of the strongest people I know.”

Again that shy, grateful smile and Gods, Mihawk was this close to take her in his arms and kiss her senseless. “Well, that is a great compliment, coming from one of the Seven Warlords of the Sea.” she said “Anyway, I’m happy you are here, Mihawk.”

“I’m happy as well. Truly.” Mihawk answered softly. For a whole minute neither of the two moved, or spoke; they both looked down at their clasped hands, and then their eyes met. 

The world stopped turning. 

(name) was the first to look away; Mihawk was almost sure she had blushed. “Well, I should take a look at this gift; I bet Theon has chosen the least tasteful thing he could find.”

“Like what?”

“I don’t know… baby clothes, maybe? In the hope you’ll soon need these…”

“If he has done that I swear I’ll carve his heart out with Yoru.” Mihawk promised; Theon didn’t know (name) couldn’t have children, but still he had to have realised how painful the fact that she was yet to give an heir to her feud was for her “And I’ll offer it to you on a silver plate.”

The woman grinned as she left his hands to walk to the small table the box had been placed on. “Now that is a gift I would appreciate… oh. Oh, would you look at this…”

This was the content of the box, that (name) had quickly opened; a vase, its upper lip roughly as wide as a serving dish, from which a single tall flower rose on a long, thin stem, surrounded by a bed of tiny green leaves. The flower was closed, its bright pink petals secured around the central head; Mihawk knew vaguely the process had the purpose to protect the flower at times when pollinating insects were dormant. 

“It is… nice.” (name) almost reluctantly admitted “I mean, I don’t particularly like flowers, but… what’s wrong?” she added, seeing that Mihawk had frowned “What’s so weird about gifting flowers to a woman?”

“Nothing, I assume. It’s just… I think I have seen this flower already.”

“Where?”

“It was an illustration on a book; it was Shanks’, I saw it the last time we met. I can’t remember what it said, but there was something strange about this flower.”

“Is it dangerous?” (name) asked, clearly intrigued “Is it one of those carnivorous plants that eat any creature that comes close to them? Maybe Theon hopes I will keep it on my nightstand, and at night as I sleep the plant will come alive and devour me…”

The flower, still and barely a foot tall, didn’t look particularly threatening, but Mihawk wasn’t convinced; (name) seemed sure her cousin, unpleasant and resentful as he was, would not try to seriously hurt her, but he decided it was better to be safe than sorry. 

As usual, he was wearing the Kogatana on his neck, the deceptively small knife resting against his chest; Mihawk took it out of his sheath. “Stand back.”

“What are you doing? Mihawk, it’s a flower, you don’t seriously think…?”

“Stand back, please.” he insisted, and (name), clearly perplexed, obeyed. Mihawk slowly extended the knife towards the plant; he didn’t dare thinking about how ridiculous he had to look in that moment, pointing his weapon against an opponent whose kind was routinely cut to be made into bouquets and wreaths, but his instinct said he better be on his guard, if only to avoid (name) or the lady Veressa to fall into some kind of danger. If only he could remember what that book had to say about this flower…

Nothing happened as Mihawk let the blade of the Kogatana slowly approach the flower; then, when the tip of the blade was half a foot from it, the small plant seemed to quiver, as if it had perceived the presence of a threat. Slowly, its petals opened, and Mihawk and (name) found themselves staring at what looked like a pale yellow eye, surrounded by pink lashes.

“It’s lovely.” the woman murmured “I can’t believe Theon would gift me something like this…”  

A moment later two things happened in rapid succession, too fast for the two to be able to react. First, the tip of the dagger -tiny, but sharp enough to cut through a person’s body, if handled with sufficient strength- touched the flower head, that trembled again, as if in pain, and then, lighting fast, a shower of pollen erupted out of it, hitting Mihawk in the face.

“What the…?”

“Oh, Gods!” (name) cried; she quickly retrieved a handkerchief from her pocket, and used it to clean the grains from the swordsman’s face “Mihawk, I’m so sorry… are you alright?”

He thought about it for a moment, gently taking the handkerchief from her hand to clean himself; the smell of the pollen was too intense for his liking, unpleasant after he had breathed some of it, but the sensation was not painful… even if it did make him sneeze. 

“I’m fine.” he reassured her in the end “That had to be the flower’s defence strategy, a way to ward off predators. Curious…”

(name) frowned. “Clearly this is what Theon wanted; to pull a stupid prank on me, like that time when he was fourteen that he hid a lizard in my jewel case to scare me. He clearly hasn’t matured since then… I’m sorry you got involved…”

“No harm done, truly.”

A moment of embarrassment passed through them; Mihawk felt his fingers touch (name)’s as he returned the handkerchief to her. “Maybe your cousin should remember that, just like this flower, you also know how to defend yourself when someone threatens you.” he said, more gently than most people had ever heard him talk.

“Yes; maybe he should…”

A moment later, a valet entered, to announce (name) was expected at an audience she had granted to a few members of the court; the woman sighed, clearly unhappy she had to leave.

“I’ll see you at dinner, alright?” she asked Mihawk “Thank you for being with me today, I spent a lovely afternoon.”

“As I said, you are an excellent hostess.”

“Such a flatterer…!”

She smiled at him, now neither shy nor embarrassed, before leaving, stopping just to tell the valet to make sure her guest was well looked after in her absence; Mihawk couldn’t help following the movement of her hips, the delicate fabric of her skirt hugging her curves, as the woman walked away.

The valet bowed. “Is there anything I can do for you, sir?” he asked; a moment of reflection, and Mihawk shook his head in response.

“No.” he answered softly, more to himself than to the man in livery in front of him “I have everything I need already.”

*

Mihawk’s feelings for (name) had succeeded in what no opponent had been able to do in his life since he was maybe seventeen: they had snuck up on him, slowly growing in his heart unnoticed, and then revealing themselves once they had been too intense for the swordsman to be able to deny or suppress them.

The realisation had caught him off guard, since he had never given too much thought to love and feelings in general; he had never had a serious relationship in his life, and since he had reached adulthood the occasional night spent with a woman whose name he promptly forgot -or never cared to learn- had been enough to satisfy his needs. It wasn’t that he didn’t like women, because he did; he simply had never found one interesting enough to attract his attention for more than a few hours spent in an inn room.

In hindsight, he should have imagined (name) would be the one to break down his defences, if only because she had no idea she had done so, nor had she even tried to endear herself to him beyond mere friendship.

But she had. Gods, she had, and for months now Mihawk had felt his heartbeat accelerate every time (name) smiled at him. There hadn’t been a specific moment his feelings had grown beyond the pleasant, firm and deep friendship he and the woman had built in so many years to indisputably, irrevocably fall in the realm of romanticism. It had simply happened that one morning Mihawk had woken up in his bedroom at home on Kuraigana Island, and instead of getting out of it to quickly begin his day as he usually did, he had lingered for a while, looking at the other half of the double mattress and thinking how lovely, how right, it would have been if (name) had been there, sleeping soundly with her hair spread on the pillow or already awake, about to smile at him and wish him good morning with a kiss. That had been enough to make him realise he was lost already, completely and utterly enamoured, and for the first time in his life he didn’t know what to do.

While he hadn’t expected his feelings for her to change, Mihawk wasn’t surprised (name) had been the one his heart had turned to. They had been good friends -she was maybe the only one he had apart from Shanks, which was two friends beyond what Mihawk expected to have or felt the need for- for so long, and the swordsman sincerely respected her: (name) was clever, strong-willed, determined in pursuing her goals and didn’t let anyone doubt or demean her on account of her gender or origins. She could have lived a tranquil, privileged life on her island, far from danger and surrounded by the comforts she was entitled to as the lady’s daughter; instead, she had spent her youth learning to shoot, first taught by her grandfather and later on her own, and then she had become a mercenary and bounty-hunter -and an exceptionally capable one at that- spending her time tracking down pirates and other criminals to bring back to the Marines. Most of the berry she earned with the bounties were spent for the good of her home and people; she didn’t do it for the money, rather to prove how capable and resilient she was and could be, not only a noblewoman destined to rule over a small but wealthy feud, but a capable markswoman no one could afford to underestimate or challenge lightly. Mihawk admired her for that; he respected her intelligence, the quiet strength anyone who met her couldn’t help perceiving, and the way she had to fight for what she believed in and considered important, be it refusing to back off in an argument or pointing the barrel of her derringer against the temple of a killer and telling them to plan their first move carefully if they didn’t want to end up with a bullet in their head. 

And she was beautiful. He had thought that since their first meeting, how could he have not? (name) was simply gorgeous, even not considering the practical elegance she dressed with, the comfortable but refined dresses she liked to wear that only accentuated her natural charm, even though Mihawk was sure he would find her enchanting whatever she wore - or didn’t wear. He wasn’t the only one to find her good-looking; while (name) had confided him she felt completely incapable of flirting or making romantic advances, many victims had fallen prey to her captivating smile, not imagining that the pretty woman who looked so interested in what they had to say was already clenching the butt of a gun under the table, and Mihawk had once heard Garp mention that in the years of her collaboration with the Marines at least two officers had -unsuccessfully- asked her out. 

Yes, he had always thought she was attractive, but since he had become aware of his own feelings for her, Mihawk found he couldn’t stop looking at (name), and that his appreciation no longer stopped at the beauty of her smile or her elegance, but had started drifting towards other parts of her body. The morbid curve of her chest under her corset, the way her hips swayed while she walked, and the way her shapely -he had no way to know for sure, but he was sure they were; they had to be harmonious and well-proportioned, nothing that was part of her couldn’t not be- legs peeked out from under her skirt when a gust of wind lifted it… She was just so lovely, so exquisite in her natural sensuality, and every simple touch between them, even just his hand holding hers when he helped her dismount from the carriage, was enough to give him palpitations.

He couldn’t take it anymore; that situation was driving him crazy, worst of all because (name) had no idea of the effect she had on him. The fact that the woman had invited him on her island for a few days -or more, if you want; you can stay as long as you wish, you know I like having you here- had pleased Mihawk immensely, since it meant spending plenty of time with her, alone, but keeping his emotions in check in her presence got harder by the hour. (name) had already asked him if he was alright twice, which meant she had noticed his behaviour was somehow odd or unnatural; if he didn’t do something soon, Mihawk reflected, he would end up making a fool of himself, a problem for which he could see only one solution…

He had to declare his feelings for (name); he had to confess how much he cared for her, how special and beautiful and precious he thought she was. He had to tell her he was in love with her, that there was not a moment in which she was not in his thoughts, and in his heart, and that while he had always felt content and satisfied alone, with few people he tolerated and even fewer that he enjoyed spending time with, he had come to wish she would share her days, perhaps even her life, with him, an exclusive bond made of loyalty and affection and respect and yes, pleasure as well. He could make her happy, Mihawk was sure of it, and if he were lucky enough to discover his feelings were reciprocated, he would make sure the woman forgot any other man she had ever met or been with.

The problem was, he had no idea whether (name) cared for him like he did for her, and in that case, if she would actually be interested in a relationship. She was clearly fond of him, and enjoyed their time spent together, but that didn’t necessarily mean she could see him as a potential partner - as a lover. Like Mihawk the woman mostly kept to herself, at least while on the island, mainly to maintain her good name and avoid gossip about her love life, and occasionally took a lover while away on vacation or travelling around for her mercenary assignments, relationships she invariably abandoned after a few days at most. The arrangement seemed to suit her just fine; who knew if she would be interested in something else, in a more committed relationship? Maybe she was, just not with him, because she did only see him as a friend and wasn’t attracted to him at all…

Also, there were (name)’s duties towards her feud and people to consider. The lady Veressa was in excellent health, but sooner or later she would have to take her place as lady of the island, which would mean abandoning her activity as a mercenary and remain at the fortress to take care of her people and land. Children were regrettably something she didn’t have to worry about, but who knew if she would approve of him as her consort? (name) was not the sort of woman who judged people on their origins and he knew she valued his intelligence and strength of character, but perhaps she wanted someone different to share her responsibilities, someone who was born on the same island as her or at least who knew what it meant caring for a family of more than a thousand people. Mihawk himself wasn’t sure he could see himself in that role, given his intense preference for solitude and relative disinterest for what happened for most other people. 

Maybe they, or at least their inclinations and ambitions in life, were too different for him and (name) to be compatible as a couple; maybe the woman was not, and would never be, attracted to him. Simply considering that hypothesis was painful, especially because Mihawk knew finding out they wanted different things from their rapport would most likely mean the end of their friendship.

Nonetheless, he couldn’t remain silent; his feelings were too intense, too encompassing, too deep and real to keep them secret. He was already happy with (name) in his life, but what he really wanted, what he craved, was to have her by his side, to share his feelings with her as well as his thoughts and his time; he wanted to know no other man existed for her, because no other woman could ever exist for him. Perhaps his friend expected he would confess his feelings first, as was tradition for men to do, perhaps she had simply never thought about him as a potential partner and lover; that was fine, and he was confident he could change her mind. All he needed was a chance, just one, to show her how happy he could make her, how much pleasure and joy and empathy they could create and feel together…

*

Mihawk sighed as he closed the door behind him and contemplated the spacious chamber he had slept in for the last two nights. The bedroom his host had had prepared for him was almost as large as the one he slept in at his home, elegant and comfortable, with a lovely view of the city’s harbour out of the thickly curtained window; Mihawk had even heard a servant mention that (name) had requested the furniture moved to better suit his tastes, a consideration that had flattered the swordsman - even though he could not avoid thinking how even more pleasant it would have been to share that ridiculously large bed -but the mattress was firm, just like he liked it; he wondered if his friend had thought about that as well- with her, or to sleep in hers.

Nevertheless, not even the simple opulence of his apartment could comfort Mihawk at the moment; he had made a fool of himself in front of (name) with that stupid flower, and while she wasn’t the sort of person who would make fun of him, he could have taken advantage of that moment of intimacy after her mother had left to tell her about his feelings. He hadn’t thought about that -something he felt he would reproach himself for a long time- and this was already the third day of his sojourn on the island; even though (name) had told him he was welcome to stay for as long as he wanted, he had decided he would confess his feelings for her before leaving, and the time at his disposal was starting to run short.

But how? Could he start by asking her if there was someone important in her life, or if she ever thought about settling down with a partner who would one day help her rule over her island? Or was it better to invite her for a walk, make sure they were alone, and tell her he couldn’t stop thinking about her and he would give half of his blood just to know she cared for him as well? Or perhaps the right thing to do was to knock at her door at night, pick her up to carry her to her bed, and prove (name) beyond any reasonable doubt she was his already and he was his as he made her scream his name…?

He had no idea. Still a reasonably young man, Mihawk had done and seen more in his life than many people could even dream, but this was completely new for him - a veritable leap in the dark, and while the word fear simply didn’t exist in his vocabulary, he had to admit he felt… anxious at the prospect of discovering whether (name) shared his feelings or not, a mix of trepidation and worry he had never felt before…

A small but elegant desk was positioned in front of the window, with a set of writing instruments neatly placed on the wooden surface in the event the lady’s guest wanted to pass a message or leave a request for the servants. Looking at the small stack of white sheets, Mihawk felt more foolish than ever; writing a love letter was something shy boys did, which he was not, or men whose ladylove was physically distant from them, while his slept no more than a dozen paces from him. Furthermore, (name) deserved better than that; she deserved a declaration she would remember for the rest of her life, a confession that made her feel as special, precious and splendid as he thought she was, and he would give it to her; he would give her everything she needed and wanted, and the only thing he wanted in return was her heart.

He felt strangely tired all of a sudden, but not exactly the way he did at the end of a long training session; rather, it was a weird, uncomfortable drowsiness that had fallen on him like a wet blanket, making it hard for the swordsman to focus. Was he coming down with a fever? He had no reason to believe that, but he was sure he would feel better after he had rested for a while; he had plenty of time before dinner… but there was something else he wanted to do first.

Mihawk was sincerely glad no one could see him as he retrieved three sheets of paper and a pen from the desk and brought them to the bed, together with a book to use as a support. He would not confess his feelings to the woman he loved in writing, but perhaps it could help him to decide how to… address the issue.

My darling (name)

(name), there is something important I need to

Since the day I met you, I have known you were special

I’ve never felt anything like what I feel for you

Mihawk sighed; all those words, and the feelings they described, corresponded to the truth, but at the same time they felt reductive, because not even the greatest poet in the world could describe the depth and intensity of his love for (name); he sighed, partly discouraged but still determined to find the right words.

I love you. I have loved you for a long time, and if you gave me a chance to

I dream to hold you in my arms and kiss you until we both can’t breathe

I want to worship your beautiful body and to make you scream my name

I need to fuck you senseless and feel your wet pussy clench around me

Mihawk blinked, staring uncomprehendingly at the piece of paper in front of him - specifically, at the last lines written in the elegant cursive his older sister had taught him to write in, a lifetime ago. Yes, that was without a doubt his calligraphy, and the pen was still in his hand, but he couldn’t believe he had actually written those words. Embarrassed, irrationally fearing (name) could somehow find and read them, he looked at the empty fireplace in the room and tore the sheet of paper into tiny pieces, making it impossible for anyone to read his incriminating desires.

What in the world was he thinking? Yes, he was attracted to (name) and he had fantasised about them together -what man worthy of the name wouldn’t? How could he look at her, at the shape of her beautiful body under her dress and not wish he could ravish her, feel her writhe under his body and stimulate her with his mouth?- but this was not how he wanted her to know! Mihawk was in love with her, a much deeper and more lasting feeling than a passing infatuation or the simple impulse to find relief between her legs; sensible and mature as she was, (name) was not the sort of woman who would faint or react running away if a man propositioned her, and he did plan on showing her how irresistibly arousing he found her body. But to convince her of his feelings, and that they could be happy together, was Mihawk’s first and foremost goal.

And he would accomplish it soon. But first he did need to rest for a while, the swordsman reflected as he rubbed his eyes with the heel of his hand. Despite the pleasant breeze coming in through the open window he felt uncomfortably hot, his head swimming to the point the furniture of the room appeared blurred to his eyes; all of a sudden he felt as if he had been awake for five days.

I’ll tell her soon. Today, if I can; but not now. Now, I have to sleep.

He left Yoru propped against the wall, and the Kogatana on the table next to the paper and pens; he quickly got rid of his coat and boots, for once not caring where he left them.  Mihawk sighed as his head fell into the pillow - not too soft just like he liked it; he heard the birds sing on the branches of the trees in the garden.

He fell asleep with her name on his lips.

[the-smut-analyst]

A defence of the Good Guy / Bad Boy love triangle

It is no secret that mainstream YA & NA fantasy gravitates towards an angsty love triangle. But is this trope's popularity due to vapid teenage vanity... or something far deeper?

Warning: in this post, I will be referencing: True Blood/The Southern Vampire Mysteries, Legendborn, A Court of Thorns and Roses, The Shadow and Bone Trilogy, Buffy the Vampire Slayer, The Hunger Games, Chilling Adventures of Sabrina, and The Vampire Diaries. Some minor spoilers, mostly relating to the romance side of things, may be involved.

I have stumbled across a bunch of articles lately analysing why love triangles are popular in YA and NA fiction - and all of them, in my opinion, missed the entire point.

Firstly, they focus entirely on the "love interests", while wilfully ignoring the fact that the romance element is often a subset of these stories, rather than the main focus (more on that later).

Secondly, these articles often attribute the appeal of the love triangle to "teenage vanity". They either directly state or imply that young women are drawn to the idea of "provoking" two men into a fight for their affection.

Look, I get it.

Or at least I get how a middle-aged man tap-tap-tapping away on his computer might draw that conclusion. Especially if the crux of his knowledge regarding female-centred fantasy rests on blog posts ripping apart Twilight.

But regardless, the fact remains that labelling YA love triangles as a conceited sexual fantasy is a gross over-simplification. Why? Because romance is rarely the point of the story. Instead, the love triangle is a vehicle through which the author complements and elevates the standard Hero's Journey plot beats.

To demonstrate this argument, I will go through each of the critical plot beats in the Hero's Journey. For each beat, I will demonstrate (with examples) how dual love interests can underscore the character development of the protagonist and highlight her emotional struggles during each stage.

The outline for this analysis will be as follows:

Introduction of the Female Protagonist / Refusal of the Call

Meet the Good Guy / Meeting the Mentor

Meet the Bad Boy / Tests, Allies, and Enemies

Death of Innocence / The Ordeal in the Abyss

Heartbreak / "Death" of the Mentor

Grief for Lost Innocence / Refusal of the Return

Self-Discovery / The Road Back Home

Female Protagonist Accepts Her New Self / Master of Two Worlds

For reference, here is a rough outline of the major plot beats in the Hero's Journey:

Alright. Time to rip apart some assumptions.

Let's go!

Introduction of the Female Protagonist

Refusal of the Call

Mainstream fantasy love triangles almost always centre a female protagonist hence why people love to hate on them. The introduction of this protagonist generally follows your fairly standard Hero's Journey opening.

We meet the protagonist, usually a teenager or young woman, going about their "everyday life" in the ordinary world.

But then the Call to Adventure comes - sometimes referred to as the Inciting incident. For Feyre (ACOTAR), this moment is when she kills a wolf who turns out to be Fae. Or for Katniss (HG), her sister's name is drawn, prompting her to offer herself as a tribute instead.

The Call to Adventure or Inciting Incident marks a point of no return - even though the protagonist might not realise it at the time. It is the moment when life as they know it ends. Afterwards, nothing will ever be the same, including the protagonist.

The following beat is usually the Refusal of the Call, where the protagonist resists any change coming their way. Buffy (BTVS), for example, wants to continue her life as a regular teenage girl instead of being burdened by the duties of being the Slayer. Similarly, Sabrina (TCAOS) is hesitant to participate in the dark baptism, scared of its implications for her ties to the mortal world.

But for the plot to move forward, something or someone needs to prompt the protagonist to leave the "ordinary" world behind - and in turn, take those first few tentative steps into the "special" world (unknown).

Enter...

Meeting the Good Guy

Meeting the Mentor

The Mentor doesn't always have to be an Obi-Wan-style character who teaches the protagonist everything they know about lightsabers. In its simplest form, the Mentor archetype is a guide. Someone who takes the protagonist by the hand, either literally or metaphorically, and leads them from the ordinary world into the special one.

This transition is known as Crossing the Threshold and it is the beat that marks the shift from Act I to Act II.

Now, there is a good reason why the Meeting the Mentor plot beat often serves as a precursor to Crossing the Threshold. And no, it isn't because the protagonist is incapable of doing anything by themselves.

Instead, the Mentor character is often employed to explain how this new world works to both the protagonist and the reader alike.

Through the protagonist interacting with a "guide", the rules and systems of the new world can be revealed through dialogue and action, rather than excessive exposition and info-dumping.

And this is where the "good guy" as a Mentor character stand-in comes into play. His arrival serves the dual purpose of propelling the protagonist into the Crossing the Threshold beat and guiding her once she does.

For example, Sookie's budding romance with Bill is what introduces her (and us) to the Charlene Harris's world of vampires in True Blood. Or, in Tamlin's case, he takes his role in "helping" Feyre to cross the threshold quite literally and abducts her, forcing her to leave the human world behind in place of the world of Fae.

Now, there are quite a few exceptions to this good guy/mentor rule and they generally occur when the good guy is a childhood friend or sweetheart. Examples include Harvey (TCAOS), Gale (HG), and Malyen (SAB).

When this happens, the good guy often provides the protagonist with a much-needed link to her previous life and/or the ordinary world. He takes on more of a "grounding" role, rather than a guiding one.

But regardless, what these good guys have in common is a fairly standard set of traits. They are protective, have a strong moral compass, and are incredibly loyal to the protagonist.

Furthermore, they are almost always the protagonist's "first love". They offer her the emotional support she needs in order to move forward by making her feel less alone in the world.

Regardless of whether the good guy is a childhood friend or a mentor-like character, his relationship with the protagonist usually marks a time of both innocence and self-discovery. He is a source of love and companionship while the protagonist takes those first few tentative steps into the unknown.

Meeting the Bad Boy

Tests, Allies, and Enemies

The Hero's Journey is, at its essence, a Bildungsroman-like story. Or at least it is in the YA/NA genres. It is a coming-of-age tale, with Crossing the Threshold being a symbol for leaving the child behind in order to discover the adult that awaits.

What follows is a collection of plot beats known as Tests, Allies, and Enemies. This stage of the story is often fraught with missteps and small triumphs, good times and bad times - much the same as adolescence.

And this is where the bad boy comes in.

Sometimes the bad boy manifests as an enemy who the protagonist must face in some kind of test like Spike to Buffy. Other times, he presents as a Temptation beat, like the Darkling does to Alina (SAB), trying to lure the protagonist away from their path.

But regardless of how he makes his entrance, the initial purpose of the bad boy is almost always to bring the protagonist face-to-face with the dangers of this new world.

For example, through Eric, Sookie realises that not all vampires are polite and restrained like Bill. Similarly, Feyre's first encounters with Rhysand show her an even darker side to the Fae.

Even bad boys who are not outright evil still tend to behave in a way that the protagonist finds confronting, like Peeta (HG), whose ruthlessly practical survival tactics disturb the very moral Katniss.

In this sense, the bad boy fashions himself into a symbol of the harsh realities of adulthood. Much as a child might find their first encounter with the cruelty of the world shocking, the protagonist is shocked and appalled by the bad boy.

We're not in Kansas anymore, Dorothy.

However, it is important to note that the bad boy is usually just one component of the beats involved in the Tests, Allies, and Enemies section. Again, this ties in with my argument that these stories are a Hero's Journey first - with the love triangle simply underscoring that fact.

The friendships that Buffy forms with Willow and Xander are shown to be her two most enduring relationships, while her love interests come and go. In Legendborn, Bree's quest to learn the truth about her mother's death has nothing to do with romance at all. And Sabrina's rivalry-to-friendship arc with Prudence gets significant screen time across multiple episodes and seasons.

During the Tests, Allies, and Enemies stage, the protagonist is usually starting to come into her own. She faces challenges, forms friendships, and encounters enemies. And yes, with love triangles there's usually some lust and romance thrown in there, too.

But the main focus of this stage is that the protagonist is starting to learn who she is. She is becoming more and more powerful with each setback and triumph.

The Death of Innocence

The Ordeal in the Abyss

The Ordeal into the Abyss, also known as The Belly of the Whale, is a plot beat where the protagonist encounters their greatest test thus far.

Rather than this beat being the climax of the story, The Ordeal is generally a challenge that the protagonist must face before the final confrontation or battle - and they must do so alone. It sees them hitting rock bottom and coming face-to-face with their greatest fear, whatever that may be.

This plot beat is a transformative one. It forever changes the protagonist and readies them for the final battle ahead. It is a death of innocence. The moment when the "girl" becomes the "woman", so to speak.

And in this sense, The Ordeal in the Abyss comes with loss and gain in equal measure. Yes, the protagonist is stronger for the experience, but not without cost.

To get to this point, she has been to hell and back. Sometimes literally (cough, cough. Sabrina). The protagonist is now well acquainted with the darkness of this new world but, in order to survive it, she has to absorb some of that darkness into herself.

If you gaze into the abyss, the abyss gazes into you.

The aftermath of The Ordeal usually sees the protagonist having conflicting feelings over what she has discovered about herself.

On the one hand, she might relish her newfound power and strength. But on the other hand, she may also be afraid of who she had to become in order to emerge triumphant.

Heartbreak

"Death" of the Mentor

The Death of the Mentor isn't always a literal death, but rather, it is a plot beat that forces the protagonist to stand on their own two feet.

By losing the mentor, the protagonist's safety net is ripped out from underneath them. It places them in a "sink or swim" situation that is critical to their growth as a character.

This is why the relationship with the good guy must either falter or end at some point, even if only temporarily. Their breakup serves as a stand-in for the Death of the Mentor plot beat.

Because despite romance featuring heavily in these stories, there is still an inherent idea within them that there are certain steps in a woman's coming-of-age that she must take alone.

The cause of this breakup is almost always due to the transformation that the protagonist underwent during The Ordeal. The good guy no longer understands her, even though he may want to.

For example, Feyre's experience Under the Mountain sees her outgrow her coddled life with Tamlin. Similarly, when Katniss returns to 12, Gale can't fully comprehend what she went through, nor the role she is being forced to play as a result.

Grief for Lost Innocence

Refusal of the Return

The combination of The Ordeal and the Death of the Mentor take their emotional toll on the protagonist. She mourns for the girl she once was, the loss of her first love, and the ordinary world that is now a stranger to her.

What follows is a low point called The Refusal of the Return. Sometimes this beat sees the protagonist running away from her problems, as Buffy does when she flees Sunnydale after killing Angel.

Other times, The Refusal of the Return is a period of rebellion. Grief manifests itself into rage and the protagonist leans more heavily into that darker side of themselves that they discovered during The Ordeal. Like when Elena turns off her humanity following the loss of her brother.

It is usually during this stage that the bad boy begins to take on a more prominent role. (Welcome back to the plot, bad boys!)

At some point, either during this beat or perhaps earlier, we see a different side to the bad boy. Most often, this occurs when the bad boy shows the protagonist some kind of vulnerability, leading her to second guess her first impression.

In the Darkling's case, Alina recognises his profound loneliness. Sookie witnesses Eric's grief at the loss of his maker, Godric. And Rhysand confides in Feyre about the horrors he endured at the hands of Amarantha.

However, seeing this "other" side isn't just a plot device to justify the protagonist's developing feelings for the bad boy. But rather, it serves as a mechanism through which the protagonist's assumptions and beliefs are thrown into question. Not just about the bad boy, but about the world in general.

Disrupting the protagonist's foundations is essential to nearly all emotionally-driven storytelling. Through shattering the her beliefs - whether it be in a system or person - the narrative is propelled forward as the protagonist is then forced into come to her own conclusions.

And this - THIS! - is where the "good guy / bad boy dynamic" becomes so much more than just a blatant over-simplification of male archetypes pandering to female sexual fantasy.

The dichotomy of "good" and "bad" expands here to represent larger choices that the protagonist has to make. Comfort or danger? Honour or Power? Altruism or ambition?

Furthermore, the protagonist's conflicting feelings about the two love interests underscores the very real push-and-pull we all feel during adolescence. Where we crave the adventure and independence of adulthood while simultaneously mourning the safety and protection of childhood.

And this is why the good guy / bad boy love triangle can be such a great plot device. It's not only fun to read (when done well) but it makes sense that the protagonist might find herself drawn to someone whose darkness matches her own.

Who the bad boy is - and what he has done - creates a safe space for the protagonist to explore this darker side of herself. To rebel. To fall apart. To be selfish for once, instead of selfless.

At a time when others in the protagonist's life, like the good guy or her friends, my judge or simply not understand her, the bad boy offers a reprieve. But whether this reprieve positively or negatively influences the protagonist tends to vary from story to story.

Sometimes he is the one who encourages her Refusal of the Return, as the Darkling does for Alina. Other times, the bad boy helps the protagonist in returning to her path, rather than luring her away from it, by offering her his understanding.

Peeta gets what Katniss is going through in a way Gale never can because he went through it, too. Similarly, Stefan can't provide Elena with the reassurance she needs after becoming a vampire because he has never come to terms with his own loss of humanity - therefore, enter Damon.

Self-Discovery

The Road Back Home

The Road Back Home sees the protagonist emerging from her Refusal of the Return. It is when she embarks on the journey to fully reconcile the girl she once was with the woman she has become. To do this, she needs to confront her trauma from The Ordeal and forgive herself for whatever darkness it might have awakened.

This is usually a gradual process that takes place over many chapters or episodes. In many ways, it is a mirror to the Crossing the Threshold beat. Except this time around, the protagonist is looking inwards not outward - instead of discovering the new world, she is discovering herself.

During this time, the bad boy's relationship with the protagonist is often explored more deeply. Being loved by the bad boy - darkness and all - is usually a precursor to the protagonist beginning to accept this darker side of herself, too.

But a distinction needs to be made here between "accept" and "embrace". The former does not necessitate the latter, and whether or not the bad boy gets his own redemption arc usually serves as the distinction between the two.

In the Darkling's case, he certainly helps Alina to come into her power, but ultimately, Alina rejects the path that he is trying to lead her down. The Darkling might have helped her to accept her darkness, but she does not fully embrace it the way he does.

Other times, when the bad boy gets his own redemption arc, we see a precursor to self-love through their relationship. Because in pursuing her feelings for the bad boy, the protagonist has to reconcile the fact that people are nuanced, and no one is entirely good nor evil. In forgiving the bad boy for his past wrongdoings, the protagonist sees that it is possible to forgive herself, too. Damon and Elena's arc (in the TV adaptation) is a good example of this.

But regardless of where things may or may not go with the bad boy, the next plot beat has nothing to do with romance at all. Now, the protagonist is ready for the final battle.

The Female Protagonist Accepts Herself

Master of Two Worlds

Everything the protagonist has been through has been leading her to this moment. Her triumphs, her defeats. Her discoveries and lessons. Her friends and mentors and lovers.

She's faced evil, maybe even embraced a little of it, and come out stronger and better for the experience. She has finished mourning the child she once was and accepted the woman she has become.

Now she is ready, as a master of both worlds, to face whatever comes next. And we, as readers, now get to enjoy the final battle!

Basically, the protagonist is a certified badass now - and she's going to win.

Now, where the romance goes during or after this plot beat is very, very varied. Sometimes, the protagonist stays with the bad boy, like Feyre does with Rhysand. Other times, the relationship is temporary, like Eric and Sookie. Or, in the case of Buffy, neither the good guy nor the bad boy remains in the picture. In fact, a very deliberate choice was made with her story to avoid an "end-game" romantic pairing.

And the reason why the romance is pretty damn varied is because, well, it doesn't really matter. The romance is the cherry on top of the story, not the whole damn cake.

Conclusion

I understand that love triangles might not be everyone's cup of tea - and that's okay. But to paint the entire trope under the broad strokes of teenage vanity and wish fulfilment is to do it a disservice.

Because for the most part, it isn't just some vapid romance. A lot of the most popular stories within the genre are actually complex YA fantasies in and of their own right, driven by your standard emotionally-driven, coming of age beats. They just happen to feature a female protagonist who falls in love.

Okay, maybe in this example she falls in love a few times. But so what? Getting your heart broken and mended again is a part of growing up, so why shouldn't it have a place in YA/NA fiction?

If young men are allowed to froth over some guy getting bitten by radioactive a spider and getting superpowers, then we can have two sexy vampires pining over the same girl.

[mdhwrites]

Did Luz ever believed that she could save Belos?

I think the bigger question is whether or not Luz ever CONSIDERED that she could save Belos.

Remember, in the first episode, she shoves a pack of fireworks directly into a dude's mouth. She sicks the cubes against the crunch publisher and then just leaves. She lets Willow do whatever she wants to the monster hunters. She straight up leaves Tibbles to be eaten by his miniature pets now that they're full size. Etc. etc. Luz is not exactly someone who seems to even question what she should do to an enemy, let alone their humanity versus her own.

This isn't even a complaint about her but just kind of a fact. I don't mind that she doesn't care about her villains. It admittedly places her mindset more on the axis of the Isles which actually isn't great for her ever disagreeing with them. It's why stuff like her clearing out Eda's cheat box honestly feels weird because her morality in general is pretty close to gray but she is clearly framed as morally better than the majority of the Isles, especially early on. It's just... Not really true by her actions. Remember, by episode three she's already sneaking out for her own self glory and on mass lying to get into the school she wants and only one of those required any pushing from others to do.

It also makes the jabs at SU kind of weird because like... The show never cared about its villains before now. The fact that they're not dead is mostly because Luz just leaves them to other people or can't kill them. She's just not that sort of protagonist. I mean, she fucking branded Belos back in King's Tide as a way to make sure everyone with a brand didn't die... Which you know, kind of means HE'S going to die. She literally uses his life as a trump card to get him to do as she wants. It's part of why people laud that moment as Luz being clever because even if the way she does it is bullshit, the idea is sound.

The ONLY exceptions to this are Amity and Hunter but... Only kind of. In the episodes where they are true antagonists, she has no way to actually fight back against them, ending up leaving both unscathed as she has to use trickery or just run for it. Then they're not primary antagonists but instead people in tension with Luz which is different. Luz is shown their humanity and suddenly gives them a chance. Why is a good question and uh... The fact that of her villains, these are the only two conventionally attractive, white people who she might want to date is NOT GREAT. To put it mildly. Especially when in their third proper episode together, Luz is stating that she'll befriend Amity explicitly as part of fulfilling narrative tropes. And if you want to say Kikimora disproves this: She doesn't. Luz explicitly helps Kikimora to prove a selfish point. If she wasn't freaking out about her own family, she'd have likely left Kiki to rot. It's not like she exactly ever tries again with the little demon after all.

No, for the VAST majority of villains, you fuck with Luz, Luz will fuck your shit up. It's honestly weird that it takes Luz so long during Winging it Like Witches to decide to go the violent route on Boscha, which I just assume is so she doesn't end up back in detention or expelled. Or because she thinks Boscha can and will kick her ass if she tries something like that on her own. But yeah, Luz isn't some sort of cinnamon roll. In fact, I think a lot of people's interpretations of Luz are much more based on what her archtype appears to be than what her actual character is (myself included while I was writing fanfic for the show). She's introduced as the quirky, nice girl in the first episode and she's not SUPER far away from it, that is the closest to an archtype she has besides just kind of morally questionable teenager, if she has really any archtype or structural base to her character. You know, besides audience surrogate and thus kind of bland and non-committal in order to serve that.

She has a couple interests but 99% of the time can keep them reigned in. Sure she knows what fanfic is but that just means she spends literally anytime online/with fandom. Her energy is cute but very erratic for it showing up... At all. Her kindness is extremely limited and she honestly just isn't that quirky. She has one series she supposedly obsesses about but quotes at most half a dozen times in the show which makes it more a character quirk than a defining characteristic.

It's kind of part of why Luz doesn't grow because the series seems to spend a LOT of time trying to figure out what Luz is. Is she a morally questionable teenager? Is she an excitable goof? Is she the moral center or the one having to learn morals? And yes, a character can absolutely serve several roles and be flexible. I think she actually does that well in the first half of the series where she shifts a bit for the sake of other characters' stories, which is one option for your main character. You know, before her narrative role changes and they get a VERY firm idea of who she is siiiiiiiigh but it's still weird with how they did it.

It makes so much of what we're told and what people latch onto end up feeling contradictory. As an example: Her being bullied. We only get maybe three moments in the entire series that even hint at her having any sort of bad experience with other people, let alone kids her own age. It informs nothing about how she behaves or her character. She could have just been a normal kid most people left alone and nothing would change. So this element, that so many agree universally on, is just... Almost purely fanon and the moments it comes up in canon are really awkward and just don't make much sense with literally EVERYTHING ELSE she does.

It makes her getting a shapeshifter as her palisman ironically make a lot of sense. Her character has always just been what's convenient for the writers and what others project on her. A lot of her canon character just isn't used a lot. Instead, people opt for what the fandom says about her.

And that version might have considered saving Belos. Might have thought taking a life actually mattered. But canon Luz is just worried about becoming the bad guy. That this is the start of her villain arc, not that she is finally having to murder someone. Just that her justifications might make people say she's like the villain in her story.

Because canon Luz never considered if Belos should live. Not from the second it inconvenienced her back in Hollow Mind. Earlier with what he did to Eda if you want to be REALLY generous, even though she never acts on what Belos did to Eda. She only becomes a revolutionary once she can't have magic cloak because of it.

Almost like Luz isn't the morally good person that the show told us she was. She's just a selfish teenager which can be a lot of fun, so long as you own up to that being your character. Shame TOH never did.

======+++++======

As a note: This blog is actually a LARGE part of why I stopped really being able to write Luz. I literally had a moment writing this one off where I went "Luz wouldn't do this. This is too nice and understanding." It was ROUGH. And what sucks is that with the morality around her, at least when characters are still interesting, her being a nice, caring person is the best dynamic for her. It just... Isn't actually her dynamic and that's rough.

Also that story is from a year and a half ago. Just... Man I wish my brain would unhook from this show already. *sigh*

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[relatableblorbopoll]

Round 1 of preliminaries, group 14

The first two places get a place on the bracket

Little reminder: there will be 2 more rounds of preliminaries, the losing blorbos of this poll still have 2 chances of getting in the official bracket

Propaganda under the cut

Oz Vessalius (Pandora Hearts)

"Struggles with self-worth, adores books, ADHD (though that’s not canon—but he fits the diagnostic criteria), his strongest/most important relationships are platonic"

Sound (My School President)

"Lonely gay teenager who tries to be cool and sauve but gets adopted against his will by a group of losers and then falls for one of the losers who gets on his nerves a lot because he was nice to him once and then he gets all awkward and flustered around the boy and tries to avoid him and antagonize him but the boy sees through it and they eventually end up together and he becomes the most annoying person in love ever"

Luz Noceda (The Owl House)

"adhd. possibly some autism too. a weird girl who got outcasted by being herself and sure has some WACK coping mechanisms to deal with it. self worth is IN THE DRAIN. gnc and not straight. writes fanfic. artist. goes through a depression era when at her moms house. loves her mom also. this is canon stuff i'm saying"

"AAAAAAAAAAAAAAAAAAAAAA she is so ASDHSUJD. Okay I started watching the owl house because I knew there was a WLW couple, so obviously I had to check it out. But upon watching the show, I got so emotionally connected to it, or moreso the protagonist, Luz, that it could go beyond some people's understandings... I remember that almost any scene showing her neurodivergent traits would hit SO. CLOSE. HOME. It would be unbelievable. I literally rewatched the show more than seventeen times one summer. She is just so goshdarn relatable man. She's the weird kid, has no friends, loves making anime edits, is OBSESSED with a book series, loves witches and magic and stuff, has ADHD, an attention span that is so high when she's engaging with something she likes doing and so low when she's bored. She's just so lovely. I know a lot of people found her annoying in season one but she hit close home to me. Season two was amazing as well and she started getting even MORE relatable!! She started showing her people pleasing, how much she blames herself, it was so sad but I was glad to see a character I could relate to so much on screen. I mean i personally didn't experience the loss of my father and I personally do have one friend whom I'm able to share my life with, but she's still super relatable. She can be so silly and so cool. And her impulsivity and the way she realized she doesn't know what she wants to do when she grows up also hit close home. Mwah"

Gundham Tanaka (Super Danganronpa 2)

"Goth autistic theater kid"

Saiki Kusuo (Saiki Kusuo no Psi Nan/The Disastrous Life of Saiki K)

"He's very dead inside, especially in the English Dub, and introverted. But even so, he cares a lot for his friends, even if he never says it to them and he finds them annoying most of the times. He also be nosey and just insert himself into others' situations that don't involve him (obviously, he makes it so that nobody knows he's there and, obviously, he's also complaining about this all the time). He's canonically aroace, or at least aroace spec He's canonically trans. He was born as a girl but he didn't like it so he immediately turned himself into a boy with his psychic powers. An argument could be made about him being on the autism spectrum."

Drew (The Music Freaks)

"I don't like him actually I hate him and love him st the same time in fact but. This man is so real and such a horrible jerkwad to everyone around him. I mean I can't relate to THAT but I should mention he also gets jelous easily, he is in love with his best friend who does not like him back, he's all moody and grouchy and bratty. And so am I and I hate it lol."

[queenphanessa]

Why do people criticize the House of the Hearth (and Arlecchino) for taking in orphans that can be Fatui agents when they grow up?

Remember Klee? The Spark Knight? The kid who plays with bombs and causes property damage?

Klee is a little girl, and yet she's officially considered a Knight of Favonius even if she's the only kid there. She might be cute and her destructive tendencies might be played for laughs, but she's officially a child soldier.

Edit: I legit forgot about Mika

Mika is a kid/teen who's an official member of the Knights of Favonius who Grand Master Varka brought on an expedition. He's an older child soldier than Klee.

Edit: I also forgot about Diluc who was a teenager when he joined the Knights of Favonius, as per his father's wishes for him to become the most esteemed Knight of all for the sake of their home, which lead to him becoming the youngest-ever Calvary Captain. And Diluc explicitly quit after his 18th birthday when his father died. So yeah, Diluc was also a child soldier for the KoF.

Bennett and Fischl are both teenagers (Fischl, I'm a little unsure of, but I'm pretty sure she's a teen), and they both have jobs as members of the Adventurer's Guild, with commissions/quests that can range from benign to dangerous. Bennett is especially notable since he was orphaned as a baby and raised by a bunch of senior members of the Guild before he himself became a member. So Bennett and Fischl could also be considered child soldiers.

And then of course there's Sayu. You know, the child ninja for the Shuumatsuban? An Inazuman organization that reports to Ayato and deals with espionage, combat, and assassinations?

Remember how Lyney said that betrayal was not tolerated at the House of the Hearth?

And remember what Ayato had to say about the Shuumastuban?

And look what Sayu's character details say.

For those who have played Sayu's hangout quest, remember that she was given a mission to assassinate the Traveler. And she's a kid.

And the man who gave her the order was surprised and horrified that she actually carried it out before finding out she and the Traveler had tricked him. He wasn't surprised because Sayu, a kid, had allegedly killed someone, it was because he thought she would be too lazy to actually do it.

As lazy and silly as Sayu is, it can be easy to forget that Sayu is indeed a child soldier. Ayato and the Shuumatsuban are the most similar to Arlecchino and the House of the Hearth, but I haven't seen anyone throw shade at Ayato, who in spite of being one of the good guys, is a scheming and manipulative person when need be. So why do people side eye the House of the Hearth, but not the Knights of Favonius, the Adventurer's Guild, and the Shuumatsuban for having child operatives? Because the latter three are on the protagonist's side? Because they're treated in a lighthearted manner or only elaborated on in character stories that not everyone reads? A lot of fictional stories (especially fantasy media) have teen and child heroes who act as warriors/soldiers and it's not like Teyvat/Genshin Impact has any qualms about having children be fighters. In fact, Hoyoverse in general has no issue with having child and teen characters, protagonists or antagonists, be soldiers in their games (in Honkai Impact 3rd, there's a whole school dedicated to training teenagers to be soldiers to fight against the Honkai), so why do some people have an issue with the House of the Hearth? Especially since in Lyney, Lynette, and Freminet's character stories, there's no mistreatment by Arlecchino?

[jils-things]

But if you give me just one night You're gonna see me in a new light Yeah if you give me just one night To meet you underneath the moonlight

happy first anniversary to my beloved pookie bear and champion husby 🍎🍏

careful, incredibly corny and romantic lovemail coming through.... (you don't have to read it, i just love expressing myself.)

y'know part of me felt kinda bad for glitchy red because he was quite literally the reason why i ended up liking sun and moon red and he basically overpowered him ahuhudsa but i guess i can kinda thank the mod for being the catalyst for me to really get into pokemon again because before this i was not even touching pokemon since... i was a teenager.

the moment i saw red, i just knew i was gonna like him. no rhyme or reason apart from the fact he's super handsome and adorable as an adult (and my silly taste for brunets <3) and im absolutely here for it :] i'm really thankful i have friends who really supported my goofy admiration for him and helped me create what would be known today as appleshipping~ i have so much funny and heartwarming memories with him (like that time i fell asleep to his battle ost on discord calls many times 😭😭😭)

i remember dreading the fact, learning that i may never meet red properly in sun and moon (emulator on pc isn't really my preferred place to play unless i have no choice) but ohh man, what a blessing my classmate was to be a pokemon fan who had a 3ds with all sun and moon (and ultra) copies with him and since he had already finished all games years back - he happily allowed me to borrow his 3ds and reset his ultra sun file for me to play <3 i can't thank him enough for it, and it was simply because he wanted me to experience it. not only was it my first time to use a 3ds, but my first game would also be where i get to meet my hubby in game, and in a REAL console. it feels so cool, it definitely beats that feeling of using emulators.

i also remember eagerly making my way to the battle tree and even recorded my live reaction when he was actually there aeheheh im shy to share it but trust me when i say i was so squeaky and audible when he appeared... all im saying, im just happy i had a fun experience as a fan and as a selfshipper :]

alright, anyways - i like love red so much, as a character and someone i find pretty appealing eahudhuahf he looks so huggable and warm like a cozy snorlax sleeping in the winter night. i love his quiet but determined demeanor. it stands out from the rest of the characters and even if he was a protagonist at first, he's treated as a really cool legendary trainer that many characters respect and it just adds to the appeal (for ya girl, at least ehe). while many prefer his battling prowess, i love thinking of his emotional side, i think there's a lot to dissect there especially as a character who's silent most of the time, and of course when you're in a relationship its all about the connection and communication amirite ehhehafs ... while i'm a bit sad he's not really a popular character at the moment, at least he and my friends would know i'm (definitely) his biggest fan ehehee (twirls hair)

hooray for appleshipping! thank you for keeping my mood in high spirits this year, red 💚❤️

dividers: (x) (x)

[genderisareligion]

Have you ever heard of the blackgirlgamers sub Reddit? No one knows for sure why it was banned but it was during the time when Reddit was banning every “non inclusive” sub reddits. The girlgamers subreddit is still there but it has so many tims. I don’t know if you watch gaming/league competitions but the “women’s” team is always 70% male. Or when you look up girl gamers on twitch it’s a bunch of tims. It s hard out her for girl gamers. Everyone always talks about how they’ve infiltrated women’s sports but forget that are taking over women’s esports and gaming too. (What little esports and gaming women had to start with)

I'm a very casual video game player and only watch Super Smash and Pokemon competitions lol but even in those I've noticed the saturation of TIMs. In fact a friend just sent me a seemingly innocuous article about the first female protagonist from the Pokemon games in the 90s only for it to detail how important she was for trans women actually 🙄 Wouldn't be shocked to find the "former" Gamergate incels and transbians Venn diagram to be a circle.

I've never heard of the sub but considering how especially pissy these men get when Black women don't kowtow perfectly I'm also not shocked it got taken down in the mass transphobia ban

I would be more than a casual player like I was as a teenager if it weren't for misogyny. I could be decent at Pokemon if I tried my highest ranking on Showdown is 1600 lol