#he actually wasn't this good looking

[microcosme11]

This guy is featured on a site called “Badass of the Week.” His story is quite bizarre. Too bad I don’t have time to read it all right now but I know it’s entertaining!

read about him

General Santa Anna of Mexico, “The Napoleon of the West”

[egophiliac]

LET THE BOY HAVE AN EDUCATION

officially at the point where we're starting to see where it's all headed and I am just going NYEEHEEHEE in delight at it all. ahhh...next week can't come soon enough...

[mobius-m-mobius]

mobius in season one // loki in season two (insp)

[ineed-to-sleep]

So I've had this wip sitting in my folders for months now and decided to ressurect it to satiate the urge to draw these two again

[pulpolicia]

AAAAAAAAAAAHHHHH

AAAAAAAHHHHHHHHHHHH

AAAAAAAAAAAAAAAAAAAHHHHHH

[worstloki]

there is a difference between being born to a throne, maliciously vying for a throne, stealing a throne, and having a throne thrust upon you when you are already in the midst of an identity crisis. And I fear Loki's place in the line of succession has people unable to differentiate between any of these

[beastsovrevelation]

Crowley in Good Omens (1.03)

[p4nishers]

no no this is ACTUALLY so fucking embarrassing for him no wonder he was an absolute bitch in rome

[fae-morrigan]

Y'know, I see a lot of people argue that like, Jay is ugly. Why does Jon like him? And I've made it clear I disagree, because, like, cmon:

That is OBJECTIVELY a handsome man, and I'm a lesbian, lmao.

But like. If he was. ... So?

I actually think it's pretty cool that DC was like, yeah, Superman fell in love with a guy who cuts his own hair with dull scissors and dresses like oscar the grouch. He's a little weird to look at, maybe he's not the most conventionally attractive dude, but SUPERMAN found him wonderful and wanted to kiss him on the mouth.

That's... great? Like that's great. There's no universe where that reading of the text isn't awesome and empowering. Queer love should transcend looks and social status, and a huge part of queerness is finding beauty in the 'odd', anyways.

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[caligvlasaqvarivm]

To elaborate more on the Pesterquest stuff -

Alternia is a hell world. It's shitty to live in, even if you're a highblood, unless you fit a very specific mold of person AND are lucky enough to be born of a high caste. Every troll character we care about is, in some way, fucked over by their relationship to their society; Eridan and Vriska get it the worst, having been forced to participate in the murdering side of things since they were young, but every lowblood is screwed and every highblood is made worse even just by their passive participation. Kanaya becomes less sympathetic because she seems completely at peace with the society she grew up in, and Feferi wants to enforce casteism, even if it's of a different flavor. Gamzee and Equius both hold genuinely casteist beliefs and attitudes, which slip out and alienate them from the people they care about.

Putting a friendship simulator into the middle of all this is... a choice, I guess. I'm not going to begrudge anyone for wanting that or liking that, but it's going to be inherently at odds with what Alternia is and is meant to represent, and thus, fundamentally at odds with many of the characters' arcs and even basic personality traits, so heavily are they influenced by the shit society they grew up in.

For a non-Eridan example, Karkat loathes himself in massive part because his society loathes him. He's kill-on-sight and lives in daily terror of death. He wears a symbol at all because not having one marks him as even more of a freak, even though he knows that that symbol is connected to the empire's biggest rebel, whose footsteps he is expected to follow. The reason he's so obsessed with being leader-y and earning his teammates' reapect, or the respect of anybody, is because he's so deeply insecure about whether or not he even deserves to exist.

If you soften Alternia to the point you can write a lighthearted friendship simulator in it, then that characterization... goes away. Karkat is no longer motivated by deep, overwhelming insecurities, which drive him to idolize the society that deems him unworthy, mistakenly believing that if he can find validation in that society, he'll feel less bad about himself. Instead, Karkat is just kind of an asshole!

It's the same way with Eridan. He and Karkat are equal and opposite in this way - while Karkat is marked for death by his society, Eridan belongs to the extremely privileged caste of sea dweller royalty - even moreso than Feferi, as Feferi is slated to be murdered by the Condesce as soon as she comes of age (and her ridiculous optimism is likely something she cultivated in outright defiance of this fate). But it turns out that being a sea dweller sucks shit, too, if you aren't the extremely niche type of person that society deems "correct."

Eridan is not actually casteist and genuinely likes his land dweller friends - and this is unacceptible. Not only that, but smaller "unacceptible" offenses are wrapped up in big ones - despite not liking murder and feeling guilty about it, murder is objectively the correct thing for Eridan to be doing, constantly, to the point of it being "all [he's] ever done practically," because if he doesn't fulfil the duty of his bloodline to be murdering lusii (and by extension, their charges, who are culled when their lusii die), EVERYBODY dies. The constant push-pull of trauma, societal expectations and obligations, the fate of the species, and the fact that he is inherently not the "right" kind of person for his society, are pretty much his entire character. He's basically a walking ball of anxiety and emotional turmoil.

So, again, if you soften Alternia to the point where you can write a story about Eridan wanting to see Shrek in a public theater (something he would not actually be able to peacefully do in canon Alternia - at least not without taking off his cape, hiding his fins, and going anonblood - as sea dwellers are considered ridiculously hostile to the point even Gamzee's nervous about being on the beach for too long), Eridan ends up being just kind of an asshole!

Pesterquest!Eridan is, and I cannot stress this enough, fundamentally not the same guy as canon Eridan. They have practically nothing in common, from the fact that PQ!Eridan is willing to do something for leisure, to the fact that he isn't widely feared and the movie theater doesn't empty out in a panic when he turns up, even down to the fact that he likes femme fashion (canon Eridan goes to Lengths to lean into masc fashion) and Shrek (canon Eridan is a hipster). Hell, even the fact that PQ!Eridan SMILES is a massive deviation from canon!Eridan, who has never once been depicted smiling, and probably hasn't for many sweeps.

Also that he has that much beef with Sollux when, canonically, the two had a lukewarm mutual dislike and didn't even bother interacting until Feferi was added to the mix and Eridan became mad that Sollux was dating her. He wasn't even casteist about him until then, and after, even Sollux and Feferi don't think he's casteist, they just think he's ashenflirting so he can get into a quad with Feferi. Like come on, if you're going to feature another troll in Eridan's route, 1) make it be Karkat, and 2) have Eridan cheat on you the whole time with Karkat like he does to Feferi.

Eridan is just overall a wild choice in a friendship sim - I can't even blame them for just writing an OC and putting an Eridan skin on top - because societally, Eridan isn't even supposed to have non-sea dweller friends. The sea dweller/land dweller race war is something the Condesce deliberately put into place in order to keep land dwelling nobility in line, and Equius cites it as one of the reasons he never got along with Eridan. Like, the very fact that Eridan talks to two land dwellers on friendly terms (Kanaya and Karkat) is a MASSIVE deviation from what he's "supposed" to be like, and a huge hint that he's not as casteist as he'd like to appear. You are genuinely hundreds, if not thousands, of times likelier to end an encounter with Eridan either orphaned or dead than as his friend. He's an unstable maniac, and there's a reason so many members of his team don't like him even though he's legitimately not casteist and they mostly seem aware of it (nobody really complains about or even notices Eridan's casteism by the time they're on the meteor - his contradictions are really obvious, and it's likely that they've more or less realized that he's full of shit).

Again, I don't begrudge anybody for wanting or liking PQ. Who cares, really. I'm just saying that as a canon discussion blog, there's not really any place for PQ because it's so far removed from canon that, like, there's not really anything meaningful to discuss about it. The setting and characters in PQ are fundamentally divested from canon, and not even in an AU way. And it's totally fine if that's what you like, but, yeah, like.

Was Eridan written well (where "well" = accurate to canon): no. Maybe he's fine as an OC with an Eridan Minecraft skin slapped on, but that's not my beautiful son, that's not my baby boy.

What did they get wrong about Eridan (where "wrong" = inaccurate to canon): all.

What route would I have written for Eridan: he shoots you with a gun and you die. And then maybe cheats on you with Karkat

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[doberbutts]

Google: hello I recommend this show to you based on your interest in 1600s Japanese modern period dramas and animations

Me: oh actually this show is pretty neat, I like that the Japanese characters actually speak Japanese and not *winkwink* they're totes talking in Japanese but for the viewer's sake they're using English *winkwink* and from the sound of it traditional Japanese at that because this is sounding very antiquated and out of date compared to my rough knowledge of modern Japanese

Show: :)

Show: have 10 minutes of a character being tortured by being boiled to death in a large cast iron pot :)

Me: ...

Me: WHY

[voiider]

fake psychic Tim but its just. its just psych. Jason dies and batman goes off the deep end so Tim (instead of becoming robin) starts going ham on the 'tips to the police' bc if the police can deal with the smaller crimes then Tim doesn't have to worry about batman killing a petty thief.

Except he's running himself into the ground and he starts getting sloppy bc he's giving the local police info, and bludhaven info (bc dick) AND probably giving Nightwing info when he can and someone catches him or he leaves a paper trail and then Officer Dick Grayson apprehends him and takes him in for questioning and Tim is like "you can't talk to me without my parents or a lawyer present, I'm a minor. And my parents are in Guatemala, so you better call my lawyer."

and Dick is like "kid you're not in trouble i just need to know who's giving you this information." Because there is NO WAY this kid isn't working with someone. Someone who is using a child to drop off information, which while noble to help the police, is putting this child in danger and tim is like, pretty offended actually. That it's being implied that he COULDN'T do this himself.

So he's like "im not working for anyone."

and Dick is like "you have to be getting the info from somewhere. I just wanna help."

and Tim is like AUGH ADULTS "I just- i figured it out on my own" and its CLEAR that Dick doesn't believe him which is, first off, super insulting, never meet your heroes, and second he shouldn't be talking anyway or admit that he goes out at night or Dick will do something stupid like try to make him stop. So he's like (rolling eyes) "I'm psychic. Are you happy? Can I have my phone call now?"

[puppetmaster13u]

I wasn't going to do any designs for when the robins were older yet but I was sleep deprived and just started sketching, so have a Red Hood.

Au belongs to @phoenixcatch7 and you need to check them out <3

[dw-flagler]

In this post, I will attempt to calmly, reasonably, and in-a-good-faith-manner argue all the points raised by tumblr user @library-bat-girl in the following posts. I am starting a new thread so as not to further destroy the original poster, @skitterenjoyer's, tumblr notifications. Worm (+MHA) spoilers ahead. This will be a long post.

Firstly, I would like to apologize on the worm fandom's behalf. We will not engage in ableism of any kind. I sincerely hope that this was a singular incident and @skittersdrippygirlcock will be better about this in the future.

"MHA has better characters,"

My Hero Academia's primary achievement, I think, is managing to make many decently well rounded characters in a fairly short time-span. It certainly has very good visual character design, with easily memorable character designs, like Mina Ashido or Tsuyu Asui. Most of Class 1A is shown to be more than single-note gimmick characters. For a story with such a tight schedule, and only so much page real-estate, that's impressive! For instance, a character decidedly outside of the main cast, Fumikage Tokoyami, is shown to have more to his personality than "is an edgelord," showing a humility and friendliness that is highly against-type. This is very different than a lot of its peers, especially in Shonen manga, where side characters (and sometimes even main characters) are never more than their tropes (see Fairy Tale, One Punch Man*, The Seven Deadly Sins, or Black Clover). My Hero Academia does clear that bar, by making side characters little more than their tropes. This is to say nothing of the primary cast, who, again, is largely defined by tropes and easily slotted into standardized interchangeable Shonen roles. Rival, Love Interest, Rival but Nice About It. Additionally, MHA has an uncomfortably sexualized main cast, for one composed primarily of minors.

This is compared to Worm, in which many characters are fully realized and could have been the protagonist (and often were in older drafts of the story, due to Worm's 10-year development hell). Every character that gets an interlude, and most that don't, all have fully realized interiority, traumas, and wants. In fact, this is one of the major themes of Worm. Every character, from the protagonist Taylor, to characters so minor they're seen only once (see Damsel of Distress, Dauntless), to major antagonists and monsters (see Jack Slash, Bonesaw) all have their own story, even if this is never shown on-screen. There are no "side characters" in the same manner as in My Hero Academia, because every character is a protagonist of their own story, and not in a trite "life is so beautiful" way.

Taylor isn't the center of the universe, there's an entire world outside of her 3-block bubble. The mechanism by which all characters get their superpowers means that the mere fact of having powers implies this about them. Even the seeming exceptions, aren't (see Alexandria, Garotte). Taylor is a good character. I don't even know how to elaborate on that. She just is. Worm does not have the character Minoru Mineta.

"a better plot,"

What... what is the plot of My Hero Academia? For the life of me, I can't seem to recall. I can tell you the general formula of most of the arcs for the first ~2/3rds of the story. Class 1A goes to do a hero high school thing, like do rescue training, or on-the-job training, or on-the-job-training, or on-the-job-training (they do it like 4 times for some reason), the League Of Villains shows up (even when it's seemingly not the league of villains it actually is the league of villains) they fight about it, the class beats all the villains, and Deku beats up strongest bad guy and also breaks his bones. Repeat step 1. But like. What's... the plot? The League of Villains is evil and wants to kill people and do bad stuff. They explicitly do not have greater motivations. There's generally themes of passing-on-to-the-new-generation, so there's Tomura Shigaraki as the arch nemesis to Izuku Midoriya, just as All Might's Nemesis is All For One. Eventually they fight a big fight about it and I stop reading because I find out about Worm. From what I understand (I have not read the conclusion) the series ends without addressing any long-running questions, wrapping up any character arcs, or concluding anything in a narratively satisfying manner. As if severely rushed.

Worm, there are maybe 15 main stories going on simultaneously, which are all tied into the final confrontation with Scion. The most obvious is Taylor's and the Undersiders' story, about taking over Brockton Bay and defeating Coil, which is a smaller part of Coil's story about taking over the bay, until their confrontation with him in arc 17, when it supersedes Coil's story, and then intersects with Cauldron's story, the Traveler's story, the Case 53s' stories, the Wards' story, all of it, in arcs 18-19. This is one example. A great deal of attention is spent making sure the reader knows that Taylor, the Undersiders, Coil, all of them, are bit players in a very large game. Despite this, it's never hard to follow, because Wildbow, while lacking some of the more flowery prose, manages extremely well at making his stories easy to understand.

"I feel like even people who like Worm can agree that Worm is not the most consistent piece of fiction ever written. The disjointed way it was written meant that emphasis was primarily put on 'What Wildbow thought was cool in the moment', [sic] and the story RADICALLY shifts gears every time a new arc starts."

What? Huh? Worm is extremely consistent. Like. 1.1 to E.x. It's, like. Not disjointed? Oh my god, are you talking about interludes? Is that what you mean? The interludes shift gears? Because that makes sense. It's one of the hardest things about worm, yeah. It's gripping! The interludes are a great idea to expand the world of worm, but the problem is that taylor's story is so intriguing that stepping away from it to focus on something else is hard, no matter how individually interesting. I want to read about taylor's escalation spiral, not the travelers! (As opposed to My Hero Academia having random escalation and de-escalation between arcs with no real explanation. We're reading about lives-on-the-line battles with child-slavers and then move to playing on a playground with little kids? Best I can think of is that this whiplash is intentional, but this is never communicated to the reader. Worm does not do this. Any de-escalation is met with the explicit understanding that this is merely a period of calm before things get even worse). Taylor's story wraps up in an extremely narratively satisfying fashion, following her story to its logical conclusion. There were so many ways it could have been avoided, but there was really only one way that it could have ended.

"better worldbuilding,"

This actually offends me. MHA could have had great world-building. It doesn't. Every potentially interesting bit of world-building is backpedaled out of or stopped before it could get anywhere. Or it's just never elaborated or expanded upon. Everyone having a superpower could have been cool, but the implications of this are nonexistent. The reasons for this having no real implications, that being the banning of quirks, also has implications that are also immediately backpedaled out of. It's been hundreds of years since our time, yet life is exactly the same. Nothing ever happens. Endeavor is a cool concept. I like Endeavor. his existence implies such interesting things about the world, how important hero ranking is to these people's lives, that he would create this horrific system of domestic abuse to try and get to the #1 spot. What does this say about this system of heroes that operates like a popularity contest? It could have said a lot. It says nothing. What does the League of Villains, a league of people who call themselves out-and-out villains, who base their ideology in opposing this system of heroes, say about society? Nothing. On purpose. Worm does something with this. One Punch Man does something with this. My Hero Academia puts it in the story, and lets it sit, unused, for a decade.

Worm has... unique world-building. Because it's both good and bad at the same time. Worm's #1 feature is its world. It's brilliant, full stop. Triggers, The Birdcage, the PRT, Exclusion Zones! Why does the status quo exist? what does it say about that society? What does it say about our society? Why hasn't society radically changed from how it is in our world? This is explained. This plays into the themes. The story wants to say something about this world, and so it does. There are characters whose stories explicitly delve into these themes that are set up in the worldbuilding, like Armsmaster, or Battery, or Bonesaw, or Coil, or Piggot or Alexandria or Taylor herself or Brian or Lisa or ANY OF THEM THEY ALL DO THIS. Sorry.

Anyway, the bad part is that the actual world is not well built (and is kind of racist). What's going on in Europe? There's a 3 blasphemies! a 3 what? never explained. What's going on in Asia, aside from Japan? China is a monarchy for some reason. Why? It's never elaborated on. India gets a little bit of elaboration, we're told its different but not how it's different. Wildbow uses machine translation wrong and names some guy caliph of dogs. This is like worm's #2 problem honestly (#1 is Amy). Wildbow tries to make the implication of a well thought out globe without actually making a well thought out globe.

"stronger themes,"

It really doesn't. As I said in the worldbuilding section, MHA makes a point out of not saying or doing anything. I don't know if editors made Horikoshi walk back the more ambitious story beats or what, but there are multiple points in the story where the author pretty much looks you directly in the eye and goes "This Story Isn't Saying Anything At All Even Though It Looked Like It Would. Lmao."

Worm has lots of themes. I think Armsmaster/Defiant's story is my favorite. His entire character arc (which is fully realized despite him being a background character for nearly the entire story) has a point to it. It says something. It's misanthropic and uplifting simultaneously, and manages to feel like it earns both. It's a shared theme with Bonesaw/Riley's story, explored in two different ways.

"Meanwhile MHA establishes an actual overall theme/message right from the start that expands and develops throughout the story. The worldbuilding is informed by the message, which informs the characters arcs and the people they become by the end of the story."

I notice that you never actually say what that message is. What is it? Like, for real. I'm not being confrontational or anything, like what is the message? Cuz' I can't think of one. My Hero Academia, at its very core, is a defense of the status quo. Much like its world-building, but much less forgivable, because it does do something new and unique with its world-building. MHA could have done some extremely interesting stuff with its early implicit critique of heroic society as shown with characters like Bakugo, or Shigaraki, or Endeavor, or Overhaul, or Midoriya himself! It just doesn't! It doesn't do stuff that Worm does do!

Worm does have a message. It has a lot of messages, actually, some that the author disagrees with somehow. Prison abolition, for one. We know Wildbow loves prison. Anyway, the big one is in the subtitle: doing the wrong things for the right reasons. Taylor's constant spiral of escalation, her dwindling attachments to her friends and greater focus on treating herself like a soldier is prevalent, and it is to be avoided. Taylor isn't a sin-eater. They don't exist. From what I remember, this is sort of explored in Deku's character arc for a short period of time, but much like everything else in MHA, it is backpedaled out of.

The funniest is "don't text and drive" though.

"Just on a basic level the way that the audience is meant to feel about Taylor oscillates wildly between being directed to think of her as a misunderstood victim of circumstance, or history's greatest monster."

That's kind of the point. Like. the audience isn't meant to look at Taylor the same way throughout the entire story. It's meant to change as she changes. Taylor's opinion of Taylor changes. The mistake here is saying it "oscillates wildly." it doesn't. It's a slow and steady change for the worse, as Taylor gets more violent and starts throwing away greater and greater parts of herself to become more like a robot and less like a person.

"But a bigger issue in general is tone. It's very focused on being dark and gritty and edgy, and it makes the mistake a lot of consciously edgy media does. IE: it thinks that all it has to do to be smart is be bleak and/or graphic. It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is."

Did you read the boys and think it was worm? What? It's not being smart when it's bleak or graphic? I actually personally like the endbringers or the slaughterhouse 9, and not because I like watching people suffer. These things exist for a reason. It's not being dark for the sake of being dark. The heroes could stop the slaughterhouse 9. We see that, when they almost stop the slaughterhouse 9 (it's explicitly shown that they are stopped from destroying the slaughterhouse 9). The question then becomes why don't they? It's a grim, brutal calculus, and one that wasn't worth it. That's the point. The Endbringers are different. It's not until arc 27 that they're really explained. You could either read them as a criticism of Eidolon or of ableism, honestly. I mean, it wasn't intentional, he didn't create them on purpose, he needed something to fight, because without that he's nothing. His powers are all he has.

"Worm spends so much time trying to be edgy that as with a lot of edgy media the edginess loses all impact quite quickly and becomes sort of cringe."

I don't really think so, but like. Okay. I don't think this is a reconcilable viewpoint (none of this is really but this especially), so like we're probably gonna have to agree to disagree. The only thing I can really think of as edgy for the sake of edginess is Amy's arc. But even that's not really true. It's meant to be an utterly avoidable tragedy that could never have been stopped because of the people involved. Much like Taylor, actually. Amy could have stepped back from the brink, but she didn't, because Amy could never have done that, and nobody else was willing/able to help. It's supposed to be a thing where you sit back and think of all the tiny ways this could have easily been avoided, but wasn't.

"When body horror happens it still has impact because it's not happening constantly."

I mean, I guess. But like. I never got desensitized to the body horror in Worm. It hit pretty consistently for me throughout. As opposed to MHA, where it was usually walked back by the end of every arc. I never felt much tension or suspense because it felt as if there weren't actual consequences. In Worm, when Brian was strung up on his nerves, it felt disgusting because I was fully aware Worm would explore the ripple effects of this. It felt entirely possible he would die there, or never recover, because Worm didn't pull its punches. MHA did. This is a matter of opinion. We'll just have to agree to disagree about it.

"But most importantly - you root for the heroes because the world actually seems like it's worth saving."

that's just, um. sorry. I'm really trying here. That's just. Uh. Dumb. Do you root for Batman cause Gotham is a nice city? Everything's worth saving, that's, like, at its most basic what the concept of a superhero is about.

"Not only that but MHA simply does villain protagonists objectively better than Worm."

um. No? There straight up aren't villain protagonists in MHA. The villains are the POV characters for, like, one arc? You know what, here's a good spot for it. It's stated throughout the story that Shigaraki and the League of Villains have a goal, beyond just death and destruction. They're here to stop the corrupt society of heroes (that MHA hints at the existence of before backpedaling away from), and bring about a fairer society. But then, and this part pissed me off, one of the characters, I think Bakugo, says: "you're just using that as cover! you just want to kill people, you have no noble goal!" and shigaraki's like "dang you caught me." and then it happens again with Deku! Because My Hero Academia is allergic to saying something. Nope! They're villains! No moral depth here! They're Villains, We're Heroes, Go Put Them In Jail.

This is opposed to Worm, where- "The characters of the villains and their origins are used to highlight the flaws in the Superhuman society"

"Most of the villains are only villains because society failed them in some way, and the specific ways in which that happened become big plot points that then play into the future arc of our heroic characters."

I had to walk away from my computer for this one. It's hard to be civil. It's really hard. Polite and reasonable.

So Worm is about this. To even say this without a shred of irony makes me thing you've never once read a single word of Worm and are doing this purely as bait. Or you've read all of Worm and are doing this purely as bait.

"They're actually extremely complex in a way that ends up being fundamentally important to the overall story - where in Worm the villains are either based heroes fighting a corrupt system or they're histories [sic] greatest monsters... until they're presented as heroes again."

I think I get it now. I really think I do. You're not supposed to agree with all the characters. Like. Worm is inconsistent, in that it follows the perspectives of inconsistent people. Of course Triumph and Armsmaster don't agree on what is right! They're different people, they have different perspectives!

"See. Worm fans keep saying "This is Bait." It's not Bait, you all are simply ridiculous and obsessed with this series to such a degree that you feel compelled to say "This is Bait" instead of just... ignoring it, because you have no actual counterargument."

Perhaps worm fans are inclined to believe you posted rage bait because you brazenly walked into another fandom's post and wholeheartedly proclaimed that the thing they liked was Stupid Idiot Bullshit For Fucking Morons, and refused to elaborate until prompted, at which point you said several things that are demonstrably false about Worm.

"Your only response to anything I've said is pedantry, bigotry, and deflection. If it was obviously just bait why are you engaging?"

Well, I'm engaging because I've been in a foul mood since I woke up this morning. Also because you, again, said some very rude and patently false statements about a story that I really enjoy and find narratively rich, even in its faults.

"MHA's characters do fall into archetypal shounen character roles - but they are all given a solid amount of focus explaining why they are like that and developing them into something bigger."

Again, as I said, it's a genuinely impressive feat to have an ensemble cast like what My Hero Academia has, and give so many of the characters a degree of depth, with such little manga to work with. I think worm does it better, but worm doesn't have to be economical about it. MHA does. The problem I have with this statement is that it becomes a question of scale. How much bigger? They're no longer defined by their tropes, instead defined by their opposition to their tropes. It's still a one-note character, you've merely changed the note from C to C sharp.

"so almost every member of the cast has an arc that either develops them past the person they initially seemed to be or explains why they're like that."

This is probably my favorite part about MHA. They do have arcs! I love ensemble casts! it does a much better job in this than all of its contemporaries, even One Piece. However, they are comparatively simplistic arcs that all follow a similar formula.

"I've heard people say MHA is neocon or pro-establishment but the story literally concludes by showing that society HAS TO FUNDAMENTALLY CHANGE or the same problems that created the villains in the first place will keep happening. The entire time skip specifically focuses on the fact that for eight years the main characters have been forcing change in the world and addressing the issues the villains brought up."

Now, I'm going to be clear. I stopped reading My Hero Academia around chapter 275. I don't know the exact number, but it was the latest chapter in ~mid 2020. I would occasionally attempt to reread, in an attempt to catch up, but give up around chapter 200 out of boredom. I don't know exactly how the story ends, but I have read ~2/3rds of the story. I feel this gives me a pretty good understanding of the general tone of the story, unless it wildly changes tone at the 3/4ths mark, which you have explicitly said it does not, as it is extremely coherent and consistent. Therefore, I believe I can state with some degree of confidence that MHA does not do that.

I would certainly believe that it tries (and fails) to SFP it, but SFP does not promote a fundamental societal change. That's the problem. Strong Female Protagonist was willing to come up and say that Alison lived in a fundamentally unjust world, even if it was never willing or able to offer real change. And hey. You do what you can. I sincerely doubt My Hero Academia is even willing to call its world fundamentally unjust, from the 200+ chapters that I did read.

"In the case of the actual main characters, they have extremely comprehensive character arcs."

Adding this behind the last point just so that I don't have to reiterate I haven't finished the book. I am, however, very much not inclined to believe the actual main characters had extremely comprehensive character arcs.

Which plays back into the initial theory that ANYONE CAN BE A HERO.

man, spider-man did that better (not a real argument, but like, spider-man totally did that better). Not least because midoriya specifically could not become a hero were it not for all might giving him a power.

No, the Villains don't get happy endings,

Why not? Why do they go to jail, even the ones who changed and wanted to redeem themselves? Endeavor never goes to jail. He did some horrible stuff. He's redeemed himself in the eyes of the story, right? Anyone can be a hero, right? So why not them? Why haven't they redeemed themselves in the eyes of the story?

You may wish to turn this back on me and ask why doesn't Armsmaster go to prison? Because he's similar in some respects. But worm never calls prison justice. (for some reason, even though wildbow totally loves prison). Prison is punitive, a tool for those in charge to control those it manages to capture. Maybe some deserve life in the birdcage. Many don't. It doesn't matter. Because the birdcage isn't a tool of justice. It's not meant to be. it's a box to put the uncontrollable capes in, until they can be used as meat shields. So Armsmaster doesn't go to prison because the story says explicitly there is no point to it. But MHA? MHA says there is a point to it. Endeavor needs to go to prison if he wants to atone. He's escaping justice every second he's outside.

I have actually read Worm, and for the first half to two thirds I loved it.

Weird. That's exactly how long I really enjoyed MHA. Not, like relevant, to anything. Just odd. I mean, I don't actually dislike MHA. I think it's fine, actually. It feels like Indiana Jones and the Last Crusade to me. Funny (when Mineta isn't around), bombastic, and a good time, even if I don't think it's super thematically rich.

I'm not coming at this from the perspective of someone who has never seen any of the merits of Worm, I'm coming at it from the perspective of someone who really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right.

See, this makes me more inclined to think it's bait, actually. since you said "Oh yeah. MHA is published. MHA's been an ongoing publication with a large following for ten years, in a notoriously competitive industry. Now this might seem kind of unimpressive, it's a very low bar to clear I know. But it's one Worm hasn't, so. I dunno, I'd say that's fairly objective. Now you may think "Yeah, but Trash fiction gets published all the time." And that's true but again - Worm hasn't. The worst piece of fiction you can think of got published and Worm didn't. You wanna be an asshole about this? The thing you love is so mid that it was self published in 2013, couldn't get picked up for professional publishing until 2019 and as far as I can see has stayed in development hell since then." in your previous post. Sure, perhaps we can say you were pissed at the time, but "the thing you love is worse than trash fiction, an altogether nothing piece of literature that isn't even worth the paper it would hypothetically be printed on" does not strike me as the words of someone who "really liked it, gave it a fair shot, and was eventually disappointed when it ended up not tying together right." In fact, going back through your other statements on the story, you seem to have genuinely disliked it from the very beginning, on grounds of being too edgy (which I can fully understand the logic of): "IE: it thinks that all it has to do to be smart is be bleak and/or graphic," thematically incoherent: "It doesn't really try to say anything, in fact it contradicts itself throughout the book as I mentioned before, it just throws in extremely graphic scenes and content periodically to remind the audience how fucked everything is," and utterly devoid of purpose or meaning. "When it does introduce new lore that new lore is almost always overly convoluted and acts as a catalyst for things happening, but not really things happening that play into a wider theme or message. It's just "Oh and here's this team of god-level serial killers who are gonna string a dude up by his nervous system." Like yeah, cool visual, but what is any of this actually saying?" This does not sound like a ringing endorsement of the first half of Worm to me. In fact, this sounds like you hated every second of it.

"And frankly given the number of comments that are just people saying "Bait" - I don't think any of y'all have engaged with this in a fair or honest way"

I'm going to reiterate on my previous statement. I like my hero academia. Capeshit is my favorite genre, it probably always will be. They're my favorite genre of story. While I find the themes—or lack thereof—extremely frustrating, I still think of it as fun. I gave it a fair shake. I would probably really enjoy the ending if I didn't have a reading list that was 300 books long.