#i think love is the core of everything this game has to say

[softgrungeprophet]

i've said it before but i'll say it again, disco elysium really is a game which is—ceaselessly, unflinchingly, stubbornly, and with great determination—about love

[whatwillyousing]

like idk i think if youre going to make the emotional thesis of your game be about how you have to let things go & that you can't keep on living the same way with the same people forever then you should. maybe follow through on that. and actually demonstrate this as fact for how your story functions

[skeletalheartattack]

hi, i've been readin dragon ball for the first time these past few weeks and just finished the part where they're on planet namek. I Understand What You See In Him.

he's fucking something right??? ohhh straight up, you should see (and hear) him in the anime as well if you think you have the full picture. i've been absolutely obsessed forever

[sprintingowl]

Deadball

Deadball Second Edition is a platinum bestseller on DrivethruRPG. This means it's in the top 2% of all products on the site. Its back cover has an endorsement from Sports Illustrated Kids.

It's also not an rpg I'd heard about until I discovered all of these facts one after another.

I was raised in a profoundly anti-sports household. My father would say stuff like "sports is for people who can't think" and "there's no point in exercising, everything in your body goes away eventually." So I didn't learn really any of the rules of the more popular American sports until I was in my mid twenties, and I've been to two ballgames in my life. I appreciate the enthusiasm that people have for sports, but it's in the same way that I appreciate anyone talking about their specific fandom.

One of the things that struck me reading Deadball was its sense of reverence for the sport. Its language isn't flowery. It's plain and technical and smart. But its love for baseball radiates off of the pages. Not like a blind adoration. But like when a dog sits with you on the porch.

For folks familiar with indie rpgs, there's a tone throughout the book that feels OSR. Deadball doesn't claim to be a precise simulation or a baseball wargame or anything like that---instead it lays out a bunch of rules and then encourages you to treat them like a recipe, adjusting to your taste. And it does this *while* being a detailed simulation that skirts the line of wargaming, which is an extremely OSR thing to do.

For folks not familiar with baseball, Deadball starts off assuming you know nothing and it explains the core rules of the sport before trying to pin dice and mechanics onto anything. It also explains baseball notation (which I was not able to decipher) and it uses this notation to track a play-by-play report of each game. Following this is an example of play and---in a move I think more rpgs should steal from---it has you play out a few rounds of this example of play. Again, this is all before it's really had a section explaining its rules.

In terms of characters and stats, Deadball is a detailed game. You can play modern or early 1900s baseball, and players can be of any gender on the same team, so there's a sort of alt history flavor to the whole experience, but there's also an intricate dice roll for every at bat and a full list of complex baseball feats that any character can have alongside their normal baseball stats. Plus there's a full table for oddities (things not normally covered by the rules of baseball, such as a raccoon straying onto the field and attacking a pitcher,) and a whole fatigue system for pitchers that contributes a strong sense of momentum to the game.

Deadball is also as much about franchises as it is about individual games, and you can also scout players, trade players, track injuries, track aging, appoint managers of different temperaments, rest pitchers in between games, etc.

For fans of specific athletes, Deadball includes rules for creating players, for playing in different eras, for adapting historical greats into one massively achronological superteam, and for playing through two different campaigns---one in a 2020s that wasn't and one in the 1910s.

There's also thankfully a simplified single roll you can use to abstract an entire game, allowing you to speed through seasons and potentially take a franchise far into the future. Finances and concession sales and things like that aren't tracked, but Deadball has already had a few expansions and a second edition, so this might be its next frontier.

Overall, my takeaway from Deadball is that it's a heck of a game. It's a remarkably detailed single or multiplayer simulation that I think might work really well for play-by-post (you could get a few friends to form a league and have a whole discord about it,) and it could certainly be used to generate some Blaseball if you start tweaking the rules as you play and never stop.

It's also an interesting read from a purely rpg design perspective. Deadball recognizes that its rules have the potential to be a little overbearing and so it puts in lots of little checks against that. It also keeps its more complex systems from sprawling out of control by trying to pack as much information as possible into a single dice roll.

For someone like me who has zero background in baseball, I don't think I'd properly play Deadball unless I had a bunch of friends who were into it and I could ride along with that enthusiasm. However as a designer I like the book a lot, and I'm putting it on my shelf of rpgs that have been formative for me, alongside Into The Odd, Monsterhearts, Mausritter, and Transit.

[linkspooky]

SHIGARAKI VS. YUBEL: HOW TO SAVE YOUR VILLAIN

The failure of Deku to save Shigaraki isn’t just a tragic conclusion for Shigaraki’s arc, it’s also My Hero Academia failing as a story. When I say the story failed, I mean the story has failed to answer any of the questions it asked its audience. It’s themes, character arcs, everything that communicates the meaning of the story to the audience is no longer clear. 

Saving Shigaraki was the central goal of not only the story itself, but the main character Deku. By failing in its goal you can’t call this a good ending. In order to illustrate why this goal of saving the villain is so important to both Deku’s character and the central idea of MHA, I’m going to provide a positive example in Yu-Gi-Oh GX were the main character Judai successfully saves their villain.  One of these stories fails, and the other succeeds. I will illustrate why under the cut. 

BROKEN THEMES = BROKEN STORY

When artists draw they have to consider things like perspective, anatomy, shading, light, coloring. Drawing has rules, and it’s hard to produce good art without knowing these rules beforehand. If I draw something that has bad anatomy, you can criticize me for that. 

Writing has rules, just like drawing. The rules of storytelling are important because writing is an act of communication. You can write whatever you want, just like how you can draw whatever you want, but if you break the rules the audience won’t understand what you are trying to communicate. 

When I refer to MHA as a broken story, I am referring to the fact that it has broken the rules of storytelling. As this youtuber explains.

“I guess we should first define what broke and broken even means in this context. Has the story turned into an unintelligible mess? Not really. Value judgements aside, the narrative is still functional and fulfills the criteria of being a story. So how can a story that still functions be broken? Maybe to you it cannot. But to me a story that is still functional isn’t enough. What I mean when I say MHA is broken is that it’s lost something crucial. A codifying style of structure, pacing and payoff that until a certain point was the core of its identity.” 

I could launch into a long-winded explanation of what themes are, but for the sake of simplicity I like to define themes in terms of “Ask, and answer.” The author asks a question to the audience, and then by the end of the story provides an answer. The audience is also invited to come up with their own answer which prompts them to think about the story on a deeper level.  The question both MHA and GX are asking both its main characters and the audience is “Can you save the villain?” with the additional complicated question of “Should you save the villain?”  This post will detail how both stories go about answering those two questions, and more importantly why those answers matter for the story. 

With Great Power… You know the rest. 

My Hero Academia and Yu-Gi-Oh Gx are actually similar stories once you get past their superficial differences. MHA is a story with way better worldbuilding, compared to a society where everything revolves around the trading card game, and people go to school to be better at a trading card game. 

However, if you get past that. They are both bildungsroman, stories about the main characters growing up into adults. They both have an academy setting where the goal is for the main character to graduate and enter the adult world. They are both shonen manga. GX is the sequel of Yu-Gi-Oh a manga that ran in Shonen Jump the exact same magazine as MHA.  The biggest point of comparison is their main characters, who both start out as young and naive who are driven by their admiration of heroes. Deku is a fan of All Might who wants to become a hero despite not having a quirk, because he loves All might who saves everyone with a smile. Judai’s entire deck archetype revolves around “Elemental Heroes’ and later “Neo-Spacians” who are all based on popular sentai heroes like ultraman. 

The central arc for both characters is to grow up. Growing up for both of them not only requires figuring out what kind of adult they want to be, but also what kind of hero they want to be. 

Now I’m going to drastically oversimplify what a character arc is. 

A character arc first starts out with the character being wrong. Being wrong is essential because if the character is right from the beginning, then there’s no point in telling the story. A character often holds the wrong idea about the world, or has some sort of flaw that hinders their growth.  The narrative then needs to challenge them on that flaw. It usually sets up some kind of goal or win condition. That flaw gets in the way of a character “winning” or achieving their goal, so they need to fix that flaw first. If their ideals are wrong, then they need to think about what the right ideals are. If they’re too childish, they need to grow up. If they have unhealthy behaviors or coping mechanisms, they need to unlearn it and require better ones. Otherwise, that flaw will keep sabotaging them until the end. 

I’m borrowing the word “win condition” from class1akids here because it’s an incredibly appropriate terminology. Midoriya needs to do “x” in order to win, otherwise this victory doesn’t feel earned. The “x” in this case is usually character development. As I said before, a story where the main character hasn’t changed from beginning to end feels pointless. Especially in Deku’s case, he was already a brave, strong hero who would charge right into battle and defeat the bad guys in chapter one, so him defeating Shigaraki in a fist fight doesn’t represent a change. 

The story sets up not only “What does the hero need to do to win?” but also “How does the hero need to change in order to win?” A character either meets these requirements before the end of the story, or they don’t and usually this results in a negative ending. 

MHA in its first half quite clearly set up both the final conflict of saving the villains, and also that saving the villains is its “win conditions.”  The hero shouldn't be allowed to win without first fixing this flaw.

From this panel onward the central question Deku is forced to answer shifts from “Am I strong enough to defeat ShigarakI” to “Can I save Shigaraki?” However, much earlier than that All Might goes on to basically set up the win conditions of what makes the ultimate hero as someone who “Saves by winning, and wins by saving.”

All might: You can become the ultimate heroes. Ones who save by winning, and win by saving.

Therefore the story has set it’s criteria for what kind of hero Deku needs to become. If he wins without saving, then he’s failed to become what the series has set up as the Ultimate Hero. 

Shigaraki and Yubel aren’t just narrative obstacles, or boss monsters to be killed like in a video game. They are narrative challenges, which means that the character can’t grow in any way if they don’t answer the challenge presented by the characters. They are villains who actively resist being saved, to provide a challenge for two heroes who define their heroism by saving others. The challenge they pose adds a third question to the story and the main characters. 

"Can I save the villain?"

"Should I save the villain?"

"If I don't save the villain, then can I really call myself a hero?"

In other words the decision they make in saving, or not saving their final antagonist defines what kind of hero they are. In Deku’s case it’s even more critical he defines what hero he wants to be because the MHA is also a generational story, and several of the kids are asked to prove how exactly this generation of heroes is going to surpass the last one. The kids growing physically stronger than the last generation isn’t a satisfactory answer, Deku getting strong enough to punch Shigaraki hard is not a satisfactory answer, because we are reading a story and not watching a boxing match. 

I’m going to focus on the last two questions though for a moment. Many people who argue against saving villains like Shigaraki argue he is a mass murderer and therefore isn’t worthy of salvation. However, the act of saving Shigaraki isn’t a reflection of Shigaraki himself, but rather the kind of hero Deku wants to be. It all boils down to Spiderman. In the opening issue of Spiderman, teenage Peter Parker is bitten by a radioactive spider and suddenly gains super strength, the ability to stick to walls along with other powers. However, being a teenager he uses these powers selfishly at first. He doesn’t feel the obligation to use his powers for other people, and therefore when he sees a robbery happening right in front of him he lets the robber go. However, because he lets the robber go, the robber then attempts to hijack a car and kills his Uncle Ben in the process. If Spiderman had stopped the robber then he might have prevented that from happening. He had the power to stop the robber, but he didn’t feel responsible or obligated to save other people. As a result Uncle Ben dies. It’s not enough to have power, ti’s how you use that power that reflects who you are, therefore: “with great power comes great responsibility.” 

The choice to save Shigaraki actually has little to do with whether or not Shigaraki is redeemable, but rather how Deku chooses to use his power, and what he thinks he is responsible for reflects who Deku is as a person.  Deku himself also clearly outlines how he wants to use his power, that One for All is a power for saving, and not killing. 

How he uses his power reflects Deku’s ideal in saving others, and therefore if he doesnt use his power to save, then he’s failed to live up to his ideals. It's not whether it's morally right to save a murderer like Shigaraki, but rather the way Deku wants to choose to use his power. It's about whether he feels the responsibility to save others.

Judai explores an incredibly similar arc to Deku. They are basically both asked what kind of responsibilities a hero is supposed to have, which is also a metaphor for growing up to handle the responsibilities of adulthood. As both characters start out with incredibly naive and childish ideas about what a hero is. Therefore realizing what a hero is responsible for is key to them growing as a character.  However, Judai is different from Deku. In some ways he’s more like Bakugo. Judai is a prodigy who’s naturally good at dueling. He doesn’t duel to save others, but rather because duels are fun and he’s good at it. He’s very much like Bakugo, who admired All Might as a hero just as much as Deku did, but admired the fact that he was strong and always won rather than he saved others. 

However, I would say both Deku and Judai are questioning what a hero is responsible for. They are both asking if they have the responsibility to use their power to save others. If they have to fight for other people, just because they have power. His first big challenge as a character comes from Edo Phoenix, who calls out Judai for not thinking through what it means to be a hero, and what responsibilities heroes carry. Judai duels because he thinks it’s fun. He will show up to duel to help his friends, but that’s because he’s the most powerful person in the group. Even then it’s because he finds fighting strong opponents to be enjoyable. Bakugo will beat up a villain, but for him it’s more about winning then if the action will save someone or not. 

Judai is more often than not pushed into the role of being a hero, he doesn’t play the hero because he’s a particularly selfless person, and he’ll often avoid responsibility if not forced. He has power but no sense of responsibility and the narrative calls them out as a problem. 

Edo: Can you even fathom that, Judai?

For Judai, he can’t understand the responsibility of being a hero. For Deku, he idealizes heroes so much he can’t understand that there are people out there the heroes have failed to save. These two callouts towards Deku and Judai are discussing similar because they’re both discussing where a hero’s responsibilities lie. Is a hero responsible for saving everyone? Is someone strong like Judai responsible for using their strength to help other people? 

Judai’s arc continues into the third season where he’s not shown to just be naive but ignorant. He’s not just childish, he actively resists growing up because he doesn’t want to take on adult responsibilities. 

THe same way that Deku just decides not to think about whether or not All Might failed to save people in the panels above. However, in Judai's case he's actively called out for his choice to remain ignorant.

Satou: Now, which one is at fault? Judai: Isn’t it the guy who saw it, but didn’t pick it up. Satou: Not quite. If one is aware of the trash that fell, it may be picked up someday. But there is no possibility fo the unaware one ever picking it up. Judai-kun you are the foolish one unaware of the trash that has fallen. Judai: Are you calling me out for how I am? Satou: Your behavior towards me was atrocious. The worst was attending class only for credit, even if you were there you only slept. Judai: Yeah, I know. I was all bad, but it wasn’t that big a- Satou: It is important. You see, one by one, the students inspired by your attitude were losing their motivation. Now if you were a mediocre duelist, then this would not be an issue. Satou: However, you are the same hero who defeated the three mythic demons. Every single student in the academy admires you. You should have been a model for this academy. Judai: Me, a role model? Are you kidding? I just do whatever I feel like doing. Satou: Great power comes with great responsibility. Yet, as you remain unaware of that, you’ve spread your lethargy and self-indulgence. 

seems like a minor issue, but look how Judai responds to the accusations. “I just do whatever I feel like doing.” Satou is arguing that Judai should pay attention to the influence he has on others because of his power, because how he chooses to use that power affects others. However, Judai chooses to actively not look at the consequences of his actions because he doesn’t want to take on that level of responsibility, and therefore he’s looking away from the trash. 

While it seems like it doesn’t matter in Satou’s specific example, not thinking of the consequences, or how you use your power can have unexpected consequences. Spiderman doesn’t feel like it’s his responsibility to stop a bank robber, and that bank robber shoots his uncle. You could still argue it’s not Spiderman’s responsibility to stop every crime in the world, and I guess no one owes anyone anything from that point of view - but Spiderman failing to act responsibility had the consequence of directly hurting someone else. 

Spiderman has to live with that consequence because it was his own Uncle that was hurt. This is where we really reach the duality of Judai. 

In GX, Judai is, symbolically speaking, The Fool of the Tarot Deck, the Novice Alchemist — a person brimming with infinite potential, yet one who is also supremely ignorant, who walks forward with his eyes closed and often unknowingly causes harm in his great ignorance. In this, he is very much the embodiment of the faults we most commonly associate with teenagers — selfishness, recklessness, shallowness, a lack of dedication or empathy when it’s most needed. Like most people, he has good traits that work to balance out some of the above, but his narrative path through GX ends up being that of the flawed hero undone by his faults — and then that of the atoner, the repentant sinner. In his case, the mistakes of his teenage years are the catalyst for his growth from a boy into a man burdened with duty and purpose.  Judai is someone with infinite potential, with great power, but also ignorant on how he should use that power, and that makes him an incredibly flawed hero who needs to learn how that power should be used. 

Deku similarly exists in a society where heroes deliberately turn a blind eye to the suffering of a certain type of victim. Shigaraki’s speech heavily resmebles Satou’s speech about garbage on the side of the road. 

Shigarali: "For generations you pretended not to see those you coudln't protect and swept their pain under the rug. It's tainted everything you've built."

Deku shares Judai’s ignorance, because he’s not only a part of a system that doesn’t even see trash on the side of the road, but he also worships heroes so much that he’s incapable of criticizing them. If Deku saw the flaws of heroes, but at first didn’t have the courage to speak out, but eventually gained the courage that would be one thing. However, if he doesn’t see the flaws of heroes, then the problem will never be fixed. 

There are also consequences for both Judai and Deku failing to use their powers responsibly. These consequences take the form of the villains who came about because of all of society’s ignorance to the suffering of victims (Shigaraki) and because of the main character’s ignorance to their suffering (Yubel). Shigaraki and Yubel are also explicitly victims that the heroes failed to save, turned into villains who are active threats to the heroes. 

Should I save the villain?

The answer is yes, because the decision to save is reflective of the kind of hero each character wants to be. Each story clearly sets up that Deku and Judai aren’t punisher style heroes who shoot their villains, they are being set up as heroes who save. Deku needs to “save by winning.” As for Judai, a big deal is made of Judai’s admiration for another character Johan who represents a more idealistic kind of hero. Johan unlike Judai is someone who duels with a purpose, something Judai outright says he admires because he’s empty in comparison. 

Judai: Johan what have you been dueling for? See, it’s about fun for me… Well, for the surprise and happiness too. I guess I do do it for the fun. Sorry, I guess I put you on the spot by asking out of nowhere. Johan: What’s this about Judai? Judai: It’s nothing. Johan: I suppose there is one goal I have. Johan: Even if someone doesn’t have the power to see spirits, they can still form a bond with a spirit. That’s why I do it for people like him. [...] Johan: I'll fight for everyone who believes in me, and I'll do it with my Duel Monsters. Judai: I'm jealous you've got feelings like those in you.

Becoming a hero who uses their power to help others isn’t just a goal the story sets for Judai, it’s a goal that Judai sets for himself because of his admiration for Johan. Johan represents the idealistic hero Judai wants to be, but is also held back from because of his personality flaws. Johan represents the kind of heroic ideal that Deku is aspiring to be. 

Johan’s ultimate goal isn’t punishing the wicked, but to use his power to save others. 

Johan: Judai, it was my dream to save everyone through my dueling!

The story sets up the idea that it’s not enough for Judai to simply be strong, he’s also challenged to become a savior who uses his power to help others like Johan. Deku needs to “save by winning” and Judai needs to “Save everyone through his dueling.” However, Johan also adds another condition to what saving means. His idea of saving isn’t to defeat a villain, but rather his dream is to help connect spirits and humans together, even if there are humans who can’t see spirits. Johan doesn’t save people with the power of physical force, but rather the power of human connection. 

Should I save the villain?

Here the answer is "Yes",  because wants to become more like Johan someone who uses their power to help others not just for themselves.  Then we reach the third question

If I don't save the villain, can I really call myself a hero?

It once again comes to power and responsibility. Heroes have great power, and they are responsible in how they use that power, if they use it irresponsibly then there are consequences. Shigaraki wants to destroy hero society, because the heroes irresponsibly use their power to turn a blind eye to everyone’s suffering. 

People suffer when heroes fail to live up to their responsibilities. The entire conflict of season 3 is created by Judai failing to save Yubel. If Judai had helped Yubel when they most needed it, instead of abandoning them, then Yubel would never have been twisted by the light of destruction, would never have attempted to teleport the school to another dimension, would never have attacked all of JUdai’s friends. 

These consequences matter. Deku can turn his eyes away from Shigaraki’s suffering, but let’s say a hero failed to stop a robbery, or rather he didn’t even try, and because of that his mom was shot and died in the street. Would Deku consider the man who failed to stop a bank robbery a hero? When Spiderman let a bank robber go instead of trying to stop him, was he being a hero in that moment? Both the stories and the characters themselves have defined heroes as people who use their powers to save others, therefore if Judai and Yubel fail to save their villains then they can’t be called heroes by the story’s own definition. Now let’s finally return to the question of "Can I save the villain?"

Was there ever someone you couldn’t save?

m going to start with Yu-Gi-Oh Gx as a positive example of how to save your villain. Gx works for two reasons. One, it’s established from the start that Yubel isn’t beyond salvation, and two, it makes it so Judai can’t win without saving Yubel. The conflict of the story does not end until Judai makes the decision to save Yubel.  In some ways the writing is even stronger because Judai is directly responsible for the pain and suffering that Yubel went through that turned them into a villain in the first place. Yubel isn’t just a victim, they’re specifically Judai’s victim. 

Yubel is a duel spirit who is also essentially Judai’s childhood friend. A duel spirit just like the kind that Johan wants to save. During their childhood Yubel got too overprotective of Judai, and started to curse his friends for making him cry or upsetting him in any way. Until everyone Judai’s age started avoiding him and Judai became all alone with only Yubel for company. Judai’s decision was to abandon Yubel at that time. He took the yubel card and shot them into space, hoping that being bathed in space rays will somehow “fix” what was wrong with them. I know that’s silly but just go with it. Judai abandoning Yubel had the unintended consequence of Yubel being subjected to the light of destruction, a corrupting light that subjected Yubel to years of pain. This pain literally takes the form of Yubel burning alive.

Yubel connected to his dreams called out for Judai every night, only for Judai’s parents to give him surgery that repressed his memories of Yubel causing him to forget them entirely. Yubel then spent the next ten years alone in space, continuously subjected to painful torture, with their cries for help being ignored. 

"I was suffering even as you came to forget about me..."

Yubel is then met with the question of how can Judai treat them this way if they loved him so much? As from Yubel’s perspective, they’ve only ever tried to protect Judai, only for Judai to not only throw them away, but subject them to painful torture and ignore their cries for help. Judai effectively moves on with his life, goes to duel academy, makes friends while Yubel is left to suffer in silence all but forgotten. This is where Judai’s ignorance has serious plot consequences. 

It’s not just the pain that Yubel endured that made them snap. It’s that their pain went ignored. 

Yubel holds out the faint hope that Judai will answer their calls fro help until they finally burn up upon re-entry into earth’s orbit. At which point they’re left as nothing more than a single hand crawling on the ground.  Yubel who cannot fathom why Judai would cause them so much pain, and then forget about them, convinces themselves that Judai must be causing them pain, BECAUSE he loves them.

But you see, I couldn't possibly forget about you in the time that I've suffered...

Judai is allowed to move on with his life, to make friends, to spend the next ten years doing so while Yubel is subjected to ten years of agony. When they finally escape their painful torment, they see all the friends Judai has made while they’re left alone and forgotten. However, Yubel’s goal isn’t revenge. Rather, it’s to make Judai share and recognize their pain. WHich is why I said it’s not the fact that they were made to suffer, but their suffering is ignored. Yubel’s entire philosophy revolves around the idea that sharing pain is an expression of love, and that they and Judai share their love for each other by hurting each other. 

"That's why I sought to fill all those linked to you, your world, with both sadness and anguish..."

For Yubel, making all of Judai’s friends suffer and Judai themselves suffer is a way of making them and Judai equals again. They want to show “their love” for Judai, but it’s more about forcing Judai to recognize the pain he’s caused them by forcing him through the same pain. Yubel’s philosophy of sharing pain is actually a twisted form of empathy. 

They’re not entirely wrong either, that even people who love each other can cause each other pain, and that if one person is suffering alone in a relationship or the suffering is one-sided then there’s something wrong with that relationship. 

Yubel: I get it now… You weren’t in love, with Echo. Yubel: No.. you may have loved her just enough to clear the conditions in palace for you to control Exodia, but the you didn’t truly love each other. Yubel: You were only unfairly hurting her, while you stayed unharmed. You wouldn’t suffer. You wouldn’t suffer. You wouldn’t be in pain. Amon: What are you getting at? Yubel: I’ve been hurt! I’ve suffered! I’ve been in pain. That’s why I’m making JUdai feel the same things I did! 

Yubel’s twisted theory of love, is a pretty thinly veiled cry for empathy.

They break out into tears when talking to Amon about the way they’ve hurt and suffered. They clearly state upfront that their goal is for Judai to recognize their love. One of the first things they say to Judai is a plea for Judai to remember them.

Yubel is presented as a very human character suffering through a lot of pain throughout their entire villai arc, they break down into tears multiple times, they cry out in agony, they're visibly suffering and you see their mental walls begin to break down when Judai denies them any empathy.

Yubel is actually incredibly clear and straightforward about their desire to be saved by Judai. However, Judai doesn’t lift a single finger to help Yubel the entire arc, even though they themselves admit they are directly responsible for Yubel’s suffering but they helped create who they are today. 

Judai plunges into a different dimension and gives up everything to save someone, but it’s Johan, not Yubel they try to save. You have Johan, the perfect friend, and perfect victim that Judai gets obsessed over and will not stop at anything to save, and then you have Yubel, the imperfect victim that is actively harming Judai and all of his friends that Judai chooses to ignore. The whole season Judai only focuses on saving the perfect victim Johan, and this is clearly shown to be a flaw. Judai doesn’t just ignore Yubel to save Johan, he also ignores every single one of his friends. 

Judai only caring about saving Johan, and deliberately ignoring and abandoning the friends who came with him to help, essentially abandoning them the way he did Yubel leads to another consequence. After he abandons them they get captured, rounded up, and actually die and become human sacrifices. 

Losing his friends, causes Judai to snap. Judai becomes the supreme king and decides power is all that matters; he starts killing duel spirits en masse in order to forge the super polymerization card.  Which means being left alone, suffering alone, being abandoned by everyone causes Judai to snap the exact same way that Yubel did. 

In fact Judai is only saved from his darkest moment, because two of his friends sacrifice their lives, trying to get through to him and appeal to his humanity. At that point Judai’s friends could have just chosen to put him down like a mad dog, to punish him for the amount of people he’s killed, but instead they try to save him because of their friendship. 

I just want to save my friend. That is all.

By the time Judai is facing Yubel in their final fight, Judai doesn’t have the moral highground against Yubel in any way whatsoever. They’ve both lashed out because of the pain they endured and killed countless people in the process of lashing out.  The only real difference between them is that Judai is lucky. He had friends to support him at his lowest point, while Yubel didn’t. Does Judai learn from Jim’s example, and go out of their way to save Yubel the same way they were saved because Yubel is still a friend? Nope, Judai tries to kill Yubel at this point. 

I made a lot of friends... And they all taught me something… real love is wide enough, large enough and deep enough to fill the universe. Your so-called love is only a conceited delusion.

Like, Judai, sweetie baby honey darling. How was Yubel supposed to make friends when they were floating in the empty void of space?

Judai hasn’t learned, they are still ignorant, and still turn a blind eye to Yubel’s suffering. After all if his love is wide enough, large enough,and deep enough to fill the universe then why don’t thy have any room in their heart whatsoever for empathizing with Yubel?

Judai making friends while Yubel was trapped in space doesn’t make Judai a better person than Yubel, it makes Judai lucky. Judai doesn’t even appreciate that luck, because he treats his friends like garbage. It’s not about whether Yubel is worthy of salvation, because Judai is a mass murderer and his friends still went to great lengths to save them anyway. It’s that Judai doesn’t want to empathize with Yubel, because they still want to remain ignorant and irresponsible. Judai wants to continue playing hero, with a very black and white definition of what a hero is. By this point Judai’s killed lots of people, but if he makes Yubel the villain in the situation, he can keep playing hero. He doesn’t have to look at himself and what he’s done, because blaming everything that happened on Yubel and then putting Yubel down like a mad dog allows Judai to absolve his own guilt. Judai practically ignores Yubel’s cries for help, even when Yubel spells it out for them.

I couldn't have lived with the heartache unless I felt that I was being loved...

At this point Yubel themselves acknowledges that their love was just a delusion. That it was a coping mechanism, because they couldn’t live with all the pain otherwise. WIthout it they would have just died, which makes Judai unmoved. The implication here is that Judai thinks yes, Yubel should have just died in that crater. It would have been easier for Yubel to die a perfect victim, then for Yubel to crawl out of that crater and go on to hurt other people. While that may be true the same can be said for Judai - it would have been better if Judai died rather than become the Supreme King. His friends could have put him down like a mad dog, you could have even called that justice - but they didn’t. Judai making no attempt to save Yubel isn’t because he thinks it’s morally wrong to save someone who’s killed as many people as Yubel has, or because he thinks he can’t forgive Yubel, it’s because Judai is taking the easy way out. Johan is a nice, easy victim to save, because he’s Judai’s perfect boyfriend, while Yubel is a complex victim that requires Judai to understand their suffering. Even the act of saving Johan isn’t about Johan himself, it’s about the fact that Judai feels guilt over Johan’s disappearance. What Judai wants isn’t really to save a friend, but to stop feeling guilty over that friend. Judai isn’t just disgusted by Yubel’s actions towards his friend, he also wants to avoid the guilt he feels over causing all of Yubel’s suffering, because it requires acknowledging the complex reality that he is both victim and perpretrator in this case, just as Yubel is both victim and perpetrator. 

So how can an arc where Judai doesn’t try to save Yubel until the last possible minute, be better than an arc where Deku makes it his goal for the final act of the manga to save the crying boy in Shigaraki? 

It’s because the story does not let Judai get away with his continual refusal to empathize with Yubel. Yubel’s entire character revolves around empathy, in the form of sharing pain. As a duel monster, Yubel’s effect is that they are a 0/0 attack monster who is immune to all damage, but when you attack them they deal all the damage back to you. Which means that Yubel will respond to all the pain they feel, by causing you just as much pain in return. Yubel is not a character who can be defeated in a fight, or a duel. In fact they’re the only Yu-Gi-Oh villain who never loses a duel once. The most Judai can do is duel them to a draw, and they draw three times. Yubel wins against everyone else who challenges them.  In a way Yubel is like Shigaraki, the ultimate, unkillable enemy that can’t be done away with violence. Judai’s refusal to empathize with Yubel or attempt communication also makes them worse, every time Yubel is hurt they escalate. THe more Judai hurts them, the more they will hurt in return, it’s a cycle that will never be broken simply by killing Yubel, because Yubel is unkillable. 

Not only that but the story has gone to great lengths to show that saving Yubel is the correct course of action. If Judai doesn’t save Yubel, he’s basically spitting on the selflessness Jim showed in saving him. In fact if he doesn’t save Yubel, Judai is contradicting his own words on what makes a good friend. Sho once asks Judai after witnessing his brother change, what he should do if a person you lov ehas changed into an entirely different person. What if they're a person you don't even recognize any more? A person you don’t even necessarily like anymore? 

That's why if it were me. I'd probably just be looking after him until the very end, even if I didn't like him. I'd do it cause I think it'd prove that I care about him.

Judai doesn't even say that Sho is obligated to save his brother or morally redeem him, just that he has to keep looking at him instead of turning away or ignoring him.

Judai is being a bad friend, by his own definition. By choosing to deliberately look away from Yubel, Judai’s not living up to his advice for Sho for how you treat people you care about. 

Which is why the resolution for Judai and Yubel’s arc is so important, because it’s done by Judai finally acknowledging Yubel’s pain, and promising to watch over them from now on, words that are followed by the action of physically fusing their souls together so they’ll never be alone again.  Judai doesn’t just say pretty words about how they won’t ignore the crying child inside of Yubel, but instead he makes a sacrifice to save Yubel at risk to themselves to show their words are backed up by actions. Judai says Yubel will never be alone again, and then he commits. 

"And even if that means I won't exist anymore... I don't care."

Judai has resolved his character arc by this action, because Judai is finally taking on responsibility and that responsibility is watching over Yubel, so the two of them can atone together. Judai even says himself this isn’t an act of sacrifice on his part, but rather him finally accepting adult responsibilities. 

Judai: I wouldn't sacrifice myself for you guys. I'm just going on a journey to grow from a kid into a man.

Judai needed to save Yubel to complete his character arc and grow as a person. If Judai hadn’t saved Yubel, he would have still remained an ignorant child. By learning not to turn a blind eye to Yubel’s pain, and also smacking sacrifices and physically doing something to atone for the way they ignored Yubel up until this point they’ve not only saved Yubel they’ve also done something to address their wrongs. This also continues into the fourth season where Judai’s personal growth results in him learning what kind of hero he wants to be as in Season 4 in order to atone for the spirits that Judai slaughtered, he decides to leave his friends behind and walk the earth with Yubel helping spirits and humans get along with each other. In fact Judai’s final speech as a character isn’t even about how strong he is as a hero, but how weak he is as a person.

And I put my friends through some rough times. Form that, I figured a few things out... all I can do is believe in them.

The lesson Judai learned is because he’s weak, he needs to empathize and believe in other people the same way that his friends once believed in him when he was at his lowest point. Judai’s not the strongest hero, he’s the weakest one, but that gives him the ability to empathize with people who were lost just like he was, and guide them back from the darkness. 

The story of how Deku became the worst hero.

I’m going to say this right now it might turn out next week that Shigaraki is just fine, and he’ll use the overhaul quirk to reconstruct his body. However, even if that happens Deku has completely failed at his goal of saving Shigaraki for the reasons I’ll illustrate below. In theory, Deku’s arc of saving Shigaraki, and therefore winning by saving should be much easier for the story to accomplish and also much less frustrating to watch. After all, Shigaraki has been around since the beginning of the manga, he’s literally the first villain that Deku faces. He’s also the first villain that Deku talks to, where he brings up the idea that there were some people All Might failed to save. There’s also many intentional parallels between the two characters, the entire manga is about their parallel journeys of becoming the next generation hero and the next generation villain. Shigaraki even directly quotes the line at one point that all he wanted was for someone in his house to tell him he could still be a hero, the same line Deku said in the first chapter was that he wanted his mom to tell him to be a hero instead of apoalogizing to him for being quirkless. 

Not only is the setup for Shigaraki and Deku made obvious (Deku can redeem Shigaraki by telling him that he can still be a hero too), but Deku himself states out loud that he wants to save the crying child inside of Shigaraki. 

Judai runs away from Yubel the whole time, whereas Deku is running towards Shigaraki and actively makes it his goal to understand Shigaraki and continue to see him as a human being rather than a villain.  The story also makes it clear that saving Shigaraki is necessary to saving hero society as a whole. After all Yubel is just Judai’s victim. Whereas Shigaraki is the victim of all of society. He’s the crying child who was ignored. The cycle won’t be broken if heroes continue choosing to ignore people like Shigaraki, because more victims will grow up to replace him. 

Shigaraki: Everything I've witnessed, this whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took this power formyself? Simple enough, yeah? I don't care if you don't understand. That's what makes us heroes and villains.

Shigaraki rejects the world because the world continues to reject him. THe solution to this problem is not rejecting Shigaraki, because Shigaraki won’t go away, the system will just continue to reject people like Shigaraki. As long as heroes and villains don’t understand each other, they’ll keep being forced to fight and the conflict won’t end, because hero society is what engineers it’s own villains.

clear as day by the story itself. If the objective of saving Shigaraki is clear, then how exactly did the story fail in this objective? What went wrong? In this case it’s a failure of framing, and breaking the rules of “show don’t tell.” Stories are all about actions and consequences. When a character makes a certain action in a story, the way other characters around them, the world, and whatever consequences that action frames that action in a certain light. It provides context for how we are supposed to interpret that character in that moment. 

For example, when a character does something wrong and another character directly confronts them over what they did wrong, that frames them as in the wrong. The story is criticizing the character for what they did wrong. Context is everything in a story. Stories are just ideas, so they require framing and context to communicate those ideas for the audience. Certain character attributes can be strengths or flaws depending on the context. My go to example is that if you put Othello in Hamlet, the conflict would be resolved in five seconds because Othello’s straightforward personality and determination would have him kill Hamlet’s uncle without questioning things. Whereas, Hamlet constantly questioning and second guessing himself would lead to the worst ending possible. However, if you put Hamlet in Othello, then Hamlet wouldn’t fall prey to Iago’s manipulations, because Othello doubts and questions everything so he wouldn’t believe Iago the way Othello did. 

Hamlet’s contemplative and introverted nature can be a strength in one situation, and a flaw in another. Othello’s tendency to act without thinking things through can be a strength in one situation, and a flaw in another. Context matters, because context tells you how you’re supposed to interpret a certain characters actions, and therefore tells you more about that character. This is why people repeat “Show don’t tell” as the golden rule of storytelling, it’s one thing to say something about a character, it’s another to us the characters actions in the story itself to show them something about the character. 

What’s even worse then breaking the rules of show don’t tell however, is telling the audience one thing, and then going onto show in the narrative something completely different. In that case the narrative becomes muddled and confusing to read. If I the narrator say “Hamlet is someone who overthinks everything” and then in the story Hamlet walks up to his uncle and kills him with no hesitation, then the narrator is straight up unreliable. It becomes impossible to tell as an author what message I’m trying to get across about these characters, because I’m telling you one thing and showing another. 

This is why the writing fails in the second half of My Hero Academia because we are constantly told one thing, but then the story shows something entirely different and sometimes even contradictory to the thing we are being told. 

Judai is a much worse hero than Deku, he always runs away from Yubel, and we’re never directly told that he’s supposed to save Yubel either. However, the narrative is incredibly consistent. Judai’s behavior of running away is consistent with his character. All the other character call Judai selfish for abandoning his friends (and they’re not even talking about Yubel). Judai is never painted in any positive light for his actions, therefore we as the audience understand Judai’s behavior is wrong and he needs to fix it. The narrative makes it clear that Judai needs to grow up, and Judai is never rewarded for his refusal to grow up, he’s ruthlessly chewed out, not by his enemies but also by his own friends. However, the narrative isn’t merciless on him either. Season 3 of GX is dark, but it’s not grimdark. Even when Judai loses his way, he’s still shown love and compassion by those same friends who go to great lengths for his sake. The narrative criticize Judai but it never insists that he’s beyond redemption and needs to be put down like a mad dog. 

The message is very clear, that not only does Judai need to grow up, but he also deserves the chance to grow and change, which is why he should give Yubel a similar chance. In comparison the story sets out this clear narrative arc for Deku of understanding Shigaraki, but it never challenges him for failing to understand Shigaraki. If you listen to what the narrative says, how other characters describe Deku, and what Deku himself says and only read it on a surface level then yes, Deku’s goal is to save Shigaraki. If you analyze actions however, he is in effect just like Judai he never takes any meaningful action or steps towards Shigaraki, nor does he think of what saving Shigaraki might look like or entail. 

The story describes Deku as someone who is possessed by a drive to save others that eclipses all common understanding, but does the story give us any examples of that behavior?

Judai is characterized as a selfish, irresponsible child, and the story gives us countless examples of his immaturity and how it hurts others. Does the story of MHA do the same for Deku's purported virtues? Let’s run through Deku’s actions, step by step, the actions themselves and how they are framed in order to find any evidence that Deku possesses this drive to save others. Does Deku reflect at all on the question of:

Can Shigaraki be Saved?

Deku leaves on a journey to try to understand villains. When he makes a perfunctory attempt to understand and empathize with Muscle, and Muscle replies that some people are just evil does Deku keep trying to reach his heart? Nope, he just punches him. 

Well, if he’s failed in his goal of understanding a villain then does the story call him out on his failure? Does Deku face any sort of narrative consequence for that failure? Is he framed negatively for failing to understand Muscle, the same way that Judai is framed for abandoning Yubel? Nope. Deku doesn’t express any frustration at all over is inability to reason with Muscle. There’s also no negative consequence for Deku just choosing to punch muscle, it turns out that there was no reasoning with Muscle and some people are just bad eggs so Deku was right. It’s okay for characters to fail, but if a character fails and it’s not framed by the story as a failure then the writing itself as failed. Why even bother to include this scene in the first place if it doesn’t advance Deku’s character in any way? This scene in spite of showing Deku failing to understand someone actively paints Deku in a positive light, because of how much stronger he is ow that he can OHKO a guy that gave him trouble all the way back in the camp arc.

This scene doesn’t tell anything about Deku as a character, it just makes him look cool. In fact that’s precisely the problem, Deku isn’t adequately challenged as a character, because he’s never allowed to fail. Even when he does obviously fail at the things the narrative set out for him to do, he’s never challenged on those failures, because the priority isn’t to make Deku grow, it’s to make Deku look good.  As I said before, Judai is the hero because he’s the weakest. Deku is the hero because he’s the strongest. Well, next a big flaw on Deku’s part is that he worshippd the same heroes that were making the world corrupt. Heroes like Endeavor who created people like Dabi. So, does Deku take action to either criticize the older generation of heroes, or separate himself from them in order to try to be better than them? Nope, he teams up with them. Not only that, Deku can’t do something as simple as tell Gran Torino out loud about his plans to save Shigaraki. If Deku feels that Shigaraki is worthy of salvation then he should at least try to make an argument here about his ideal of saving others.

Now here’s the thing, if Deku hadn’t directly looked at the camera and told us he wanted to save Shgiaraki, would we be able to deduce his intentions from his actions? If you took away all of Deku’s internal monologue, and just showed him punching Muscular and saying nothing when Gran Torino says he may have no choice but to kill Shigaraki would anything about Deku’s actions indicate that he wants to save Shigaraki? Let me use avatar the last airbender as a positive example for a moment. People say that Aang’s desire to spare Ozai’s life comes out of left field, but like if you analyze Aang as a character down to their bending, and the way they react in situations they always prefer de-escalation, or taking a third option as opposed to confronting things head on. It’s literally why Toph says Aang has trouble learning earth bending, because as an airbender, he always tries to look for some other way to solve the problem, instead of a direct confrontation with force. As early as season one, Aang tells Zuko someone who has tried to kill him several times that he was friends with someone from the fire nation one hundred years ago and in a different situation they could be friends. Aang’s desire to save the Firelord may not have been told to us until the last possible minute, but Aang’s aversion to violence has always been a part of his character from the beginning. However, Deku never shows any similar aversion to violence. There’s basically no example where he ever tries to de-escalate a situation, or he avoids a conflict by seeking a third option. 

Anyway, let’s move onto the next example. In the confrontation where Lady Nagant fights Deku, when Deku learns the fact that the heroes were employing government hitmen to attack people for uhh… exercising free speech does Deku give any reaction to this information? When Lady Nagant says that Deku is only going to bring back the status quo, does he show her any meaningful evidence that he won’t do that.

Deku’s response is because the world is so grey, he needs to extend a helping hand to others. Which you know what thay could be a response. Deku saying that his response to the corruption of the hero world is that he now understands that society led some people down the wrong path, so his way of addressing the wrongs of that society is lending a helping hand to as many people as possible even people he used to think was irredeemable. 

I will give Deku the benefit of the doubt, I think this is an acceptable answer. I can’t save everyone, but that’s not going to stop me from trying to save as many people as possible and maybe I can save people who were this society’s victims on the way too.  However, does Deku demonstrate his resolve to extend a helping hand in any meaningful way. 

Deku is met with an armless, insane Overhaul who’s begging for someone to help heal his father figure in the Yakuza from his coma. This isn’t like Muscular who insists that there’s no helping him, Deku is met face by face with someone asking him for help. Deku’s gotta extend a helping arm whenever he can, because he knows some people were abandoned and led astray by this society… Unless that person is someone he doesn’t like personally. At which point he only helps them on a conditional basis. We are told Deku will save anyone and everyone, but Deku is met face to face with an armless man who is begging for help and Deku’s does nothing to help him. Deku’s not criticized for refusing to help overhaul either, it’s never brought up again. When Deku begins to experience a mental breakdown because of all the people he’s trying to help in the Dark Deku arc, we are told this is the result of Deku trying to save everyone, but we do not see Deku attempting to save a single villain after Muscular and Nagant. 

He exhausts himself beating up villains that AFO sends after him, and only helping innocent civilians. Which would be fine if this arc were about how Deku is running away from his real responsibilities the same way that Judai was running, but that’s not what we’re being told. We are told that this is all part of an arc of Deku learning to understand villains and be a hero.

Deku is asked “Can you save Shigaraki?” by the story, but Deku never at any point has to deliberate on that question. Judai doesn’t deliberate on that question either, but him choosing not to think about things and stay ignorant is the point. 

It’s actually fine to make Deku stagnate as a character. It’s fine to have him take the easy way out by just punching villains and giving up on them after one conversation. It’s fine for him to be empathetic to other people’s suffering, or even self-righteous. It’s fine for him to be ignorant. 

He could be all of those things if it was a part of a narrative teaching him to unlearn his behavior. In fact the narrative might have been better if Deku started out by saying he didn’t want to save Shigaraki, that there was no choice but to kill him, because then at least his actions would be consistent with his words. Then his lack of empathy and his tendency to resort to violently beating up villains instead of avoiding violence would be character flaws he could work on. Deku however, is presented to us as this empathic hero who is always willing to give others a second chance though he never actually sticks his neck out in order to do so. Continuing on with our slow crawl through MHA, one of Deku’s friends is revealed as the traitor. Deku has a heartwarming scene fo saying that Aoyama can still be a hero, but look at his actions. He lets the adults in the room physically tie Aoyama in a straightjacket and imprison him, for the crime of… doing bad things while he was in a hostage situation. Apparently, if a bank teller helps the bank robber by giving them money when the robber has a gun to his head, the swat team should just snipe the bank teller. Not only does he not defend Aoyama against the adults, or stand up for him, or tell the adults they’re wrong to treat Aoyama a clear cut victim who had a gun to his head and was bing held hostage like he’s a villain - he also lets the adults use Aoyama an innocent victim as bait in order to lure out AFO.  Deku tells Aoyama he can still be a hero, but he doesn’t defend Aoyama as a victim of being taken hostage, nor does he stop the adults from further taking advantage of him and throwing him right into danger. Some people are just led the wrong way that’s why they need to be extended a helping hand, but fuck Aoyama I guess. He needs to earn the right to be sympathized with by physically putting his life in danger. 

Deku can’t even go out of his way to save a friend who he’s known for the better part of a year, when that friend is a complex victim forced to do bad things. 

Then Deku and Uraraka have a conversation where they both, kind of ruminate on the idea that maybe the villains are human beings who are worthy of sympathy.

In fact Uraraka is actively trying to dehumanize Toga by looking at the destroyed city, so she won't have to think of Togaas a person.

The language here is also a major fault of this arc. It focuses far too hard on “forgiveness” over and over again. As I said before, saving Shigaraki isn’t about Shigaraki at all, it’s about Deku, and how he wants to use his power as a hero. Deku has even stated himself that he doesn’t believe that OFA is a power that should be used for killing people. So why does whether Toga or Shigaraki are forgivable or not even matter? It’s the same with Deku refusing Overhaul any sympathy. If he’s so morally opposed to abusers, then why does he work with Endeavor and defend him at every visible opportunity, even in front of his victims? Whether or not Deku can forgive Shigaraki doesn’t matter, because Deku is not the moral arbitrator or right and wrong. In fact Deku doesn’t even have any morals, so how is this a moral debate? Is there any point where Deku gives a clear definition of what he thinks right and wrong is? Does he quot Immanuel Kant to the audience? 

Batman doesn’t kill people, not because he thinks that every last person on earth can be saved, but because Bruce Wayne an incredibly rich white man thinks that maybe he shouldn’t have the authority to decide who lives and who dies. When Bruce doesn’t kill the joker, it doesn’t mean he thinks the Jokers actions are forgivable, it’s because Bruce thinks it’s not his place to determine whether someone has the right to live. 

The whole conflict that MHA presents us is that heroes pick and choose who to save, and only save the ones they deem as innocent. So, how does Deku saying repeatedly they can’t forgive Shigaraki contribute to that theme in any way? In fact by focusing on forgiveness, rather than whether or not he personally has the right to pick and choose who lives and who dies Deku is ignoring the elephant in the room. The question isn’t about whether Shigaraki’s redeemable or if his deeds should ever be forgiven. The question is whether Deku has the right to decide who gets saved and who doesn’t. 

We are told that Deku as a character is someone who wants to save everyone no matter what, so Deku shouldn’t be focusing on whether or not Shigaraki is worthy of forgiveness, he should be making an idealistic argument like Xavier does in this panel. Why doesn’t Deku talk out loud with Uraraka on how he believes his power is for saving others, and not killing? If he’s meant to represent some idealistic hero, then why doesn’t he even talk about his ideals? Why don’t I as the reader know what those ideals are?

I think Xavier’s ideals of forcing the X-men to provide a good example to the mutant community, in order to try to earn the respect of other human beings is wrong, but at least he has ideals.  He tries to inspire the other people around him to live up to those ideals. The story can criticize him for his ideals and point out how they’re wrong, while it can also uplift parts of his idelogy like where he believes there are no evil mutants. Deku has a chance to do the same to Uraraka, to tell her clearly, “I don’t think we as heroes have the right to pick and choose who we help…?” but he waffles. Not only does he waffle, but this moment is meant to be read as an indication that both Deku and Uraraka are sympathetic individuals who want to save their villains. They are supposed to look good and idealistic here and they don’t. For Deku it just seems like a repeat of his behavior with Overhaul. The only villains that are worthy of sympathy, are the ones that he personally decides are forgivable. 

The story isn’t about whether or not it’s moral to save someone who’s killed as many as Shigaraki has. The story never seriously discusses any sort of complex morality or moral philosophy. Once again to bring up avatar, yes you can argue Aang sparing the life of a war crimminal is bad, but Aang mentions on multiple occasions that he wants to retain the cultural values of the airbending people. Aang has a morality, a consistent morality, it might not be a morality you personally agree with but at least he has one. Deku hates abusers, unless he’s next to Endeavor then he thinks abusers should be given the chance to atone. Deku doesn’t believe that One for All is a power for killing, but he never stands up to any of the adults who are blatantly trying to kill Shigaraki, he doesn’t even express out loud to Uraraka that he doesn’t think heroes have the right to decide who lives and who dies. In fact he’s given the perfect opportunity to, when Hawks kills a villain and it’s broadcast live on the news in font of everyone, but Deku never has anything to say about that. The reason Deku and Uraraka both put such an emphasis on “forgiving” their villains has nothing to do with the story itself. It’s because the author Horikoshi, is afraid that some people will misinterpret his story as saying that he actually thinks that saving a villain like Shigaraki means that he condones mass murder, so he has to have the characters talk about not forgiving Shigaraki. 

Judai doesn’t have any consistent morals either, but once again that’s the point and something the story relentlessly calls him out on.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels.  Cobra: You are certainly a talented duelist. But you have one fatal flaw.  Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory.  Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match.  Judai: I...  Cobra: Afraid aren't you? Right now, you have nothing to support you. 

Judai’s regularly called out for his superficiality. Judai is only a hero because he’s strong and wins fight, he doesn’t feel any responsibility towards other people, and in fact he loathes having to feel responsible for others. Judai isn’t just naive, he deliberately chooses to remain ignorant. Since he’s ignorant of his own faults, he makes awful decisions when it comes time for him to lead, and his friends die because of choices he made. We are told that Deku doesn’t want to remain ignorant, that he wants to understand villains, but Deku’s actual actions are him continuing to ignore society’s ills and the suffering of victims. In fact if you take away Deku’s internal monologue and the narration, Deku’s actions almost exactly mirror Judai’s.

Deku is just as superficial as Judai, and he also doesn't want to spend any time thinking about what kind of hero he wants to be, but the narrative never punishes him for it.

Judai is asked what burdens he has to bear and he has to meaningfull answer that question, Deku is allowed to get away with not having to think about anything. Deku remains superficial. Both Judai and Deku spend the entire arc running away from their villain rather than confronting them in any meaningful way. They both never express out loud any sympathy for their villain, or try to empathize. THey both never step down from the role of hero, and only confront their villain as a hero, because they don’t want to think about themselves as complicit or in the wrong. Shigaraki and Deku’s final confrontation mirrors Judai and Yubel’s but without the same clear framing. THe entire time Yubel is trying to get Judai to empathize with them, and Judai only responds with physical violence, because they don’t want to stop being the hero and because they can’t see Yubel as anything other than the villain.  As soon as Deku arrives on the battlefield (by the way everyone else and their mom pointed this out, but Deku who doesn’t think OFA is a power for killing, is completely okay with a plan called the “Sky coffin plan” where every other hero was clearly trying to murder Shigaraki).

When Deku arrives he asks if Shigaraki is still in there, but he doesn’t do anything to try to reach Shigaraki, he jumps right to punching him. In fact he never tries anything besides punching him as hard as possible. How is punching Shigaraki with the force of a thousand suns saving him exactly? How is that different from how he tried to defeat Shigaraki the last war arc, before he saw the image of the crying child that made him want to try a different approach in saving Shigaraki?  In Judai’s final fight with Yubel, it’s made explicitly clear that Judai is not trying to save Yubel, and that’s a fault on his part. In fact Judai gives the traditional “I have friends, and you don’t” speech to Yubel but it’s a subversion of how that speech is usually used. Usually that speech is used to show that the protagonist won because of they valued friendship,while the villain treated their friends poorly and only cared about power. However, it’s ironic in this case because Judai got all of his friends killed. Judai treats his friends like garbage. This speech isn’t used to show that Judai is winning because he values his friends more than Yubel does, it shows that Judai is a hypocrite, playing the hero in this situation where they are just as bad as Yubel. Judai’s not morally superior, he’s just lucky that he has good friends. Friends that were willing to save him. The only connection Yubel has to anyone else, Yubel’s only friend is Judai and Judai is a shit friend. 

In fact, Mirio tries to give a version of the “You don’t have any friends” speech to Shigarkai, only for Shigaraki to get mad and tell Mirio that he does have friends and people he wants to protect. 

This fact is also something that is blatantly ignored by Deku, even though Mirio tells him about it… even though we are told that Deku is trying his best to see the humanity in Shigaraki. 

Judai blatantly admits they’re trying to kill Yubel. Which makes them a worse person, but a better character than Deku, because their actions are clearly framed by the narrative and consistent. 

On the other hand we are told that Deku doesn’t want to kill Shigaraki, and yet everything Deku does makes it look like he’s just trying to kill Shigaraki and put him out of its misery. If we didn’t have Deku stating out loud that he wants to save Shigaraki and wants to see him as a human, there’d be nothing in his actions to indicate that he’s trying to avoid killing Shigaraki. Deku says he can’t pretend he didn’t see Shigaraki crying, but like, does he ever hesitate to punch Shigaraki, does he ever think that causing Shigaraki more harm is wrong when he’s already suffered so much? Deku says that Shigaraki is a person but does he treat him like a person? Does he try to talk to him like a person? To use avatar again, Aang does talk to Zuko pretty early on. Deku doesn’t even give the classic “We could have been friends under different circumstances” speech. When Shigaraki resists Deku’s attempts to see him as a person or emapthize with him, Deku’s response is to just resort to punching harder. 

Which is in effect the same thing Judai does to Yubel, just kill them as a villain so they don’t hurt anybody else, but framed in an entirely different light. Judai is shown to be ruthless, and cold in his attempt to only settle the conflict with Yubel by violently putting them down. On the other hand we’re being told that Deku is compassionate and empathic while he punches Shigaraki with the force of a thousand suns. 

There’s another eerie similarity between both of these final confrontations. At the climax of the confrontation, both Judai and Deku have a psychic vision where they see events from Yubel and Shigaraki’s childhood. This vision is supposed to help both characters understand the good in the villain they’re facing.

Let’s see the contents of this vision and how the visions change each character. Judai is shown a vision of his past life where Yubel sacrifices their entire body, and even their humanity to go through painful surgery to turn into an ugly dragon, all for the sake of protecting Judai in a previous life. 

Judai is then forced to witness the good side of Yubel they’ve been ignoring all along to paint them as a villain. Yubel is simultaneously extremely selfish and willing to hurt people Judai cares about, but they’re also extremely selfless and will do anything to protect Judai and have made great sacrifices in the past for Judai’s sake. Deku gives lip service to not ignoring the humanity in Shigaraki, but Judai is literally forced to acknowledge the humanity in Yubel. Not only that, but Judai changes his behavior immediately after learning this new information. After seing the sacrifice that Yubel made for him in the past, Judai responds with a sacrifice of his own. A sacrifice that perfectly mirrors the sacrifice that Yubel once made for him. Yubel gave up their humanity for Judai, so Judai fuses his spirit to Yubel’s, becoming a human / spirit hybrid so Yubel no longer has to be alone. 

Judai also doesn’t just fuse their soul with Yubel’s in order to stop Yubel from destroying everything, it’s because both of them at this point need to atone together, and Judai is fulfilling his responsibility of watching over his friend until the end to prove that you care about them - as he said to Sho. Judai’s also fulfilling Johan’s dream of helping repair the bonds between spirits and humans, by reconciling with Yubel and repairing their bond. It’s also Judai atoning for his previous behavior of abandoning Yubel, by choosing to stay alongside them as they both atone together. Deku does sacrifice OFA during the fight against Shigaraki, but their sacrifice isn’t to help Shigaraki, but rather doing psychic damage to Shigaraki by using OFA is the only way to defeat them. He transfers OFA in order to break Shigaraki’s brain so he’ll stop reissting and Deku can beat him down. Judai fuses their soul together with Yubel out of empathy and a responsibility they feel to help their friend fater abandoning them, Deku transfers One for All to Shigaraki in order to hurt him and make him easier to punch. It's funny that Deku doesn't travel to Shigaraki's mind to learn more about him, but instead with the specific intent of harming him.

Once he's inside Shigaraki's mind, he doesn't take time to reflect on how Shigaraki used to stand up for bullied kids, or how he wants to be a hero to villains because no one else will stick up for the outcasts in society. No, he only care about Shigaraki when he takes the form of a child crying for help.

In the aftermath of the psychic vision Deku’s behavior doesn’t change towards Shigaraki in any way either. You could say he sacrificed his own arms in order to try to comfort Shigaraki within the depths of his own mind - but that’s not a real sacrifice either because his arms immediately come back.  When Judai learns about the sacrifice that Yubel made in a previous life towards him, he stops seeing Yubel as an enemy and finds a way to resolve things peacefully between them. When Deku lanterns that Shigaraki’s a victim of All for One, and that his entire life was a lie, when he sees Shigaraki’s suffering first hand does his beavior twoards Shigaraki change in any way? 

When he sees Afo has taken over Shigaraki’s body again, does he try to shout for Shigaraki, to tell Shigaraki to fight from the inside, to reassure Shigaraki that he’s still in there that there’s still good in him? Nope. He just punches Shigaraki some more.

What Deku needed to tell Shigaraki is so obviously set up by the narrative too. Shigaraki wanted just one person in that house to tell him he could be a hero. Deku wanted his mother to tell him he could be a hero if he was quirkless. Deku sees that Shigaraki started out as a boy who wanted to be a hero, and who was manipulated into being a villain but does he try to appeal to the boy inside of Shigaraki by telling him he can still be a hero? Does he now see the good in Shigaraki? Nope, he just tries to kill him by punching him really hard. 

I purposefully chose the images for the banner of this post, because it shows how differently MHA and GX treated its villains in the end. Yubel is embraced by Judai in the end, Shigaraki evaporates into dust.

"Judai, now that our souls have become one we will never be separated again. I have now been filled with your love and power. Let us fight together, against the wave of light leading this universe to destruction!"

Shigaraki could so easily have been given the love and empathy that Yubel was shown, but instead their life ends with no show of empathy from Deku, and with them dying believing that their long life of tragedy meant nothing in the end. Shigaraki realizes he's a crying kid, but he's never comforted.

Shigaraki: I only stole my body back from Master, and I didn't destroy anything. "In the end, I was just as you said... A crying kid, huh?"

Yubel is embraced and comforted, Shigaraki disintegrates into nothing.

One of these stories is apparently an optimistic story about heroes saving people, but it ends with the lifelong victim being killed in the most nihilistic manner possible, never receiving comfort, and never achieving anything with his long life.

The other story is a silly anime about card games, shows that when people are alone and suffering they can lash out and do terrible things. That all people are weak especially when they're alone, but the solution isn't to abandon them, or condemn them for their faults, but to believe in them and help uplift them the same way that Judai decides to uplift Yubel so they can atone together.

Which is why Deku gets an F in being a hero. Go directly to summer school. Do not pass Go. Do not collect $100. 

[gibberishfangirl]

WINDBREAKER | i’d let the world burn for you

Synopsis ✰ which boys i think would relate to that song lyric “id let the world burn, id let the world burn for you” and why i do or don’t see it happening

Characters ✰ Haruka Sakura, Hajime Umemiya, Hayato Suo, Akihiko Nirei, Choji Tomiyama, Jo Togame

Haruka Sakura ᡣ𐭩 -> okay hear me out. i see this being 50/50. i feel like Sakura is such a crash out at times especially when it involves you. this man will 100% crash out over you and bring hell on whoever hurts you. on the other hand… he is main character and is very heroic which is why i cant see him fulllyyyy resonating with this lyric. a hero simply cannot unleash hell onto everyone. but if its just targeted towards one individual he’s for sure going to jail for attempted murder. he’d most likely succeeded tbh so maybe not even attempted

Hajime Umemiya ᡣ𐭩 -> yes. no doubt about it. HEAR ME OUT. i know he’s also a hero and he’s a leader so he shouldn’t sacrifice everything he has for just one person. BUT HE WILL ANYWAY. this man is ready to die on that hill if it means you’re safe. being in love and having someone be so dear to him brings out a whole new side to him. if it had been any other person, definitely not, he’d be more rational. however, since it’s you and he’s madly in love, he’ll 100% set the world on fire himself. Ume is ready to stand up for the ones he loves. no question about it, he’ll take extreme measures without hesitation.

Hayato Suo ᡣ𐭩 -> okay. i want to say yes but in reality it’s like maybe 60%? i’m a helpless romantic and Suo is practically the definition of romantic so i like to believe he would for the plot. when Suo loves he loves hard and desperately. he’s the kind of man to sacrifice himself more than anything. he loves you like a bruno mars love song. yk grenade, the song, we all know it. that’s him. that’s just his song. he gives the vibe of sacrificing himself than the world for you.

Akihiko Nirei ᡣ𐭩 -> …no. DONT HATE ME but i dont see it happening at all. i mean he’d most likely die for you and take a bullet for you and all that romantic stuff. BUT SACRIFICE THE WHOLE WORLD?? now that’s a bit extreme in his book. he loves you and would die for you. off topic but Nirei just gives me the vibe that he would want to be buried next to you so that way the two of you can find each other in every timeline <3

Choji Tomiyama ᡣ𐭩 -> have you seen this man during his villain arc??? it’s a clear cut yes. this mf will actually kill someone with his own bear hands for you. he’d carry all the blood and taint himself if it meant you would be okay. he prioritizes you more than anyone else, so he will absolutely lose it over you. if anyone even had the audacity to put their hands on you. it’s game over. all that development he’s had and has worked on will vanish in less than a second. he’s the core definition of ‘0 to a 100 real quick’. it’s not even worth testing.

Jo Togame ᡣ𐭩 -> this song was made for him. literally his fucking song. hes made himself the bad guy before and he’ll do it again. especially for your sake. Togame might be a nice guy but dont ever mistake that for anything more. just because he can have a polite mouth doesn’t mean he won’t completely pummel someone into a state of oblivion just for making you uncomfortable. biggest crash out next to Sakura.

[lovelettersfromluna]

yk how in one of your girls Ellie mentioned she got off to reader and was thinking abt her all day while she was gone… can u plz plz plz writing something about Ellie rubbing one out to reader OR OR writing one of Ellie’s solo vids since she said she did solo when Julia left.. I just love seeing Ellie pleasure herself I need it so bad..

an: I literally have a paper that I need to write that’s due TONIGHT but I’m doing this first because it’s more important 😌

Warnings: SMUT!! 18+, MDNI, solo!ellie, fingering, horny!Ellie, dirty talk, Ellie fantasizes about reader, this all takes place in the second chapter of my camgirl!Ellie series, Ellie has sensitive nipples bc I said so, pure smut with little plot, slight sugarmommy!Ellie if you squint??, lmk if I missed anything!

Ellie was bored out of her fucking mind.

She was always bored when you were at work, to be honest, but she usually had Julia to entertain her. She would usually text or call her, invite her over to get a quick video in, anything to fill up the time where the apartment was void of you.

That was out of the question now.

She tried everything. She tried making herself something to eat, which she ended up burning. She tried watching tv, but there was nothing on that she liked. She tried playing video games, which resulted in her screaming at some fucking incel half way across the world for being a fucking idiot. Hell, she even tried putting herself down for a nap like she was a child, which once again failed.

Ellie was getting antsy, wanting nothing more than to just be with you, be in your presence. And that's fine, because you and her are friends! It has nothing to do with the fact that ever since you had agreed to being her temporary partner, she couldn't seem to get you out of her mind.

That wasn't it at all...

She let out a gentle huff of annoyance, seemingly the hundredth one for the day, as she got up from the couch in the living room and made her way to her bedroom.

Ellie fell back into the soft comforter on her bed, a gentle sigh leaving her lips as she stared up at the ceiling for a moment before she turned over to grab her phone to check the time, which only made her groan out in frustration.

You wouldn't be home for another four hours.

This had to be some kind of cruel and unusual punishment, why were you still even working! Ellie had told you time and time again that she was making more than enough to support the both of you, and now you were even entitled to it! You were helping her bring it in! She hated how stubborn you were when it came to the topic.

She just wanted to take care of you...

You deserved to be spoiled. You spent so much of your time at the record store, slaving away to posers who usually belittled you for being a woman in the music business, wanted to get into your pants, or both, and she hated it, she always had.

She fantasized about never letting you lift a finger, always telling you that she would take care of it. Ellie never wanted you to worry your pretty little head about anything, regardless of if you agreed to make content with her or not.

Ellie would never say it out loud, but the idea of spoiling you made her weak in the fucking knees.

And she isn't entirely sure how it lead to her hand resting on her waist, toying with the sliver of skin thats peeking out between the hem of her t shirt and the waistband of her sweatpants, slender fingers slowly creeping beneath them as her hazy, lust filled eyes stare down at her own legs splayed out on her bed...

Although she is sure of how it happened, she knows that with thoughts of spoiling you, come other thoughts of you, because suddenly she's thinking of you settled between her legs, wide eyes staring up at her, eager to please, wet tongue lapping at her soaking wet core, pretty lips wrapped around her throbbing clit.

Or maybe she's thinking of something else, maybe she's thinking about you straddling her, bouncing on her cock, back arched as the sweet sound of your pretty moans fill up her room, paired with the noise of your skin slapping against her own. She can practically feel your soft, supple skin spilling out from under her large hands, she can't help but feel and squeeze whenever you're around.

And suddenly, Ellie isn't so bored after all.

Because her sweatpants are long gone, tugged off and throw somewhere in her room along with her soaked boxers. Her t shirt it pushed up, revealing her perky tits and pebbled nipples, the cold air in her room alone making them harden, making her hiss as her skilled fingers work on her soaked core.

She isn't laying down anymore, instead she's propped up a bit, her back resting against her pillows, eyebrows furrowed as her fingers work on her clit, abusing the poor sensitive numb as she rolls sharp circles into it. Ellie was never careful with herself, not like she was with you. She liked being rough when it came to her own weeping pussy, making it all red and sore, sopping wet and begging for more.

"A-ahh...f-fuck...just like that baby...mmhh...right there...dont fucking stop.." She groaned out, eyebrows furrowed, freckled cheeks flushed.

Ellie always prided herself on her filthy mouth. She could feel the way your pussy fluttered around her fingers or her tongue whenever she said something particularly dirty, so of course when thinking about you, her words didn't cease.

Her head fell back against her pillow when she pushed two fingers into her drooling pussy, a long, loud string of moans leaving her swollen lips as she called out for you, your name becoming her own personal chant as her eyes fluttered shut..

"Fuuuuckkk...that's it baby...f-fuck....fuckin' take it...thats it...thats my good girl" She shuttered out, struggling to form full sentences as she brought her eyes back down to the mess between her legs.

She tugged her bottom lip between her teeth, one of her hands coming up and ghosting over her hard nipple, making her whine softly before she pinched it, making her eyes wince as she thrusted her hips up to meet her fingers, wanting them to go deeper into her weeping core.

Ellie let the images of you run through her head. She imagined you on top of her, grinding your perfect pussy onto hers. She imagined you underneath her, your ass bouncing against her thrusts as she fucked her cock into you, drilling you from behind.

But what really did it? Was imagining that her fingers, were yours.

"M'gonna....you're gonna make me fucking cum...o-oh my god...yeah...yeah right there....fuckfuckfuckfuck!" Ellie called out, her back arching as she felt her orgasm right there on the edge, the feeling she was chasing after dangling right over her head, so close she could practically fucking taste it...

Practically taste you.

Ellie screamed out your name, her hair messy as she pressed her head further into the pillow, her orgasm washing over her so intensely, it was almost fucking painful.

She struggled to catch her breath, hazy eyes staring down at her hand as she slowly rubbed her clit, riding out her orgasm as soft little hums and moans left her lips, almost liking the overwhelming feeling of sensitivity that came after she orgasmed.

Ellie sighed softly, looking over at her phone and checking the time, seeing that she still had a little less than four hours until you got home.

A little less than four hours to do what she just did, over and over again.

[salmalin]

My sincerest apologies and warmest welcome to my rant about FF7: Crisis Core. Or, as I like to call it,

Propaganda: The Video Game

I say this with the utmost affection. Crisis Core ranks really high up there in my favorite Final Fantasy 7 installments. I played it when it first came out, borrowing it from a friend to play on a borrowed PSP. And, the more I learn about the game and the more I replay it, the more everything lines up.

This game is not about Zack Fair.

This game is about how Capitalistic Propaganda can sink into every aspect of life to the point where it is entirely indistinguishable from reality. And it’s very overt about it. So…

Here we go.

My treatise on Propaganda’s starring role in Crisis Core.

Part One: The Timeline

Something that a lot of people gloss over due to decades of Child Heroes in media—Japanese Shonen and Shoujo series in particular—is how young these protagonists are. We’ll hand-wave a lot of stuff in non-live-action series with just a little bit of suspension of disbelief. And that’s honestly just accepted these days. But here’s the thing about those hand-waves.

Final Fantasy 7 doesn’t do that.

Now, FF7 hand-waves a lot of stuff. For example, how far you can travel in a day by foot, the distance a man weighing approximately 165lbs can jump after being genetically fused with what might as well be a cocaine demon (Jenova), and how much hairspray one can reasonably carry on a cross-country journey while on the run from the feds.

Age is not one of them.

Exhibit A: Yuffie Kisaragi.

Do I really need to say more? She acts her age. So does Zack. And Aerith, even. Most of the characters in the original lineup were over twenty for a good reason. We see several kids in the series, and they all act their age, too—both the OG and the remake. Age is not a thing that FF7 really grapples with. It’s something they take relatively seriously.

Now, to the point.

Zack is 16 when Crisis Core starts…

… and he was 13 when he ran away from home without his parents’ knowledge to join the military.

Which accepted him.

At 13.

Without a parental permission slip.

Think about that for a second.

… Or for the next several parts of this breakdown.

Part Two: The Main Character

As I mentioned in the introduction, Zack is not the main character of the events of Crisis Core. Instead, he is the focal point of the second person POV. This is not the first time Square has done this. It was done most notably with FF9, FF10, and FF12. (I’m not going to go on an Akira Kurosawa rant right now, but please check out his film “The Hidden Fortress”. FF12 and Star Wars episodes 4-6 borrow heavily from this film.) The purpose and position of this character is such that they might best witness the effects the other characters make on the world as their stories unfold, usually in the role of a love interest. For Akira Kurosawa, it may have been told this way because these people are most effected by the decisions being made.

“Well, then, Sal,” you may be asking, “who would you say is the main character? Would that be Aerith, since she’s the love interest, like in the other games?”

No, actually.

It’s the antagonist.

And by that, I mean Genesis.

Hear me out. I used to hate Genesis, for I was once young, full of judgement for flamboyancy (thanks, internalized homophobia), and was led by the narrative to believe he was mean to his friends. Then I met my Lovely beta who loved him, so I wrote a fic for her as a gift. So for that I kinda just… read stuff. Because that’s the thing about Propaganda—you gotta read stuff to navigate it. I read the in-game emails. I re-watched all the scenes I could get my hands on with him. I read his wiki and tried to track down more information about him. Then I watched the scenes in Japanese and gained a better understanding of not just Genesis, but Sephiroth’s character. And I realized that Genesis was put on this road from the start. In fact, a big part of the fact that he’s seen the way he is in Canon—only at his most hostile and lowest points—is because the story is told through Zack’s point of view.

So before we get into the breakdown, here’s the hard facts about Genesis.

1. He was a test tube baby who may or may not technically be Angeal’s fraternal twin brother, which we are not going to unpack right now.

2. He was adopted by a relatively rich family.

3. He was a child genius (which requires not only resources, but drive to achieve), and at a tender young age of like… ten or something? He decided to mess around and literally invented pasteurization. Which is incredible, and really speaks to his knowledge of the world and ability to grasp complex concepts even at a young age. But, again, this is not the time or place to unpack that.

4. He was best friends with Angeal, who might as well have been the sweetest, kindest boy to ever walk the Planet. (I’m biased. I love him.)

5. As a teenager, he became fixated on Sephiroth, who had gained national acclaim as a SOLDIER despite them being the same age. (Please see part 1 and think about that for a second.) He then goes to join SOLDIER and brings Angeal with him. And Angeal brings his step-father’s puritanical “hard work is honorable” mindset with him. (On that note, Angeal and his father’s arc really are a wonderfully scathing letter to companies that overwork their employees and how toxic/unhealthy that line of thinking is. But. Again. We are not unpacking that right now.)

6. At one point he became consumed with LOVELESS, a series of poems with heavy prose and symbolism thicker than syrup. It got to the point where he was so well known for it that there was an entire fanclub dedicated to both him and analyzing the text.

7. While he was in SOLDIER, he repeatedly had his achievements publicly accredited… to Sephiroth.

Over and over and over again.

Everyone did, really. They mention it in the beginning of the game. Sephiroth even got public credit for Zack’s raid on the castle when he wasn’t even there. How much of his legacy is real? How much of it is made up? How much of it was faked? We don’t know. No one knows. But he keeps getting credit, anyways. And when Genesis confronts him about it, Sephiroth doesn’t care. In the Japanese version of their fight scene, you could even say he indirectly implies that he wants Genesis to take his place as the “hero”. In the English, Sephiroth’s line is, “Come and try.” But in the Japanese the line is closer to, “Wouldn’t that be nice?” Which, depending on how you take his tone, can mean wildly different things—from mocking, to earnest, or even admiration—which is especially to tell because he might be annoyed with Genesis at the moment.

Fun Fact: In Ever Crisis, Sephiroth explicitly says they are making up his achievements in the press to target boys his age for recruitment. (Thus why they accepted Zack at age 13.)

My theory on this line is that he is being cynical; that Genesis doesn't understand just how harrowing and even humiliating his experience has been. This only enforces my theory that the "come and try" translation in the English not only does a disservice to a line as wonderfully heavy as, "Wouldn't that be nice?", but fundamentally misunderstands Sephiroth as a character.

8. Genesis then took the fight to Shin-Ra. Inspiring a good chunk of their staff to leave the company, he then staged multiple attacks on facilities, staff, and the main building—which also spilled out into the city of Midgar. He murdered his parents, buried them, killed everyone in town, and… Yeah. It wasn’t pretty. A lot of innocent people died simply because they were vaguely associated with Shin-Ra. These are the actions of a villain. What’s more, this is clearly a sign that he has been acclimatized to death and violence by Shin-Ra to the point where he doesn’t even consider taking hostages.

Except.

Except the entire town was a Shin-Ra town.

Banora, canonically, was a Shin-Ra built town, which means everyone there was basically an employee of the company. No one was safe. Everyone was a threat. And that…

That was how he was raised. And he finally knew the truth—that every moment of his life was touched, controlled by Shin-Ra, all the way down to his very conception. He has never known freedom. He has never known his own identity. And now that very cage was killing him, slowly and painfully, and turning him into something that couldn’t even be recognized as human. He was watching himself rot in the mirror, and it was all because of Shin-Ra’s greed. And as he searched for salvation, he sunk into LOVELESS as he always had, hinging his entire life on Minerva’s Gift because he knew he was dying and that was all he had.

9. And then he died…

10. … but then it turned out LOVELESS was actually kind of a blueprint, and he did meet the Goddess, and he did get reborn without his degradation so he was rewarded for his journey in the end.

So why wasn’t Genesis the main character of the game?

Simple.

His actions challenge the status quo without being about the status quo. It’s a story about revenge. It’s a story about retribution. It’s a story about answering mass violence with mass violence and ultimately being rewarded by it. And while, yes, the series is an action-based violence simulator, the violence in the original FF7 was a guided, tactical effort. (For all that the characters aren’t the brightest bulbs in the sun lamps.) But the biggest, most obvious shift in the narrative happened when they realized their role as terrorists—bringing mass violence to the company via bombing and open aggression—was just resulting in increasing levels of retaliation against uninvolved people. They might as well have been a child beating the ankles of a giant. The goals and themes of the game fundamentally change when they realize that answering mass-scale societal violence with mass-scale physical violence was not only unsustainable, but also wasn’t going to solve their problem.

FF7 is about change and learning when violence—and what kind of violence—is appropriate in the face of different threats.

Genesis’ arc undermines all of that, and making him the main character would contradict the very heart of the OG game.

So, instead, we are positioned as Zack, connected to him through a mutual friend. From there we see all the damage and horror this vengeance brings to those living under the status quo.

But also, that plotline’s a major downer in a lot of ways, so they needed to lighten things up a bit to keep audience involved. And that’s why Zack is, well…

Part Three: Zack is a Himbo

Please, for the love of all that is holy, keep in mind that everything I say here is with the utmost affection.

Zack is dumb as a rock.

He is a charismatic, enthusiastic sixteen year old jock who ran away from home at thirteen years old to join the military. Which, please know, why I say “military” I mean “private security guard force with a standard-issue Death Baton and a license to kill”. The first scene in the game is him being excited that he gets to murder a bunch of people in a simulation, which he is immediately scolded for by his mentor. He is a glorified, souped up private security guard who is canonically only in it for the glory at first. He wants to be a “hero”, but doesn’t seem to fundamentally know what that means. And, over the course of the story, the definition of that clearly changes for him.

Which tracks, because the story takes place over a period of time with high stress.

Occasionally I see people saying they wish that Zack had more complexity to him, and honestly? The game. Would be. SO. BAD.

Full Disclosure: I am not the biggest fan of Zack specifically because he lacks a lot of nuance. I wish he was a bit more complex, too. But I also know that would break the game. What’s worse, if he was still on Shin-Ra’s side because he understood Shin-Ra’s mission… Well… That would make him a villain, or a cog at best. That’s not main character material. It would make the ending more messed up, though.

Anywho, Zack was thirteen when he left home. He had no formal education. He didn’t tell anyone what he was doing. He even joined without a permission slip from his parents. This means that Shin-Ra was accepting thirteen, possibly fourteen year olds into the military. (Some people will say this tracks because you can get a job at fourteen in many parts of Japan. But, and this is important, you aren’t allowed to be a security guard until you’re quite a bit older, and you need a specific license for it, much like in the US.) Clearly they didn’t teach this boy critical thinking skills. Not because he’s a himbo, but because having their Super-Powered Private Security Force With A License To Kill think independently would explicitly go against their interests. (EX: Genesis.)

Shin-Ra needs SOLDIERs to follow orders or the company would no longer be able to function. Seconds and Thirds aren’t even allowed to reject missions. (One could argue that sending certain someone on back-to-back missions would be a good way for them to eliminate undesirables within the ranks by sending them to their deaths, which… would make an incredible fic idea, actually.) We already know that First, Second, and Third Class rank assignments do not actually reflect the power of the SOLDIER. This is canon. I would instead argue that those who make the rank of First Class aren’t necessarily the most powerful, but are instead the most visible in the media, thus the easiest to market, and/or the easiest to manipulate and control. (For a great example of this, see The Umbrella Academy.)

The point is, Zack may have been elevated to his position as a first specifically because he is malleable and single-minded. Even after all he saw with Genesis, he stuck by the company to the very end, with the exception of the time Sephiroth was literally guiding him to fail a mission. Zack allowed himself to take Shin-Ra’s side every time, taking down their enemies and following their orders, preserving his “honor as SOLDIER” as he had been taught. The only thing that made him stop…

… was literally getting put in a jar.

It was when he was no longer a SOLDIER.

Part Four: Honor

There is no such thing as SOLDIER Honor.

I repeat: There is no such thing as SOLDIER Honor.

It is a fictional thing that is borne of an ideology based around hard work. It only has power because it is believed in. It is an intangible social construct similar to the law, mathematical order of operations, and gender roles. So why are Angeal and Zack obsessed with it?

Pretty simple.

Angeal’s step-father followed it.

Now, we know three things about Angeal’s step-father.

1. He was chill with the fact that Gillian was already pregnant when they started dating.

2. He was a very good father.

3. He worked himself to death trying to pay off the sword he bought Angeal.

This, of course, says a lot about Angeal considering he rarely uses the sword. He essentially sees that sword as the symbol of his step-father’s life. Everything he uses it for, he sees as more important than his step-father’s life. That thing is usually Zack.

Zack, who is the child who joined the military based on stories of heroes.

Zack, who rises against Angeal in the name of his own step-father’s ideology and tries to talk him down, even at the very end. But Zack fails because he fundamentally doesn’t understand what’s going on, partially because “Soldier Honor” is just one more aspect of this narrative he was given. It is a narrative that Angeal has had to step away from, even though he doesn’t want to leave the memory of his step-father behind. He was a good man. He was a good, hardworking man.

And that is why he died.

Corporations will use you up until there is nothing left, then honor your memory/sacrifice. Shin-Ra was doing the exact same thing the company his step-father worked for did; using up SOLDIERs until they outlived their usefulness. And Angeal was horrified to realize that his “SOLDIER Honor” wasn’t honor at all.

It was willingly submitting to control.

But, unlike Angeal, over time, this meaning changed for Zack. Partially because he didn't understand it fully in the first place. It became about acting with integrity. It became about helping people. It became about not lying down and watching the abuse Shin-Ra handed out in exchange for literal money; for maintaining the status quo.

At the very end, Zack understood what it meant to be a hero.

Part Five: The Conclusion

To sum up, Zack believed in and idolized the propaganda spread by Shin-Ra at such a young age, and was so convinced by it, that he ran away from home at thirteen to join the military.

He was their target demographic, so they happily took him into their ranks. What’s more, people think this is normal enough that we see no one opposing this, because the only people who oppose Shin-Ra are “extremists” or “violent terrorists”.

Zack then became their loyal puppy, groomed to fill his role as super-powered attack dog to sick on anyone they deemed appropriate, and he filled the role. He believed he was doing good. He didn’t think they were invading another country, because that’s not what he was told.

He went after Genesis, because that’s what he was told, and he wouldn’t let Genesis’ actions shake his faith in the company.

Then he went after Angeal, hoping to get answers, only to become more confused. Angeal taught him about SOLDIER honor. He taught him about a higher calling. He was the one who made Zack truly loyal to the company. This challenged everything Zack knew.

He went with Sephiroth, planning a small rebellion of their own (a white lie on paperwork) to get answers, only to find things he wasn’t ready for and couldn’t fully understand.

Zack is shaken by each of these events. Horribly. At times, we even watch him grieve. But time and time again, he doesn’t leave the company. He sees the damage they do first hand, and he doesn’t leave the company. The company isn’t the problem, to him. He reads their emails, does their dirty work, and “maintains his SOLDIER honor”.

Zack swallows what they give him right up until what they give him is torture.

Zack swallows what they give him until he becomes their victim.

Every step of the way, Zack is fed a story of how the world is. He was raised on it. He lived it. He became part of it. He was paid peanuts to enforce the status quo Shin-Ra installed in the world by force, and he was proud of it because it was, to him, something to be proud of.

Zack believes the propaganda whole-sale, and we get to watch, from the point of view of an outsider, as it slowly destroys his life before killing him.

Propaganda has the power to make suffering normal. Propaganda has the power to make murder righteous. Propaganda has the power to take a thirteen year old boy out of his home so they can give him a sword, and when they point him in the direction of their enemies he charges of his own volition, because they made him believe in their cause. And he believes in their cause because he believes that it makes life better for everyone.

But that’s not what’s actually happening.

That’s just what he was told.

Crisis Core is about propaganda, and the depths to which it can affect our lives. It changes our belief systems. It changes our perceptions of reality. And when it’s torn down around our eyes, it can make us go insane. It can make us violent and unreasonable as we realize just how much violence is being forced upon us—violence other people just plain do not see. It's just a a piece of paper. It's just a law. It's just a job.

It's just a war.

Final Fantasy 7 was about Fascism.

Crisis Core is about the propaganda that built it. It is told from the point of view of a boy, then a man, steeped in it. He watches until the people suffering around him—Sephiroth, Genesis, and Angeal—are twisted into villains by the truths and lies around them. Genesis and Angeal are tortured by truths, Sephiroth is transformed by lies, and Zack is subsequently hunted down to conceal them.

Crisis Core is Propaganda: The Video Game.

[lunahearts]

Okay I'm doing it. I'm chapter 96 posting.

This is not meant to be a big analysis post this is mostly just me sharing all the little moments that Marcille & Laios show their care for each other because they are SO beloved to me. Join me on the journey if you wish.

(but also the above statement may be a lie. I do have a point here, it turns out, and the point gets at some of my Big Feelings of what Dungeon Meshi has to say about the nature of friendship & living in the world)

So, first of all, the conversation about Laios being king at the start of the chapter. Just in general Laios insisting on presenting himself in his own way here is so good. Character development!!

Before the events of the story he hadn't shared his inner world with anyone but Falin. Now he's like Actually I'm gonna dress up in the discarded remains of my monstersona and that's just how it is.

And even though there are a LOT of parts of the story and bits of character growth that go into this, I think it specifically highlights some interactions from a few chapters ago.

After all, his initial reaction to having been in that monster form & coming out of it was trying to hide from everyone.

And I think everyone helping him put things in perspective here contributes to how he is able to present himself as king. They assure him that he is accepted, despite having just been seen by EVERYONE at his Peak "Weird Monster Guy" mode.

Highlighting what Marcille says here especially:

Going out to "face them with a smile" is EXACTLY what he does. Not right away. He's still pretty stressed in the following scene in this chapter. But he is able to face the crowds with a smile, eventually...

As king. Dressed in the memory of his most vulnerable moments, the most honest expression of his desire.

BUT I'M GETTING A LITTLE AHEAD OF MYSELF. Before the King Laios speech, there's a little moment with Marcille I want to highlight, because...

Did y'all know that by the end of the manga, Marcille isn't like... grossed out by eating monsters any more? Or at least, she's definitely changed her reaction to it. It's Namari who makes the "yeah it smells good despite what it is" comment, not Marcille.

We even get shots later of Tansu, Shuro, and Kabru being kinda grossed out by - but still going ahead and eating - the different Falin foods. Chilchuck also throws out a line about it being surprised that it's good.

But there's no disparaging comment from Marcille, despite the Everything of the situation. I just think that's also a nice little detail. She may not be as far in the monster eating game as Laios, but she's more willing to roll with the weirdness.

So after this little moment, this is when Laios comes out in his new regal outfit. And first of all...

This is such a good contrast to the moment when the group goes to save Marcille in chapter 84. The monsters had stopped attacking, and everyone's reactions to Laios and the others framed him as unsettling. Creepy. Maybe even traitors.

They even use some of the same labels (lord of the monsters/lord of the dungeon, dark lord/demon king)., but the context is that they are disgusted. The parallels in this manga....

Have a tendency to destroy me. What a difference in reception.

Anyway, after this moment, Laios stops to talk to the group... and I'd like to point out again: MARCILLE ISN'T FLIPPANT HERE EITHER!!

Chilchuck is still Chilchuck, of course, and I want to be clear I love that, too. Chilchuck is who he is to his core. His little jabs are very affectionate in this chapter.

But Marcille... Marcille only points to the Winged Lion symbol as being weird, not the monster bits. And like, considering what she's just been through with the lion, being skeptical of that part is... fair.

(don't get me wrong, her "that's fine and all" isn't exactly excitement. BUT the point I'm trying to make is less about her completely changing her feelings & preferences. It's more about how she expresses them, and how she treats Laios and HIS feelings & preferences)

And she continues to be so encouraging!! Wah!! Like, despite, all four of these people definitely caring about Laios, it's Marcille specifically who tells him to relax and just be honest. And you know what? I think that's what Falin would have said, too.

Please also note how cute everyone's little faces are in the crowd:

(see, Chilchuck loves him too!! Look at that fond face, and the cheer. and Senshi! and Namari! They really are such a family)

Laios' short speech actually has a little bit I'd like to highlight as well, since I think it is a nice little reflection of his choice to keep the lion insignia on his new outfit:

"Eat to your heart's content," he says. Not just "enjoy," or "let's eat."

Dunmeshi does such a wonderful job of framing so much about the Winged Lion with nuance, and this is a good example of that. Desire is not bad! Craving and consuming is beautiful. As Laios says when explaining the lion insignia...

It's not just something to get rid of.

So then... on to the feast!

And not only does Marcille not express any grossed out feelings, as I mentioned before... she even helps to gross out Chilchuck!!

Her weird girl powers are only just in their infancy. She will only grow more powerful in time...

As the feast goes on of course we get the group's realization about her hair, and I'd like to point out:

I really feel like they have such similar reactions to finding out about how the other has been affected by the Winged Lion

Just... the quiet concern. Not making a huge fuss, but... worried. Understanding. A little heartbroken for each other.

SPEAKING OF HEARTBROKEN REACTIONS THOUGH. WHAT COMES NEXT REALLY GETS ME.

After Chilchuck braids Marcille's hair for her, the topic of her needing to leave everyone comes up and...

God, these expressions. Every Time I see these panels I think about about what Laios saw in her nightmare. Her fears. The weight of inevitable loneliness, and the way it has marked her. As much as Marcille tries to keep things light when talking about it, he knows what this means to her. And it HURTS.

So he doesn't accept it. But do you notice how he frames this. Do you see. Not "do you want me to fix this." Not "hey I have an idea."

"Would you be willing to stay."

He doesn't know whether she will accept. Whether she will hate the idea, actually, of staying here with him. He's putting himself out there fully prepared for rejection & dismissal, as he has faced many times before.

But his pitch, his proposal to her, it's not JUST an excuse to ask her to stay, either. He's put thought into this. Into what Marcille could mean and do here. Not just to and for him, but for the people of this area. The place he has taken responsibility for.

He's also thinking about Falin. And about all the other little girls, the people of all sorts, just like her. He's thinking about the people who have been killed (burned at the stake???), hurt, shunned. About the people who have been abandoned. The people who are still alone.

He's not just offering Marcille an out from her isolation, he's offering her a new purpose. A new way to continue her work, to do the things she cares about. He SEES her! he understands her.

BUT ALSO HE'S SO NERVOUS OUGH. FIDDLING WITH THE PLATE. UNSURE IF SHE WILL CARE. UNSURE IF HE HAS IT RIGHT.

HE'S NOT GOOD WITH PEOPLE HE'S NOT GOOD AT THIS.

BUT THEY UNDERSTAND EACH OTHER. AND SHE WANTS THIS LIFE HE'S OFFERING HER.

Still... it's not that simple for her, even if for a moment she is swept up in how much she wants this.

Again here, Marcille is working so hard to be chill about the whole 'going west with the elves' thing. She looks absolutely devastated in the first panel, but puts on a smile in the second.

Maybe she doesn't want to bring down the mood. Maybe she doesn't want to burden everyone with what seems like the only option she has. Maybe she had already accepted the cost that might come with bringing Falin back. Maybe after everything with the Winged Lion, she doesn't want to risk letting herself fight for her desires too hard.

But hey. Desires aren't always bad. They aren't something to just get rid of.

A small bit of visual storytelling here... I love that Marcille is confined by the panel, but Laios is stepping outside of it. He's literally pulling her outside of the box she feels trapped in.

Also, I love that his first acts as king are:

1) welcome everyone to a big feast

2) stand by his friend and help her find happiness

It's great stuff and it's so Laios.

In addition to that, I love how this whole act actually plays out. I love that, while getting the elves to let Marcille go, he gets to be extremely cool and protective...

but also like. Not THAT cool and protective.

No really, I mean it! I think it's important! It's important that cool 'suave king guy Laios' is a front he puts up when he needs to deal with these strangers, and one that he completely drops once it's just him and Marcille.

He's not trying to impress her, or convince her he's cool and suave. Why would he? He trusts that she's okay with the messy, often unimpressive, sometimes kinda gross reality of who he is.

And isn't that what Dungeon Meshi is all about? Messy, unimpressive, gross reality. And how beautiful, how wonderful, how very precious it is

Especially when you get to share it with your friends.

[adascore]

Hello! Not sure if you’re taking requests but would you consider doing an addition to TSS where young!arsenal reader was starting before Beth and Viv came back and has been benched majority of the time since (Kyra core☹️). Maybe during like the west ham game was one of the subs thrown on halfway through and after the loss made a snarky comment about “being thrown on to unfuck everything” type of thing to another teammate and Viv/beth overhear and think she’s talking about them (maybe they’re already a little insecure about losing such an “easy” game, self doubt post ACL) and things are super frosty and weird at home until one of them snaps and makes a comment about how they still wouldn’t have won even if R started. Hurt/comfort angst but with a happy ending!! Not sure if any of that strikes your fancy but I had the thought and you’re so talented:) no worries if not!!!

To Jump The Gun(ners)

pairings: arsenal x teen!reader / meadema x teen!reader / kyra cooney-cross x arsenal!reader

warnings: the west-ham match. swearing. angst. awkwardness.

author’s note: OMG LOVE THIS IDEA ! like this was right up my alley I felt like 😭 thank you so much, and I hope you enjoy the story!

masterlist

February 4, 2024 - Essex, England

It had become a routine, seeing her name and number on the bench. She took a glance at Kyra, a knowing look in her eyes.

The young Arsenal homegrown wondered where it all had gotten wrong. Well, she knew the answer, but it wasn't exactly something she could say out loud to anyone.

She was transported back to the 2022/23 season, where she would warm the bench until either Vivianne or Beth were too tired or they needed to be rested for the next match.

Their injuries had changed everything.

Y/N not only became a regular starter, but became a vital part of their game. Her absence would be noticed.

She scored the goals that got them to the semifinals of the Champions League, keeping them level with 2x champions Wolfsburg.

However, Beth and Vivianne were back now. Alessia's arrival also didn't help much, the former Manchester United player having cemented herself into the starting line-up.

It also didn't help that Jonas was not a fan of rotating. Only in specific Conti Cup matches or against what he deemed 'weaker' teams in the league would he make changes to the usual starting XI.

In other words, she was back to step 1.

That's why it was hard to watch her teammates falling 2-1 behind against West Ham, with no one seeming to find an answer or any will to turn the game around. It was a painful spectacle.

In the 63rd minute, Jonas decided to throw herself, Kyra and Cloé in the match, and take out Vivianne, Victoria and Beth. It was a desperate attempt, and the three Gunners found themselves on the pitch, tasked with the challenging mission of trying to fix everything that had gone wrong so far.

Y/N and Cloé quickly created some chances but the West Ham defense or the swift reflexes of Mackenzie Arnold saw them go in vain.

The teenager could see the expressions of her teammates on the bench, visibly frustrated with how the match had unfolded since Alessia's successful header.

Vivianne couldn't hide the discontent in her eyes as she sat with a subtle shake of her head. Her partner, sitting beside her, noticed and Beth patted her thigh, offering silent support as they continued to watch their team scramble for a late equalizer.

As the final whistle blew, the disappointment within the team was high. Y/N did her usual post-match routine, and congratulated all the West Ham players on their win, while giving and receiving solace from her own teammates.

The teen found Kyra again, someone who she had found a friendship in over the months the Australian had joined the Gunners.

''You alright?'' The midfielder asked her, a dejected tone in her voice.

Y/N nodded. ''Yeah, you?''

''Not too great, but there are worse things in life.'' Kyra responded, trying to put the loss in perspective.

''True,'' the striker agreed, ''I can't believe he keeps putting us in these positions.''

Kyra nodded. ''You think he would learn after Tottenham.'' She sighed.

''Apparently, we're not good enough to start, but when he needs us to unfuck everything that happened, then he knows who we are.'' Y/N said, her frustration evident. The unfair treatment of some players during the season lingered in the air, leaving a bitter taste after the defeat.

As the youngsters continued their conversation on their way to the locker room, Vivianne and Beth, unintentionally overhearing their discussion, exchanged puzzled glances.

''Did you hear that? 'Unfuck everything'?'' Beth repeated her housemate's words to her partner.

Vivianne's brow furrowed as she processed what was said. ''Yeah,'' the Dutchwoman breathed out, ''not very nice.'' A hint of sadness lingered in her voice. It stung that their efforts were being discussed in such terms, especially by the young girl they were living with.

They didn't say much else to one another as they strolled through the corridor.

The atmosphere in the locker room was subdued, void of any banter and entertaining chats. Most of the players were already there as the couple walked in.

Beth took a glimpse at Y/N and Kyra who still seemed in a discussion with one another, although they were whispering now.

''Girls, we're a lot better than this.'' Kim broke the ice, a neutral expression on her face.

Everyone nodded at the captain, the collective disappointment from the match was visible. ''Well, it's done, we can't change anything about it. So, everyone just do a reset, try to get some sleep or distract yourselves on the bus, and I expect everyone with fresh minds and legs at training.''

The team nodded and weakly applauded Kim's small speech.

As the team began to disperse, Y/N caught Beth's eye, offering a faint smile in greeting. However, the winger's response was noticeably strained, her usually warm demeanor replaced by a subtle tension.

"Everything okay?" The younger one ventured, her concern evident.

Beth's smile faltered slightly, her gaze flickering away before returning to meet Y/N's. "Yeah, everything's fine." She replied, though her words sounded hollow even to her own ears.

The striker's brow furrowed further, a flicker of uncertainty clouding her features. "Are you sure?" She pressed gently, not used to this awkwardness from her teammate.

"I... yeah, I'm sure." She retorted, her voice tinged with irritation.

"Okay..." Y/N trailed off, unsure of how to proceed. Sensing the dismissiveness between them, she offered a hesitant smile before turning back to where she had been talking with Lia.

As her housemate walked away, Beth's expression hardened, a pang of guilt gnawing at her conscience. She knew she shouldn't act like this towards her, but her words had really struck a nerve for some reason and it was hard to pretend it didn't.

The drive home on the bus wasn't that different, though the atmosphere was more subdued due to the loss. Y/N and Kyra were seated next to each other, Katie and Caitlin sitting on the other side of them.

''You alright, Y/N?'' Caitlin asked, noticing the youngster's quietness.

Y/N looked up, glancing away from her nails to the older Australian player. She hesitated answering, not knowing if it was appropriate to say anything about her interaction with Beth.

She sat up straight and motioned for the three of them to huddle together over the small table. They got her message and did just that.

''Did anything happen on the bench or something? Cause I had this weird exchange with Meado, and it's just stuck in my head.'' She explained, her voice hushed.

They all frowned at her words. ''No, she was just frustrated about the game, but so was everyone else.'' Caitlin responded.

''What happened?'' Katie chimed in, curious to know about this exchange.

''I don't know. She was looking at me in the locker room, and I smiled at her, but she, I don't know, just looked weird at me. I asked her if she was alright, but she was kinda distant with me? She responded a little irritated so I left her alone, but it was weird.'' Y/N gave a small summary of the interaction.

"That is strange." Kyra mused, breaking the silence that had settled over their huddle.

They nodded at her words, agreeing with the young Australian.

''I didn't notice anything.'' Caitlin said with a pout, feeling sorry she couldn't help her younger teammate out. ''Me neither, kiddo.'' Katie added, a similar expression on her face.

Y/N smiled sadly, disappointed she wasn't any wiser on Beth. Katie rubbed her arm once she noticed her dejected expression. ''Hey, I wouldn't worry about it. It's a tough loss.''

The youngster nodded at the Irishwoman's words. ''Yeah, you're right.''

Katie was not right.

As soon as she got in the car with the beloved couple it was clear that something had gone down for them to act in such a sour mood. Vivianne's knuckles were white against the steering wheel, while Beth stared out of the window, her expression unreadable.

Sensing the palpable tension, Y/N shifted uncomfortably in her seat. The youngster wanted to break the silence, but the words wouldn't come out. It felt like they were stuck in her throat.

The drive home felt like forever. Every minute made the atmosphere worse. Y/N tried to catch Vivianne or Beth's eye, hoping for some sign that things would get better, but there was nothing.

Car rides after losses were never filled with much conversation, but it had never been like this.

A wave of relief went through her as the car was parked in front of their apartment complex, longing for the comfort of her room where she could hide from whatever the situation was.

Y/N couldn't even come up with a guess on what had transpired. Did they have a fight? Did she do something? Did someone else do something?

She had absolutely no clue.

However, the tension seemed to follow them into their shared home. The silence had become even more deafening with each step they took.

Beth disappeared into her room without a word, while Vivianne headed straight for the kitchen, her movements stiff and mechanical. Y/N stood in the hallway, feeling like an outsider in her own home.

Their behaviors made her feel anxious, feeling that knot inside her stomach. What had happened during the game? What had caused them to retreat into themselves like this?

Unable to handle any of it longer, Y/N tentatively approached the Dutchwoman in the kitchen. "Um, Viv?" She began, her voice small.

Vivianne glanced up, her expression guarded. "Yeah?” She replied, accent heavy.

The younger girl hesitated, unsure of how to broach the subject. "I, uh, did, uh, something happen at the game?" She stammered, her words stumbling over each other in her haste to get everything out.

The striker's eyebrows furrowed. "What are you talking about?” She asked, her face neutral.

Her response only added to the youngest one's confusion. It seemed as though they were both dancing around a subject neither wanted to address.

"I-I just... noticed things were a bit off between everyone after the match," Y/N explained, her voice barely above a whisper, "and, well, the car ride home was... a bit weird, you know.”

Vivianne's expression softened slightly, though her guard remained up. ''Don't worry about it. Just… frustration from the game.''

But Y/N couldn't shake the feeling that there was more to it than just frustration. She wanted to press further, but the fear of causing further conflict held her back.

Instead, she offered a hesitant nod. ''Okay, good.'' She murmured to the floor, retreating back to her room with a heavy heart.

The Arsenal homegrown player pulled her phone out of her pocket, searching up Kyra's contact. It only took a few rings for the Australian to pick up, she was probably already on her phone as she was called.

''Hey.'' Her accent momentarily bringing a smile to Y/N's face.

''Hey, you're home?''

''Yeah, just arrived. What's up?''

There was a brief pause before Y/N continued. ''Things have gotten a bit weirder since, uh, on the bus.''

''Shit. What happened?'' She asked, her voice filled with genuine worry.

''It's just... the tension at home is almost suffocating," she explained, ''it was completely silent the entire time we were driving home, and when we got home, Beth immediately went to her room. I tried to ask Viv about, but she told me it was just frustrations, but it clearly is not just that.''

There was a moment of silence as Kyra processed Y/N's words. "That doesn't sound good," she finally replied, ''you really have no idea what might have happened? Maybe they had a fight or something?''

Y/N shook her head, even though her teammate couldn't see it. "No, that's the thing. I'm completely lost." She admitted, frustration lacing her words.

''Same. I wish I knew what to say to help.'' Kyra said softly.

''It's alright, Ky. Thanks for letting me ramble.'' Y/N chuckled, appreciating the opportunity to unload her worries onto her friend.

''It's fine, honestly. It must not be fun to be in this situation,'' the Matilda replied, feeling for her friend, ''if anything else happens you can always let me know, okay? I'm gonna have some dinner now.''

Y/N smiled gratefully. "Thanks, Ky. I really appreciate it.”

''Anytime. Take care, I'll see you at training.''

''You too. Bye, bye.'' They bid each other goodbye before hanging up the phone.

Y/N prepared to leave her room again, wanting to check if Vivianne had started dinner yet or not.

Just as she stepped into the hallway, she nearly collided with Beth, who was coming out of her room with a tight-lipped expression. The sudden encounter caught them both off guard.

''Shit, sorry.'' The younger one apologized first, giving her housemate an awkward glance.

''It's alright,'' Beth brushed off, ''uh, were you on the phone just now?" She asked, her brow furrowing slightly.

Y/N nodded. ''Uh, yeah, with Kyra.''

Beth's expression shifted, a flicker of something unreadable crossing her features. "Oh, Kyra." She murmured, her voice tight.

The younger girl simply stared at the winger, not knowing what to say to her words. "Is everything okay?" Y/N ventured, her voice hesitant as she searched Beth's face for any sign of what might be bothering her.

Beth's lips pressed into a thin line, and for a moment, she seemed lost in thought. When she finally spoke, her words were tinged with a hint of irritation. ''Everything's alright.''

Y/N offered a small, uneasy smile and nodded. "Oh, okay." She said, though her words felt hollow even to her own ears.

With a nod of acknowledgment, Beth turned to walk away. As she watched Beth disappear around the corner, she wondered if it had been something she had done. However, she couldn't recall saying or doing anything that day that would have provoked this kind of demeanor from the couple.

The young striker walked into the living room, noticing Vivianne bustling about in the kitchen. But what caught Y/N's attention was the hushed whispers exchanged between the couple, Beth and Vivianne not being subtle about their gossiping.

A sense of discomfort washed over the youngster as she hesitated in the doorway, unsure whether to interrupt or retreat unnoticed. But before she could make a decision, the Dutchwoman glanced up and caught her eye, her expression inscrutable.

''Hey, dinner is almost ready. Just some leftover pasta from yesterday.'' She informed Y/N, her tone somewhat forced as she attempted to maintain a facade of normalcy.

Y/N forced a smile. ''Nice, thanks, Viv.'' She answered, trying to ignore the awkwardness that hung in the air.

She retreated to the couch, feeling as if she wasn't welcome in the small space. Something was off, and she couldn't help but feel like she was on the outside looking in.

She scrolled on her phone for a few minutes before Vivianne called her to the table as the food was ready. As they gathered around the dinner table, the atmosphere remained strained, the tension thick enough to cut with a knife.

Vivianne served up the leftover pasta, her movements brisk as she avoided making eye contact with anyone. Beth sat across from Y/N, her expression unreadable as she picked at her food.

Y/N tried to focus on her food, but the uneasy feeling in the pit of her stomach made it difficult to swallow.

For a few moments, the only sound was the clinking of forks against plates, the silence punctuated only by the occasional awkward cough or clearing of throat.

Finally, unable to bear the tension any longer, Y/N opened her mouth. "So, um, what did you guys think about the match?'' She asked the pair, her voice coming out more high than she had intended.

As if on cue, Vivianne and Beth glanced up from their plates at the same time.

''It was tough, but it shouldn't have been tough. We lacked a clear tactic.'' The experienced striker answered, filling up the silence.

Y/N nodded, relieved at least one of them responded to her attempt at conversation. She took a peek at Beth, who did not seem amused in the slightest to talk about the surprising defeat earlier that day.

''It was just another match of us fucking everything up, and you kids having to unfuck it all.'' Beth said, her tone dripping with sarcasm.

The youngest's eyes widened slightly at the cutting remark, not expecting those words to come out of the Brit's mouth.

Vivianne shifted uncomfortably in her seat, casting a quick glance at Y/N before fixing her gaze on her partner. "Beth, that's enough.'' Her voice was stern, warning Beth that this was not the way to go about this.

But Beth ignored her girlfriend, her eyes fixed on Y/N with an intensity that made her squirm. ''No, she needs to learn to not talk about teammates that way, especially the ones that have just gotten back from serious injuries, and need time to reintegrate into the group.''

Y/N felt a flush of embarrassment creeping up her neck, she cast a desperate look at Vivianne, silently pleading for her to intervene and diffuse the situation before it escalated any further.

''Beth, I wasn't-''

''You weren't what? You weren't talking shit to Kyra about us right after the match? You weren't talking shit about us to Kyra on the phone just now?'' The oldest continued in an accusing tone.

Vivianne let out a sigh, her frustration evident as she attempted to defuse the situation. ''Beth.'' She said firmly, her gaze shifting between the two other people at the table.

''I wasn't talking shit about you guys. I would never do that.'' Y/N managed to let out, offended at the mere idea of her not appreciating the two women who'd let her move in with them a 1,5 years ago.

''Y/N, we heard you. On the pitch after the match, with Kyra.'' Beth responded bluntly.

Y/N swallowed hard, slightly ashamed of being caught. ''We were just... we were just frustrated, okay? That comment wasn't directed at any of you guys, it was more at Jonas, to be fair.''

The couple grew silent at the admission, realizing they had greatly misunderstood the two young girls' conversation. ''About Jonas?'' Vivianne repeated, her voice carrying a note of embarrassment.

The young striker nodded. ''Yeah, me and Kyra have just been a bit upset with our game time, that's all. It felt like a repeat of the Tottenham game.''

Beth and Vivianne exchanged a glance, coming to a silent understanding. ''We're sorry for jumping the gun on that one, darling. We really thought we needed to teach you some manners.'' The Brit nervously apologized with a chuckle.

''It's alright, we probably should've been a bit more discreet.'' Y/N brushed her apology off with a hand gesture.

''No, you two are in your full right to complain.'' Vivianne retorted, agreeing on the playing time matter.

The teenager waited a few moments before elaborating. ''I don't mind sitting on the bench, it's great to get rest, you know? But it almost feels like he doesn't trust me to get the game starting or something. I like to think I did great last season, so this kind of sucks.'' She opened up, not having voiced these thoughts to anyone but Kyra.

''You did amazing last season, you stepped up when we needed someone and the team will never forget that.'' Beth smiled, squeezing the youngster' s hand.

''It seems that Jonas forgot.'' Y/N muttered bitterly, looking down at her empty plate.

The couple silenced themselves at her mumbled words, not knowing what the appropriate response would be to cheer her up about the situation. They were indirectly responsible for the young girl to not get as much game time anymore, so whatever they would tell her, she would most likely not feel much better afterwards.

''Just focus on what you're doing right now. Show up to training, recover well, maximize everything in the minutes you do get. Show him that he should trust you to start, and that you deserve to have that spot in the line-up.'' Vivianne chimed in, her voice soft but resolute.

Y/N nodded at the older woman's words, though her demeanor still seemed dejected. ''Yeah, I'll continue to do that.'' It came out somewhat passive aggressive.

''I know it doesn't fix the situation, but you're my personal star girl, regardless whether you play or not.'' Beth softly smiled at her.

The teen managed to crack a small smile back, appreciating the sentiment. ''Thanks, Beth.''

''You're mine too.'' Vivianne added.

''Hey, that's my compliment for her! Find another one if you want to be cute!'' Beth scolded her partner, dramatically feigning annoyance.

The Dutchwoman frowned. ''Everyone calls her ‘star girl'! You're not original either!'' She pouted back.

Y/N couldn't help but let out a chuckle at the banter between the couple, happily accepting the momentary distraction from her frustrations.

Beth playfully rolled her eyes. ''At least I'm complimenting her!''

''Sorry that I was just giving useful advice, Bethany.'' Vivianne retorted.

''Useful.'' The Brit repeated, her voice heavily tinged with sarcasm.

Vivianne's mouth gaped, pretending to be offended. ''It was useful! That's what I would have wanted to hear at 19 year-old.'' She defended herself.

''19 year-old's want to hear praise, Viv. They want to be called star girls, not receive a lecture.'' Beth quickly replied, with a smirk.

''Y/N, it was useful, right?'' The older striker turned towards the teenager.

''Yeah, Y/N, tell Miss Miedema how useful her advice was.'' Beth chorused her words, grinning from ear-to-ear.

The youngster simply glanced between the two of them, before picking up her empty plate and standing up from her seat. ''I'm taking this as my sign to leave.''

She ignored their pleas with a satisfied grin, making her way to the kitchen to dump her plate, and walking back to her room.

The couple watched her depart, sharing a knowing look, a hint of amusement dancing in their eyes. ''She's gonna call Kyra, isn't she?'' Vivianne chuckled.

''She so is.'' Beth agreed with a laugh.

requests are always welcome!

[lovelyyandereaddictionpoint]

Hello, I hope your having a nice day, can I request Yandere 1st Years + Grim (Platonic) with a Komi Reader? (From Komi can’t Communicate)

Reader’s known for being incredibly beautiful, intelligent, athletic and elegant in everything she does, however she has crippling Social Anxiety and ends up scaring everyone away with her ‘mean/scary’ look so everyone tends to avoid her (When it’s actually herself that’s nervous since she doesn’t know what to say)

Except for Ace, Deuce and Grim after they spent time with Reader in the mine, they discovered her anxiety she wrote it out so now they’re mostly the ones who do the talking for her and try to help her reach her goal of making 100 Friends in NRC, even though they both think that’s a ‘weird/bad goal’ because this IS NRC

Reader loves cats, so she spoils Grim and Lucius (The latter likes laying in her lap and even follows her around) with pets, treats and affection and helping her friends with studying since she gets perfect marks

How would they react to hearing Reader’s voice for the first time? Not to mention have Reader tell write out that she made a friend all by herself who visits her dorm at night and does nightly walks (You know who it is)

Komi-San Reader | Yandere Twisted Wonderland

You’re quiet and intimidating but not because others find you scary. The exact opposite, they’re obsessed. You’re athletic, you’re smart, you’re beautiful, you’re kind, and the list goes on. Without so much as opening your mouth, the school is at its hands and knees all for you. Little do they know about your silent struggle, not like your dearest first-year friends. More than anyone they know how hard you work and if their hearts could overfill with love for you it already has.  So imagine your stalkers' friends; reaction to you’re never heard before voice:

Ace Trappola

“Aw man, (Y/n) I can’t begin to explain how much of a pain he is! With his moodiness, we’re not going to win the game.”

“...”

“Don’t say that, I am great but not that great.”

“...Y-you c-can d-do it!” 

He plays 10x better 

All while running on his excitement and embarrassment

“Whoa, Ace! W-were you holding out on us!”

Everyone is floored that he’s suddenly just doing so well

He’s keeping your quiet cheers to himself 

Replaying it in his head

He will teasingly ask you for a recording even when you cutely shake your head

“Oi oi don’t get all shy now, you were doing so well!”

He does circle back having already written down the names of those who turned their heads

If they’re so inclined to hear your voice in a roaring crowd 

Then they should be alright with their ears no longer working 

He’s being merciful when he does just this

And if you mention any mysterious friends, he’d no doubt try to follow up on that same treatment

Deuce Spade

“M-maybe being an honor student was too high of a goal.”

You shake your head

“Ahh I appreciate it, (Y/n) but if I’m going to flunk again I’ll be in trouble. Both with Riddle and my mom, I just can’t measure up. ”

“You…are a good student.”

He blushes 

“G-g-g-g-good j-job (Y/n)!”

He knows how much this is taking for you to try 

But he just can’t keep it together 

He’s among the first to hear your precious voice

He has to be the only one

He doesn’t know what this feeling is but he doesn’t want to share

It especially rubs him the wrong way when you mention a mysterious friend 

He decides to wait it out

See who this new friend he’s going to gut he has to meet

Epel Felmier

“Grrrr I can’t stand it! Why can’t I be taken seriously? I just hate my face!”

“...”

“Don’t hafta lie ta me, (Y/n)! I know I’m not handsome.”

“...I….th-th-”

“Huh?” 

“I think you’re handsome.”

“Aw shucks, (Y/n)!”

He definitely wasn’t was expecting that

You’re just the sweetest as he predicted

He already keeps the notebook you’ve lost+ gone through with your written words

And the apple cores he lovingly retrieves from Ramshackle’s trash no doubt cultivating whatever ends up growing from them

He avoids the impulse to tear his book open at the mention of a new friend 

Well I hope they like a poison-apple

Jack Howl 

“I have a magift practice later on…are you still going to come?”

You nod your head

“T-thank you, I’d appreciate your support from the stands.”

When he says that he doesn’t expect you to actually whisper anything out

“G-go Jack!”

His keen ears pick it up and suddenly he’s breezing through obstacles like never before

And of course, he did his mate practically cheered him on

It makes it much earlier to replay that encouragement when he’s fighting for your honor his ownership of you

No doubt Savvannclaw is filled with your admirers

But some are a little too bold

So leave it to your mate to take action first

And while he’s at it he might as well guard your home more intensely

Sebek Zigvolt

“WHAT A MARVEL HUMAN! YOU’VE TAMED ALL THE FERAL FELINES ON CAMPUS!” 

“...”

“WELL FOR A HUMAN IT IS DECENT WORK! PERHAPS YOU DO HAVE–”

“C-can you please be quiet?”

“...?....!..Y-you think y-you, a mere human, can tell me what to do?!” 

Yes you can, having the loud half-fae go down two whole octaves was a feat

And he keeps replaying the moment in his head specifically the way your lips moved

Burning hot all over he’s not really listening to anyone for the next week month

But once he’s broken out of it he’s determined to repeat the miracle

And it seems it works best if your alone?

Then he’ll be sure to chase off the gaggle of scum+ admirers who you claim to be friends with

And he thinks nothing of a midnight friend…that is if you’re alone with them than that’s completely unacceptable

Grim

“Henchhuman! Everyone is soooo mean! Why doesn’t anyone like me? I know I’m so cool and maybe that’s why–”

“I like you.”

“Well of course you w–W-wait did you speak? T-t to me! Whoopee, I’m going to tell everyone the great Grim is who you spoke to first!” 

He runs off to do just that 

Bragging to anyone who would listen

He has to dodge a lot of assassination hits that day

But it gives him the content whenever that icky feeling comes up sometimes

And as for your ‘Hornton’ friend he’s seen him and next time he comes around he’ll boast all about his greatness and how you spoke to him

[alessiasfreckles]

chocolate chip cookies (alessia russo x depressed!reader)

when you quit the team, feeling lost, no one knows what to do, including you. you spend days curled up in bed, alone, until you meet alessia, your replacement, who brings you out of your shell and helps you find yourself again.

warnings: depression is a big topic in this one! no mention of s/h or suicidal thoughts, just overall depression. if you're feeling depressed, don't hesitate to reach out.

-------------

When you tell the team that you’re quitting, the room goes silent. Then someone bursts out laughing. You’re not sure who, you’re staring at the ground, not wanting to look into the faces of your now former teammates. They think it’s a joke. It’s only when you turn around and leave without another word that they realise you’re being serious. 

And you are. You've already spoken to Jonas - he tried to convince you to stay, but you’d made up your mind. He told you that whilst he couldn’t guarantee there would always be a spot for you on the team, there’d always be a spot for you at the club. You nodded, thanking him quietly. You won’t be going back, you know that, but it seems unnecessary to make this harder for everyone else.

You don’t go back to the training ground after you tell everyone. You’ve already packed all your things in your car, wanting to make your departure quick and easy. On the drive home, your phone keeps buzzing with messages and calls from your former teammates. When you’re at a red light, you turn your phone off.

You decided to leave a while ago. You’ve lost any passion for the game, and when you realised that you were just going through the movements, you decided it would be best for the team if you left. You were dead weight, taking up a spot that could be used by someone else. Someone better. Someone who cares.

When you get home, you leave everything in the car, even your phone. You go inside and go straight to your room, getting into bed. you’re just so tired. It doesn’t take long for you to fall asleep, feeling slightly more peaceful now that you don’t have the prospect of quitting looming ahead. 

You wake up to the sound of someone banging on your front door. Most of the day has passed, it’s getting dark outside. You lie there for a minute, waiting to see if the banging will stop, but it just gets more insistent. You sigh, dragging yourself out of bed and to the front door. When it opens, you see the faces of your teammates. Beth, Viv, Leah, Kim, Katie. The core five. They ask what’s going on, say that they’ve been trying to call you and message you all day. You walk past them to your car, get your phone out, shrug. 

“I left my phone in the car,” you say. You watch them exchange glances.

Still, you don’t want to be a bad host. Or a bad friend - if they still consider you a friend. You decide that it’s understandable if they don’t. You invite them in, and they pile onto your sofa. Leah pulls a stool in front of the sofa, telling you to sit down. You sit. Five faces stare at you, expressions ranging from confused to worried to something like anger. 

You didn’t mean to make anyone angry. 

“What’s going on?” Kim asks, her captain voice on. 

You shrug.

“Why would you quit?” Katie asks, frowning. 

I’m not good enough, I'm bringing the team down, I don’t care about playing, the team deserves better, you all deserve better, runs through your head.

You shrug.

“Y/n, is something going on?” Viv asks, her voice gentle. 

I’m tired, I don’t want to do this anymore, I just want to sleep, I wish I didn’t exist, life would be easier if I didn’t exist, I don’t understand why any of you are here, why do you care about me, I don’t care about me, I’m not worth caring about.

You shrug, then shake your head. 

“I just don’t want to play anymore,” you finally say. You’re not sure if it’s the truth or not. You loved playing, once. You loved the feeling that you got when you were on the pitch, the way it made everything else melt away. But you haven’t had that feeling in a while. When you’re on the pitch, the voice telling you you’re not good enough follows you. 

Your former teammates frown. They’re not convinced, and honestly, neither are you. You say that you’re tired, you want to sleep. They get the hint and leave, but not before each hugging you tightly, telling you to call them if you need anything. Beth and Viv promise to bring Myle around at the weekend, and Leah says she’ll come and see you tomorrow. 

They keep it up for a few weeks, but the season is starting, and you know they’re busy. You spend your days at home, curled up in bed, cocooned in a blanket. You watch tv and scroll on your phone for hours. You order the food shopping to be delivered so you don’t even have to leave the house. Someone usually visits you on their day off, and the girls message you. You go over to Beth and Viv’s place, cuddle the dogs, watch tv there instead of in bed at home. It's okay. You’re fine. You don’t feel any better, really, but it’s fine.

It starts when you’re forced to go to a movie night. Leah promises it’s just a small group of the girls, she knows you don’t want to be faced with the whole team. She tells you that there’s one new girl there, the new signing, but that she’s really nice. On the day, you think about ways to get out of it - surely Leah can’t just force you to go? 

She can and she does. She shows up at your house, tells you that she will pick you up and put you in the car if she has to. You crack a smile at the image. It’s the first time you’ve smiled in a while. Leah notices. 

The movie night is at hers. She's picked you up early, and when you get back to her place she sets you to work, chopping fruits and veggies for a snack board. The doorbell rings, the first person arriving. You expect it to be maybe Beth and Viv, who are usually pretty punctual, but it’s the new girl. Alessia. You've seen her in person a couple of times, when the team played against Manchester United last season, but you were already feeling out of it and hadn’t paid much attention to her then.

She comes in, hugs Leah and smiles at you. You smile back. She asks if there’s anything she can do to help, and Leah directs her to some meat and cheese she’s put out that needs slicing. She's been seeing charcuterie boards on instagram a lot lately and wanted to try making one.

“You mean, you wanted to get us to make one for you,” Alessia teases, and you let out a small laugh. It surprises you, and Leah, whose mouth drops open slightly. Alessia doesn’t think twice of it - why would she, she’s never really met you before. She wouldn’t know that it’s the first time anyone has made you laugh in, well, months. 

The evening goes well. It's nice to be around the girls. You don’t pay much attention to the movie, your brain feels too foggy to keep up with it. The mean voice returns, telling you that you’re just there because they feel sorry for you. You start picking at your nails. 

“I like your nail polish,” Alessia leans over and says to you quietly. She’s sat next to you on the sofa. 

“Oh, thanks,” you reply, taken aback. The nail polish is chipped and worn, remnants from Katie coming over and painting your nails a few weeks ago. 

“It's a great colour. I like having my nails done but I'm terrible at leaving them alone. I fidget too much and I'm clumsy so I usually end up breaking at least one,” she tells you, looking at her own nails. 

You nod, not saying anything. You wrack your brain, trying to think of what to say or how to act. It's been so long since you talked to anyone new that you feel like you’ve forgotten how to be normal.

“Um, you can borrow it, if you want,” you say. “The colour, I mean. I can give it to one of the girls to give to you.”

“Really? That’d be great!” she looks at you with a big smile. You feel an odd sensation in your stomach, like you’ve just had a hot drink and the warmth is trying to spread throughout your body.

You nod shyly, giving her a small smile.

After that night, she starts messaging you. The first message you write off as being about the nail polish. After all, why else would she message you? She keeps going, though. After she sends you a message thanking you for the nail polish, she mentions a book she’s reading. You’ve read it too, so you figure the polite thing to do is to ask her what she thinks of it so far. Then she asks you for recommendations. You’ve been reading a lot, lately, now that you have time. You send her a detailed list, then realise that maybe that’s too much, but you’ve sent it now. She replies with heart eyes and exclamation marks, so you think that maybe it was okay after all. 

She asks if she can come over to borrow a book you’ve told her about. After a moment of hesitation, you say yes, she can come over tomorrow afternoon, if that works. You spend the rest of the day cleaning and tidying. The next morning you find a chocolate chip cookie recipe. You used to bake a lot, but you didn’t really have time for it anymore after becoming a professional footballer, and you weren’t meant to be eating that kind of thing anyway. The thought crosses your mind as you mix the ingredients that maybe Alessia won’t want any, since most of the team eat pretty healthily. You keep mixing. It’s too late now, you might as well finish making them.

You’re nervous, waiting for her to arrive. You’re not sure why, probably just because you haven’t interacted with her alone before. You’ve put some cookies out on a plate in case she wants any, and you’ve already got the book she wants to borrow lying on the table. 

When the doorbell rings, it makes you jump. You open the door and she steps inside, immediately giving you a hug, then quickly stepping back.

“Sorry, is hugging okay? I need to get better at checking with people before I hug them,” she says apologetically.

“Hugging is okay,” you nod, and she grins and pulls you into a hug.

“Oh my god, it smells amazing in here!” she exclaims, looking around.

“I made chocolate chip cookies,” you explain, and brace yourself for rejection. “Do you want one?”

“Absolutely!” she says, and you try to hide the surprise on your face. You offer her the plate and she takes one. When she bites into it, she lets out a moan that has you blushing. “Holy shit, y/n, these are incredible! You really made these yourself?”

You feel that warmth pooling in your stomach again. You nod, smiling shyly. 

“You should be a professional baker or something, these are so so good!” she tells you, polishing off the cookie. You can’t help but smile. There are crumbs on the corners of her mouth and a smear of chocolate on her chin.

“You’ve, um, got something,” you say, pointing to your chin. “Right there. A bit of chocolate, I think.”

“Whoops,” she blushes, wiping the chocolate away with a sheepish smile.

“Oh, I have the book you wanted,” you say, figuring that she probably has things to do. 

“Trying to get rid of me so quickly?” she asks.

A pit opens up in your stomach. “No, no!” you quickly insist, but she laughs and waves you off.

“I’m just teasing,” she tells you, smiling. 

You smile back, but it’s forced. It doesn’t seem like Alessia notices, though. 

“You have a lot of books,” she says, eyeing the large bookshelf in your living room. “Have you always read a lot?”

“I used to, when I was little. I didn’t really have time to read as much when I joined the team,” you say, and wince at the mention of your leaving. She’s never brought up the fact that she essentially replaced you, and you don’t want her to.

“I’m guessing leaving the team has given you a lot more time for things like reading?” she asks, and you nod. 

“And baking,” you add, not wanting it to seem like you’ve just been sitting at home not doing anything since you left. Even if that is the truth. She doesn’t need to know that today is the first time you’ve baked in, well, years.

“True, that one is very important!” she says, taking another cookie from the plate. “Seriously, y/n, these are amazing.”

She keeps asking you things, about yourself, about books, about your life, and you don’t realise how much time has passed until you look outside to see that it’s gotten dark. She follows your gaze out of the window and jumps up.

“Shit, I didn’t realise how late it was! I really should get going,” she says apologetically.

You hold out the plate of cookies. “Want one for the road?”

The two of you message more after that. It’s weird, how easy it is to talk to her. You chalk it up to the fact that she never met you before you left. This is the only version of you she knows. She doesn’t expect anything from you.

A couple weeks later, she asks if she can borrow another book. This time she wants you to recommend something for her, and you pore over your bookshelf for hours, trying to find the perfect book for her. Once you’ve decided on one, the next task you’re faced with is what to bake this time. She didn’t mention anything about it, but after she enjoyed your cookies so much, it feels like it’d only be right to bake something again. 

This time you make pumpkin spice cupcakes with cream cheese frosting. You carefully mould little pumpkins out of marzipan to decorate the cupcakes, and you can’t help but feel a swell of pride at the look of astonishment on her face when she eats one and lets out a moan at how good it is. She keeps commenting on the little pumpkins, in awe at the fact that you made them by hand, and the warm feeling spreads throughout your body, making your fingers tingle. After she leaves, armed with a new book and two more cupcakes, you get a message from Leah, inquiring about where her cupcake is, and how come Alessia gets cupcakes but you’ve never baked anything for her, and you smile to yourself.

The days in between visits are not as good. You still spend a lot of time curled up in bed. Sometimes, you think about the future, and you usually end up falling asleep trying not to think about it, brain spiralling. 

This goes on for a few months. Every couple of weeks, Alessia visits you for a new book and some new baked goods, and every time the two of you spend a little longer talking. You both avoid the topic of you leaving the team and what you’re going to do next. You have enough money in savings that it’s not something you have to worry about, for a while at least, and thinking about it makes you want to cry, or sleep, or just not exist anymore.

One day, though, Alessia is sitting on your sofa, eating a slice of lemon cake, when she asks gently, “What are you doing, y/n?”.

The question is enough to make you burst into tears, tears that you didn’t know you’d been holding in. 

“I don’t- I don’t know,” you sob helplessly as she rushes to your side, pulling you into a hug.

“Well, what do you want to do?” she asks after you’ve calmed down a little.

The question makes you stop. You haven’t thought about that in forever. 

“All I’ve ever wanted to do is play football,” you shrug. 

“But… not anymore?” she prompts you. You can understand why she’d think that. You quit, after all.

“I don’t know. I think I do still want to play, just… not at that level. It was too much. I feel like I-” you trail off, sighing. “I feel like I lost myself. And I still don’t know where I am, or who I am. Everything just feels so hard, like it’s all so much effort, and like there’s nothing I can do to stop it all from happening, like it’s a huge wave and I’m just getting tossed around under the water, barely able to come up for air.”

She nods, not saying anything, and you feel a sudden rush of embarrassment for opening up like that.

“Sorry, I don’t know why I said all that, I-” you say, but she cuts you off.

“No, it’s okay! I asked, I want to know. And it makes sense. A friend of mine struggled with depression a lot when we were teenagers, and-”

“Wait, depression? You think I’m depressed?” you ask, confused. Alessia laughs gently, placing a hand on your shoulder.

“Oh, I’m 99% sure you’re depressed,” she says. 

“Wha- I’m not depressed,” you insist, shaking your head. “It’s not like I want to hurt myself or anything.”

“Okay, but do you ever feel like it would be easier if you didn’t exist?” she asks, and you frown. “Or, like, have you lost interest in things you were previously passionate about? Do you feel tired all the time?”

“Okay,” you say, slowly. “So, maybe I’m a little depressed.”

The mean voice at the back of your mind laughs. 

“What if I’m just being dramatic, though?” you ask. “Plus, I have no reason to be depressed. I have a good life, I have nothing to worry about.”

“Look, what if you go and see someone? A doctor, or a therapist?” she suggests, and your cheeks burn at the thought of burdening someone else with your problems.

“No, it’s fine, it’s not that serious,” you say, waving a hand. “There’s definitely more important stuff they have to deal with. I’m fine, seriously.”

She raises an eyebrow but drops the topic. She brings it up the next time she comes over though, and the next, and the next. You think about it a lot.You look stuff up online, look at social media accounts talking about people’s experiences, buy books dealing with the subject. 

The next time she comes over, you tell her you’ve made an appointment with a therapist, and she hugs you tightly. 

You start seeing each other weekly, after that. Sometimes she’ll go to yours, sometimes you’ll go to hers. She’s on a mission to help you figure out what you want, and nothing is going to stop her. She buys you baking books and equipment, goes to galleries and museums with you, watches documentaries on pretty much everything and anything the two of you can find. When you mention that you’ve been thinking about learning how to play the piano, she helps you find a teacher nearby. 

Things are looking up. You still don’t know what you want to do, but you’re feeling better. Your therapist is good, and you thank your lucky stars that you’re in a position to be able to pay for private therapy. 

When Alessia rings your doorbell, you don’t think anything of it. You’d planned for her to come over to watch a documentary she’d found about llamas (you weren’t sure what revelation you were going to have about your future from watching something about llamas, but who were you to deny her?). When you open the door, she’s smiling from ear to ear and holding a box.

“I have a surprise for you,” she says, closing the door behind her gently as she comes in.

She carefully sets the box down and opens it to reveal a small ginger kitten. It looks up at you with wide eyes and lets out a small meow, then puts its paws up on the edge of the box, looking out curiously.

“Alessia, what is this? Whose kitten is this?” you ask, dumbfounded.

“Yours?” she asks, smiling sheepishly. 

“What do you mean, mine?” 

“I mean, she’s your kitten. If you want her? Oh god, please say you want her. It’s just, you talked about having a cat when you were younger, and how much you’d like to have one again, and I figured they’re a lot lower maintenance than dogs, and-” she’s cut off by you hugging her tightly. Tears prick the corners of your eyes and you try to blink them away fiercely, still hugging Alessia. 

A small mew alerts you to the kitten, who has jumped out of the box and is rubbing her head against your leg. 

“I have her stuff in the car,” Alessia says, nodding towards the door. “I’ll just go get it?”

You nod, unable to look at anything but the tiny kitten now trying to clamber up your leg. 

You’ve been seeing your therapist for about 6 months when Alessia asks you to be her girlfriend. It’s a couple months after she got you Dorothea - Dory for short (or Dorito, occasionally), as you’d named the ginger kitten. You’re stunned, but quickly nod yes as she starts to bite her lip, looking worried at your lack of answer. You hug her, feeling her breathe a sigh of relief against you, and when she kisses you she tastes like the chocolate chip cookies you’d made earlier that day, the same recipe as the first time she’d come over. 

Your therapist has been helping you figure out what you want, now that you’re slowly regaining some of the passion you’d lost. You decide that you do still want to do something with football, just, as you’d told Alessia, not professional football. You hadn’t realised how much you’d missed having time to yourself, having other hobbies outside of your work. 

You get in contact with Jonas, who puts you in contact with some other people, and before you know it you’re back at the club. Not on the team, you've made it pretty clear that that’s not what you want. Instead, you’re spending the day at the youth program. You already know by lunch time that this is what you want to do. 

Before you know it, you’re settled in as a coach for the Academy. Your days consist of working with kids, young people who have the whole world ahead of them. You still have bad days sometimes, where it feels like you can’t get out of bed. On days like that Dory cuddles up next to you in bed, and Alessia holds you close. She moves in after you get the job, claiming it makes sense, since you’re always either at her place or she’s at your place anyway. She insists that she’s still very much a dog person, but you catch her asleep on the sofa one evening, with Dory curled up on her lap, and you smile.

[transform4u]

My roommate Spencer has always been the nice scrawny nerdy type. A bit of an activist, straight ally, always in his books when he's not making a sign, always empathetic. The only thing is that he's taken up an interest in the frats on campus after he met this bro during one of his usual runs in the gym.

The guy came from some fraternity that practically stands against everything Spencer stands for! I told him about it, but he said I shouldn't judge a book based on its cover and that the guy was really friendly. I really hope nothing changes between us...

As you enter your apartment, Spencer's presence immediately captures your attention. He's sprawled out on the couch, legs wide apart in an exaggerated manspread, sipping on a beer—a sight that surprises you since you can't recall the last time you saw him drink. The TV blares at its highest volume, broadcasting a football game, and Spencer is fully engrossed, chanting loudly, "Let's go Philly! Let's goooooo!" with his fist pumping in the air.

Taking a closer look, you notice something unsettling about him. Spencer seems larger than before, his muscles more defined, his shoulders broader like that of a linebacker. But it's not just his physical appearance that strikes you; there's a noticeable change in his demeanor too. He appears… simpler, less sharp-witted than usual.

"Hey, man. What's up?" you greet him, setting down your bag.

"Watching the game, bro. You should join. Beers in the fridge," he grunts in response.

You sigh, shaking your head slightly. "Oh, that's fine. I'm not really into football—or beer. I didn't think you were either."

"Dude, what are you talking about? I love football and beer, bro! Especially my man Zeke's home brew. It's sick. You should try it," he insists, his tone unusually forceful.

"I don't know," you reply, unsure of how to respond to his insistence.

Spencer suddenly stands up, towering over you at least 6'4" now, his demeanor more imposing than you remember. "That wasn't a question, dude," he says, walking towards you. You feel a knot of unease forming in your stomach. "Open up, bro," he commands, grabbing you and forcefully pouring the beer down your throat.

You choke and gag as the liquid hits your throat, and you involuntarily let out a loud burp right in Spencer's face.

"That was sick, dude," he says, laughing as if it's all a big joke.

"What—what—why do I feel so weird?" you manage to say, feeling disoriented and dizzy.

"It's the brew, man," Spencer replies casually, though his words seem muffled and distant to you. "It's going to help you fit in."

As he speaks, an intense headache suddenly grips you, as if someone has slammed a football helmet into your head repeatedly. The pain is overwhelming, and you struggle to focus. Football plays, statistics, and scores flood your mind, pushing aside your usual clarity of thought. It feels like your brain is being reshaped, rewired into something… different.

You stumble back, trying to make sense of the confusion swirling in your mind. Spencer's words continue to echo faintly, but you can barely comprehend them. The headache throbs relentlessly, and despite your efforts to resist, you feel yourself succumbing to whatever strange influence that beer seems to wield.

A sensation starts to wash over your body. It begins with a subtle warmth spreading from your core, as if a furnace has been ignited within you. This warmth intensifies into a radiant heat, enveloping your muscles and skin, making you acutely aware of every inch of your body.

Your chest tightens slightly as you feel it begin to expand, muscles beneath your skin pulsating and growing with newfound strength. Each breath feels deeper, more powerful, as if your lungs are expanding to accommodate the changes happening within. Your abs tighten and firm up, the muscles contracting and defining themselves with a chiseled precision you've never experienced before.

Moving down your arms, your biceps and triceps swell noticeably, filling out with solid, sinewy mass. As you flex your arms, you can see the veins standing out prominently beneath the surface, a testament to the increased blood flow and muscle development. It's as if every fiber of your being is responding to an unseen command, transforming your physique into something more robust, more powerful.

Simultaneously, your legs grow thicker and more muscular, each muscle group defined and strengthened. The sensation of power surges through your thighs and calves, making you feel grounded and steady. Your legs feel like they could propel you forward with incredible force, a newfound agility and strength coursing through them. Your mind is bombarded with memories—vivid recollections of intense workouts with Spencer. You remember the sweat-soaked gym sessions, the grueling sets of weights, and the challenging runs. Spencer's voice echoes in your mind, urging you on, pushing you to your limits. The heat radiating from your body intensifies, almost as if the memories themselves are fueling this transformation. You remember the weightlifting sessions in Spencer's makeshift gym in the apartment. The air was heavy with the metallic scent of sweat and iron. You pushed through sets of bench presses and squats, your muscles burning with exertion. Spencer egged you on, his voice mixing with the clinks of weights and the grunts of effort, the stale air of the gym lingering in your mind and in the air around you. You blink, trying to shake off the disorienting sensation, and as your vision clears, you notice the transformation of the room. Empty beer cans litter the floor, scattered haphazardly around a new gaming console that gleams under the dim light. Pizza boxes, once filled with greasy remnants, now lie discarded and crumpled.

You shake your head, trying to clear the cobwebs from your mind. As you look around, you notice that the posters on the wall have changed. Cheerleaders and famous actresses wearing barely any clothes now adorn the space, their images taped half-hazardly to the walls. One in particular catches your eye - Sabrina Carpenter.

"Damn," Spencer says, pointing at her picture. "She's fucking hot right? Don't ya just wanna shove her to her knees and have her suck your dick?" You blink in surprise; this isn't like Spencer at all. He never talked like such an asshole before… but then again, maybe it is him? The way he grunts and leers at Sabrina Carpenter makes it seem more likely than not that this really is Spencer… only different somehow.

"That's it bro," he continues with a grunt of satisfaction as if reading your thoughts correctly. "Let all those pathetic faggy thoughts just fade away bro." You stare at him blankly for a moment before realizing what he means by 'faggy'. This isn't just any change; this is a complete transformation – both physical and mental – into someone who doesn’t even remotely resemble who you used to know as Spencer.

You blurt out, "Yeah, bro. She's so fucking hot." Immediately, you cover your mouth with one hand as if to hide the words that just came out of it. But it's too late; they've already been spoken.

As you stare at Sabrina Carpenter on the poster, something strange happens within you. A warmth spreads through your body and settles between your legs where a growing bulge begins to form beneath your jeans. It starts small but quickly grows larger and harder by the second until it feels like an iron rod is pushing against the fabric of your pants. The very idea of being gay washes away as if it never existed in the first place – replaced by this overwhelming desire for female flesh wrapped around a cock.

And on the couch where Spencer sat moments ago, there's now a worn-out, ratty piece of furniture, a testament to the passage of time and the changes that have unfolded.

As Spencer tosses you the sweat-stained tank top, gym shorts, and baseball cap, you take them without hesitation, slipping into the familiar attire. The tank top fits snugly around your newly bulked-up chest and arms, while the gym shorts hang comfortably on your powerful legs. The baseball cap sits low on your forehead, casting a shadow over your eyes, so you turn it around like the bro you are.

As you dress, you feel a subtle shift in your demeanor. Your expression morphs into that of a typical "dumb bro"—a confident smirk playing on your lips, eyes slightly narrowed with a laid-back, carefree attitude. It's a look that speaks of muscle-bound bravado and a penchant for partying.

"Thanks, man," you say with a grin, raising your hand for a high five. Spencer reciprocates eagerly, the sound of your palms meeting echoing briefly in the room.

"This party is going to be sick," Spencer declares with enthusiasm, and as he speaks, memories begin to flood your mind. Images of rushing the Beta Rho Omicron House—B.R.O. for short—flash vividly before you. The brotherhood of the B.R.O. boys, renowned for their muscular physiques and wild parties, fills your thoughts.

Suddenly, memories flood your mind. Wild frat parties where you got blackout wasted and hooked up with random hot chicks. Talking about your gains at the gym with your bros, laughing as they high-five each other over their latest conquests. You realize that this is who you've become – a dumb frat bro who lives to party and pick up chicks. There's no room for anything else in this new reality; there's only one person who could ever understand or accept this version of yourself. You've become a dumbass bro. You love your muscles and the way they make you feel powerful. Your cocky attitude is second to none, and nothing gets you going quite like showing off for the ladies or getting drunk as shit with your bro Spencer. The thought of another night filled with beer, boobs, and bad decisions makes your heart race in anticipation.

You nod to Spencer, a knowing grin on your face, ready to embrace the night ahead with the same fervor and enthusiasm that has defined your time with the B.R.O. boys.

[seraphicsentences]

hey baby i was wondering if you could write something about chubby!reader feeling insecure and Ellie noticing and worshiping her body like a damn goddess byeee ily!

hi my loveeee i loved this request but i hated everything i wrote. i’m so sorry this took so long i’ve clearly been off my game. heres a half decent drabble to suffice and it in a god-awful written out form if you want your eyes to suffer (here)

✂️ so imagine date night with ellie after a loooong tough week, and you’re stuffed up in your room, frustrated, because you cannot decide what to wear for the life of you. everything’s either too tight, or too casual, or too short, and really you’re starting to think that it’s just you that’s the issue.

✂️ here comes ellie now, swinging into your room absolutely elated to be going out with her girl after a brutal, busy week of not seeing her, and she can feel the distressed tension emanating from you the instant she steps in.

✂️ “what’s wrong, baby,” she’ll ask, coming up from behind you to wrap her arms around your waist, peppering kisses against the side of your head in greeting. —to which you’ll merely shrug, biting your cheek as you let out a shaky sigh, mumbling your frustrations.

✂️ and then ellie’s jumping in, genuinely distraught that her beautiful girlfriend doesn’t see herself the way she does, and she’s tugging you over to sit between her legs in front of your floor-to-ceiling mirror, and she’s gently prying your arms away from being held over your bare stomach.

✂️ she has a hand cupped softly by your jaw, making you watch yourself as she takes you apart, but not before quite literally worshipping every single inch of your body.

✂️ she’s murmuring things like, “i want you well-fed,” and “it’s my duty as your girlfriend to spoil you silly,” when you frown at the creases over the pudge of your stomach, and whispering things like, “look at you, fuck you’re so pretty” and “c’mon tell me how pretty you are,” as you blush at the way she won’t let up on her praises.

✂️ she’s squeezing at the meat of your thighs, staring hungrily like she wants to sink her teeth into them (and she has, before), and ranting on about how much she loves them— especially when they’re squirming shut tight around her head.

✂️ and then her mouths going off nonstop, telling your pretty mind to shut up and for you to use your pretty voice to tell her where you need her and to spread your pretty legs so she can see how soaked you are for her and then stuffing your pretty, dripping, pussy full of her fingers.

✂️ and she doesn’t stop there. taking it as her job to fuck you through three orgasms while you watch your reflection fall apart, murmuring sweet, sweet praises that have you clenching down around her like a vice.

✂️ and even through your tear-filled vision your eyes soften, as you can’t seem to see anything other than genuine love and affection in the way ellie presses soft kisses to your nose and forehead between whispers, and in the awe-struck way her mouth drops open every time you shudder against her warm chest, fingers grasping in her hair as she stimulates you beyond belief.

✂️ and when she’s decided that you’ve had enough, you can deem yourself nothing short of beautiful without grimacing, she curls her overworked fingers to caress the deepest crevice of your burning core, rasping into your ear, “you’re perfect, and you’re mine,” she says, “my perfect girl.” and that’s what tips you over the edge, hurling towards your fourth orgasm as you arch into ellie’s touch, gasping for air.

✂️ it’s when you’re coming down when she strums her fingers through your hair, continuing to mumble the gentlest assurances into your sweated-over skin, capturing your lips in an oh-so-soft kiss to whisper, “i love you,” into the warm cavern of your mouth.

✂️ “let’s order in yeah? we’ll put on our movie,” she’d say, because it was never about going out to a nice dinner, but going out to a nice dinner with you. and dressing up is overrated anyways, she decides.

well yikes!

[felassan]

Notes on and quotes from today’s new DA:TV coverage content from Game Informer, the video “The Making of Dragon Age: The Veilguard | Cover Story Feature”. The rest of this post is under a cut due to DA:TV spoilers.

First I'll note that the Game Informer video contains spoilers for DA:TV, so bear that in mind before deciding to watch it or read further in this post.

There were no new images, screenshots or videos from the game in the Game Informer video. There was however a series of music pieces playing in the background of the devs talking throughout. I didn't recognize these music pieces (lmk if you did tho pls hh!), so I'm wondering if the music in this video was all-new DA music from DA:TV!! 👁️

Next I will say that there was not much in the way of new information in the video. The devs were chatting about topics, info segments and talking points that have been featured in previous articles & previous coverage on the game. however, the devs seemed really happy and excited, and proud of what they've made, excited to share about it, and that was rly nice to see. :)

For the rest of this post, it is not a 'cliff notes on everything said in the video'-type post. It's just a series of notes on and quotes from the video that particularly stood out to me and that I particularly liked. ^^

"You start DA:TV having chased Solas to Minrathous. You're there to stop his ritual, there to take him down. You're there to find this character, so you're chasing him, you're trying to stop this ritual that he has already said multiple times that he is going to perform before he performs it, because, if he does, the Veil will get torn down, the Fade and the world of the waking will merge, and demons will pour out, pretty much meaning the end of life as we know it".

John Epler: "Solas always feels that he is a tragic hero, but a hero [of the story] nonetheless. So he is coming into this believing firmly that what you stopped him from doing [Rook stopping the ritual the way they did in the gameplay reveal video] was the right thing, that you've made a mistake, but, because now he's trapped, now he can't reach out and actively affect, he needs to work with you. And that allows us to provide a lot of nuance to the relationship, because Solas sees a lot of himself in you, especially the parts of himself that he maybe doesn't like to face, so there is kinda that interesting push and pull between the two characters, Solas and the main protagonist Rook. And you can define what that relationship means. You can continue to be suspicious and hostile towards him. Or you can start to see him and find that common ground, find that connection between the two of you and really develop a different relationship over thee course of the story." Mark Darrah: "This is a good direction to take the Solas story. It allows us to hopefully give a good conclusion to all of the varied attitudes towards Solas that are gonna be coming into this game. People who love Solas, people who agree with Solas, people who hate Solas, people who want to kick Solas off of a building, I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole."

BioWare wanted to tell a story this time where you literally cannot save the world without these characters

The companions have relationships with each other too. "They have friendships, they have rivalries, and lean into that concept, you're not just pulling together a bunch of people who will do whatever you say, you're assembling a family and that becomes the core of what The Veilguard is all about. It's about taking this group, this found family and saving the world side by side with them."

In the game, things and the storytelling are done towards a goal, towards a storytelling goal, "towards the future" [of the franchise it sounds like], not 'just because' or 'just to do them'

John: "The message of The Veilguard is, you’re not saving the world on your own. You need your companions but you also need these factions, these other groups in the world. You help them, they help you. Now, something we wanted to avoid, because, you know, there's always the trope of, 'oh yeah, I would help you save the world but I need you to go gather 200 wood', it's kind of a silly concept, so what we wanted to build is these factions that do want to help you but have realistic challenges, problems in front of them. So narratively, you help them with their problems, they will help you with yours when the time comes, but beyond that each faction has a follower, as well as an ancillary character we’re calling 'agents', who exist as these, face of the faction. We’re not gonna get too deep into those right now, but we didn’t wanna just say, 'here's the Wardens, go deal with the Wardens', we wanted to have characters within that faction who are sympathetic, who you can see and who become the face of that faction, so even if there's moments where the faction as a whole may be on the outs with you, these characters are still with you, they’ve still got your back. It’s a core with what we’ve done with the storytelling in this game. We wanted to make sure all the content you did felt relevant. Everything you do has a purpose and has a tie back into the critical path. Sometimes it's more explicit than others, but there is always a sense that you are moving towards the goal of stopping the elven gods, stopping the end of the world, and it's not just [like how some of the side content in DA:I was]. Helping these people, helping these groups, so that they can help you when the time comes."

In the story and tone of this game, it has the highest of highest and the lowest of lows. At the lowest of lows, "it gets gritty, it gets painful, it gets dark", but there are also nice positive moments in the game and a colorful, optimistic throughline. Corinne: "This identity is something special for the franchise now and for the franchise going forward"

"the depths of Arlathan Forest"

"In the case of Arlathan, what does it look like when you go to the place where the elves had their ancient empire that was run on and fuelled by magic? What does the aftermath of that look like, especially when the gods are out in the world and raw magic is seeping back out from the Fade."

DA has always been a series where in the world, the truth has multiple perspectives

We will journey out from the Lighthouse into the area of the Fade known as the Crossroads, "which is full of mysteries, exploration, branching paths". We will take eluvians to the far corners of northern Thedas

Some of the environments are more mission-focused, "with narrative beat after narrative beat"

"We know what's gonna happen, we know when it's gonna happen, but of course it's influenced by all the decisions you've made as the player along the way"

There are also more non-linear, more open areas in which we will be able to open up new sections of the map, find new pathways, "really leaning into solving mysteries and finding ancient treasures and some of our apex battles, there are some truly terrifying enemies that you're going to encounter when you're left to your own means to kind've explore these larger areas".

"Tevinter has always been a land where mages rule, they are in charge, they make the rules and run the show. So what does that look like? And, as we've gone through DA:O, DAII and DA:I, magic has become more and more present, and part of that is because Solas has been slowly preparing this ritual for longer than anyone in the DA universe is really aware of, but also just, going into these spaces where magic is, by definition, and by the lore, much much more present. It's been fun"

For the first time in DA BW are able to let the visuals speak for themselves (as in, the technology has caught up and they aren’t just saying 'trust us, this [magic thing] is really cool')

They took great care with how they introduce each companion and major story character

Corinne is really proud of what BW have built with the CC. "It is a game where everyone belongs"

A new to DA feature in CC: full body customization with pretty robust diversity. Body shape, body size, body proportions

They invested huge effort into their strand hair technology. There are numerous hairstyles in the game, they know how much the fans care about hair and Corinne is one of these people. They know that the range of hairstyles matters too and that it is not just about quantity. "Making sure we have diverse representation for all types of players."

They took a step back and asked, how are we going to incorporate things like your background in a meaningful way?

They call difficulty levels "playstyles". This is integrated into the CC process. You can select a number of preset experiences that your character will adopt and step into the game with, but you can also customize that playstyle e.g., if you're bad at parrying, you can ease this up

Some of the locations that we will visit are "bustling cityscapes." "We're gonna go right into the heart of the Tevinter empire. We're also going to a city in Antiva called Treviso"

Corinne Busche: "[those places] have a dense populace and we knew we needed to have the tools to support a wide range of NPCs. You will not find NPCs that look alike in this game. Each one is crafted using the same tools that we're giving to our players, with the exception of some of our custom-sculpted characters like the companions. So when you go up to that market vendor in Minrathous, you can make that character. When you see the guards patrolling the street, you can make that character too. You can therefore be inspired by the population around you and go and create that in CC."

The Lighthouse as we know is our HQ and base of operations. Each of the companions has their own sanctuary, their own room within it. These spaces become a reflection of who they are. The more time we spend with them as the game develops, as we work through their arc, their room and their personality will evolve and flourish and become more complete as they trust us and we understand them better

Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we were on, and it broke my heart, it absolutely did"

The game tries to give the player as much agency as it can, and then reflect it back on us. Choice and consequence can be hard to show, but this is a game about agency and about giving us options

We can upgrade gear and enchant gear, this extends to the companions too

The 3 specs for each of the 3 classes are highly distinct

Every attack, every swing of a sword, when you connect you feel it, these have weight

Companion abilities can be queued up one after the other

The devs are really proud of this game and excited about it. Everything that's in the game is in there because someone cares about it. The game really reflects the dev team and it's coming together well, they are really excited for us to get our hands on it soon

[source]

[markrosewater]

Hey Mark, I just wanted to say you've always seemed like a really cool guy. I've played magic for over 4/5ths of my life, since the early 2000s when I was only five years old, I even met most of my long time friends through it. But I think I finally feel alienated enough by it to drop it entirely.

I always enjoyed every aspect of this game, from the deckbuilding, to the flavor, to the color pie and the possibilities it presented. I loved the fantasy of it, of planeswalkers and wizards, dragons and castles.

Universes Beyond really was the end of it, all the way back then. When i heard the announcements I was terrified, I knew where it would lead even then. I loved the world of Magic, and it feels silly to say about a card game but I truly felt immersed in the world when I played, even with the different planes, everything cohered to an internal set of rules that seemed unbreakable.

For a while I continued, our local scene created a variant format that banned Universes Beyond cards so I was able to ignore them, but then came Neon Dynasty. It felt strange to me, like it was breaking what I had come to expect out of the game. Most people disagreed, said it was still Magic enough, but I wondered just how far it would be pushed before Magic lost any identity of its own, anything that separated it from Fortnite or any other crossover soup known entirely for the things it borrows rather than the things it is.

When I saw the first spoilers for Duskmourn, I think that was the straw that broke the camel's back. When I play at the table with my friends, I enjoy the fact that all the cards feel like part of one larger universe. And when I see cards with televisions and smartphones in them, with modern clothing and internet references, I just can't fit them together in my mind. It seems like a cool world, much like a lot of the crossovers are cool worlds, but I play Magic for well... Magic. If I wanted to play Fallout or Warhammer 40k, or watch Insidious or Walking Dead, then I would. But when I play Magic, I want to see magic.

And it's canon, just as canon as Innistrad or Alara. We can't excise it like we can Universes Beyond, and if we can't, then what's even the point of trying to "protect the tone" with those bans? What tone are we protecting, that's already been shattered from within?

More and more it feels like the game just isn't for me, doesn't want the kind of player that feels strongly about cohesion and immersion. And that's fine, it doesn't have to cater to me, and the current approach seems to bring in more people than it drives away. But it still just makes me sad, on a deep personal level, to give up on what has been such a major part of my life.

In all likelihood, I'm an outlier, and you could easily say that Magic getting even broader in what it covers is only a positive thing. Take my critiques only as the lamentations of a single person. But when you can put anything in a piece of media, when there's no unifying idea of what is and isn't possible, then it just starts to feel meaningless.

I'm sorry, I know you'll probably never read this, I mostly just needed to get it off my chest- and you're the closest thing to a human face Magic the Gathering has. Thank you for all the work you've put into it over the years, and I'm sorry that I can't enjoy it anymore.

Thanks for writing. From a big picture, Magic excels at creating variety and does poorly at consistency. The core idea of a trading card game is we make lots and lots of pieces you can play with and then you, the player, customize your game as you see fit. History has shown us, the wider we spread the potential of what Magic can be, the more people find something they enjoy and are attracted to the game.

Think of it this way. Each player has a different sense of what Magic is to them. There's no cutoff point where we make the majority of players happy. In fact, for many players, it's the ever-expanding quality to the game that they enjoy most.

This does mean though that we might make choices that don't connect with what you personally enjoy, and I respect that. If Magic isn't providing what you want out of it, that's okay. My only recommendation is don't get rid of your cards. Many Magic players rotate in and out of the game, and the number one complaint I hear from players who rotate back in is them having gotten rid of everything when they rotated out.

Magic might not be what you need right now, but maybe a few years from now you've changed in ways which makes it something you will enjoy. Or maybe Magic will evolve in a way that speaks to you. The only constant I know is you and Magic will both change. Just leave yourself the possibility of reconnecting.

Thanks for playing all these years, and I hope to see you again.