#i went off tangent

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 4: Deranged Bedfellows

(Part 1, Part 2, Part 3, Part 4.5)

[crowleave]

ok so the thing is, the kiss really was the best way crowley knew to convey his feelings to aziraphale because nina and maggie were right, they do talk but they never say what they mean.

but that doesn’t mean they don’t understand each other, at least to a certain extent.

and crowley knows aziraphale

he knows that he loves books and plays and the stories made by humanity. he watches his angel learn magic the human way and finds out he learned french the human way and knows better than anyone how much he loves human food. he throws a ball to get nina and maggie together because that’s what the humans in jane austen novels would do.

crowley knows that aziraphale romanticizes humanity, loves the drama and the stories and every little thing that makes humans human.

and what could be more human than a desperate kiss asking someone to stay

[fallen6253]

Calling him dad:

I feel like Cale would have a blank face with mildly wide open eyes if the kids were to call him dad.  Raon would fumble with the words a little because while he considers him his father, he still feels shy about being so open about it.  Hong is beet red while shouting in a mix of embarrassment and excitement about proclaiming this to his dad’s face.  On would say it a bit quietly but steadily, glancing away for a second before maintaining eye contact because she wants him to know they mean it.  She looks almost unfazed but there’s a slight red on her ear. They see Cale have a blank look on his face and know it’s because he’s an idiot and needs a moment to process. Which is absolutely right because he’s like ‘me? Dad? Where did they get that idea? Well, not that i mind, but– when did this development happen?

And he’s close to saying they should not call him that if they feel weird about it, but he sees the genuine excitement on the boys’ faces, and the fond determination on On’s face that seems to know his turmoil and tells him that yes they mean it and no this doesn’t feel weird it feels liberating and suddenly he can’t say anything.  He just pats each of their heads before letting them fall into his arms in a warm embrace.  

Because children should be happy.

And his kids will be happy for as long as he can make it so.

So if calling him ‘dad’ makes them feel like this, he’s okay with it.

(He’s more than okay with it)

He ignores the way his chest feels.  Because that’s not important right now.

What’s important is that On started sniffling like she was about to cry.

That was new.  On had never made such an expression.  She seemed happy and relieved.

Like the weight she had been carrying as the older sister that was thrown away by her home was finally lifted from her small shoulders.  The usual serious expression was gone.

And Cale hugged her tighter.  He ignored the way his arms trembled from the effort.  So did the kids.

Because children should feel like children.

And On was feeling like a kid again. 

And her siblings were right there with her.

With their dad.

With this large yet little family of theirs.

In their own corner of the world.

[mayaishiipeters]

i like that all of nandor's old human portraits perfectly encapsulate the hardened, fearless warrior that he once was. that's definitely a guy who never relents.

and then all modern depictions of him are like: here's a little doll in his image. here's him holding hands with his best friends. oh here's a handmade glitter portrait of him and the man who brushes his hair every night

like. these r two different ppl. i dont know the guy in that first row. never seen him before in my life

[enidtendo64]

I just finished Wednesday today and I'm full on the wenclair ship!!!! so I'm glad to have seen your art just as I'm done lmao. if you read wenclair fics do you have any recommendations?

OOOOH Okay nice nice!!!

I'm so sorry this is so late but I hope you still want some recs, bc I def got some for you! I tried to keep these pretty succinct and not too many bc a lot of these are pretty long reads but these are some of my fav Wenclair fics to read and reread! I made sure to put different types/genres of fics in here too so there's a diverse list of flavors on here! Most will be complete but I'll throw in some WIPs i've been keeping an eye on!

If We Make It Through December by overnights: If you love FLUFF and Enid interacting with the Addams Fam! A wenclair STAPLE tbh, fake dating, Enid being invited to the Addams Mansion, and CHRISTMAS fic all in one! The dynamics between the Addams and Enid are always sweet, and Wednesday and Enid just teeter on that close friendship to oh, maybe it's love??? thing and it's so sweet to see. It's just very lovely and wholesome! A great execution of that 'fake dating but oops you were in love all along haha' trope!

Magus et Lupus by wigglewyrms: Ok like I had to rep one of my pals in here but in my defense this is genuinely so good and one of my favorite wenclair fics before we even became friends! It's a fun fantasy Wenclair with dialogue that's just so fun and snappy and witty! You're gonna have fun reading their conversations and then you're gonna get caught up into the world and the story! The plot is very fun and the end is a very fun payoff! I think I might have overused the word fun a lot for this fic but like that's just what this fic is--It's entertaining, it's engaging, and it makes you feel like you're having fun reading wanting to know what's next or what's this person gonna say or etc. It's a fic you read and you feel good! 100% Recommend! I even drew art for it if you're interested (which I should honestly repost on here soon)

I'd recommend their other stuff too-- Stubborn, Single Minded, and Obsessive is great if you like the slasher horror genre with a dash of Addams Family Values Lore, and their most recent one that's a WIP, When The Moon Shines Red is a very fun fic focused on Enid's werewolfisms but dangerous, with a very sweet friendship to relationship evolution between Enid and Wednesday!

i know the end by thriftedstars: If you're an angst lover like I am, you're gonna LOOOOVE this! A sort of groundhog's day type of fic, it focuses on the day of the last episode of the first season--Enid, Wednesday, Tyler, Crackstone, all that entails in that night. It's a really fun read just to know what happens next and how Enid gets out of the situation but also to see the girls' relationship grow in this terrible situation. Lots of emotion! Listen sometimes you just need the hurt for the ending to be sweeter! Recommend wholeheartedly!

curtain call by hanjisgirlfriend: on the complete opposite side of the last fic, Curtain Call is an enemies to friends to lovers Wenclair that does an amazing job of capturing that kind of high school love story kind of vibe but like also a dash of youthful nostalgia. It gives me the same vibe of like, if I was listening to the Kids album by Mac Miller--They're kids and they're friends and they're growing up and they're growing up together. I HIGHLY recommend as well, like it genuinely makes my heart lighter thinking about how sweet this is.

raven in the den, wolf in the nest by Barbara_Lazuli: So you might be familiar with the author's name--Artist, Comic maker, Writer, literally what CAN'T she do!!! This fic is another fake dating fic but a different flavor from the first one! This one really dives into both Enid and Wednesday's relationships with their mothers, as well as the building feelings they already have for each other. Their bond in this fic is nothing short of sweet and heartwarming, and I genuinely think this is one of the best fics in the tag! Just got so much substance! Also all the Addams family media references and the Loona refs-- like Barb if you read this you're a champ for making Wednesday play Sonatine and also listen to Hula Hoop and just for making this in general????? Seriously how are you so talented bro

queen of the night by heyfools: Look, a flower shop AU hits okay? And this? THIS HITS. Wednesday is an owner of a flower shop, Enid needs a job, and we know where this is going. But man the way you get to know both characters a little more--their histories, traumas, likes and dislikes and their personalities beyond "appropriately polite cowoke" (well, polite for Enid, not so much Wednesday at first) it's soooooo good! You have a journey along with the characters and you really get invested in their relationship! A great read, especially if you wanna read something like in the afternoon light with a nice lemonade maybe, or like just a very relaxing fun read!

Forged in Blood by RiseAboveTheAshes_203: Okay so this one is a HEAVY HITTER! We're getting into the big bois! It's a 100k fic about Wednesday and Enid basically dealing with the consequences of Enid becoming a blood wolf-- and bro you are seated, belted, strapped into the ride every step because PHEWWWW what a RIDE! It has really interesting lore building upon werewolf society in the show and also witchery and magic from the Addams family. And all of that is great and amazing but the real star of this is just Wednesday and Enid being Wednesday and Enid--they are DEVOTED to each other! Even if they don't quite understand the full means of it yet, and if it gets them in trouble sometimes. It's amazing to see their relationship grow and them understand what they truly mean to one another and it's a captivating love story that also happens to have fun world building for the show and amazing moments that just leave you so tense to know what happens next! I was so tuned in when this was still a WIP I remember refreshing the tag every lunch time for a while for a chapter I was HOOKED, and I'm sure you will be too!

A Kidnapping By Any Other Name by Ravenmoon33: So bear with me this is gonna be a long one; Ok! So this is the other WIP I've put in here (aside from When The Moon Shines Red) and let me tell you--this fic changed my life fr. Some TLDR lore about it tho--the version I linked above there is a revised version! They have an old version they still have up on their account and honestly I also HIGHLY recommend that version too bc it had me in bed giggling kicking my feet like ROMANCE. ROMANCE WAS MADE in these ao3 walls!!! (The flower scene???? No spoilers if you know you know but OOOOOOOOGGHHHH I would not shut up about it for WEEKS Im so sorry to my friends and my poor gf) but I also highly recommend the new version as well! If you've read the first version and are keeping up with the new version, the new things are also so good and you can tell the author is so locked in and excited with what they've added and what they've changed, I honestly recommend both;

So onto what it's actually about-- Enid is "kidnapped" by Wednesday and is "forced" to stay at her best friend's mansion for the summer. And you know what happens? LORE. So much worldbuilding on Addams family lore like it's AMAZING!!! You read about new characters the family past and what it means for Wednesday and Enid, and if that's not enough, there's also the MYSTERY aspect too because Weds and Enid will have to deep dive into that lore to figure out a problem in the present and it's so much FUN to like try to figure out how things go together! I love that aspect of both the versions so much that it's only rivaled by my immense love of how everyone's relationships are written! Enid's relationships with the other members of the Addams fam, especially Morticia, is so healing and heartwarming, and we see Wednesday's different dynamics with her family and how Enid affects her and helps her grow and you see those relationships with her family members grow because of it! And of course, the obvious, Wednesday and Enid basically having a love story for the ages cause JESUS, this is ROMANCE. Wednesday BIG FUCKING ROMANTIC Addams!!! It's amazing omg I wanna say more but I also don't bc I don't wanna spoil but I absolutely cannot rec it enough, even if it stays unfinished it will still be genuinely one of the best wenclair fics for me.

Tumultuous Waters: Wednesday Season Two by KrackenoftheDeep: So we're here at the last one. I didn't really list these fics out in specific order but I did save this specific one for last bc I genuinely think this is my favorite Wednesday fic. This is like a full ass season 2! It's a telling of how season 2 could happen, continuing from season 1 and picking up the ball the first season threw with stuff about the Morning Song cult, a deeper dive of Crackstone and Goody, more worldbuilding about the outcasts and the school, and best of all-- THE Wednesday and Enid dynamic that to me would be so fucking ideal for season 2 if Timothy Burton wasn't a COWARRD!!! /j /maybe

The growth Enid and Wednesday have in this fic, along with the exploration of the other characters, more investigations not just by Wednesday but also the other nightshade members helping and getting involved as well! You really get to feel so many things for these characters, and all of that pays off in one of the most satisfying endings for me in a fic like the author really fucking knocked this out of the park I felt like giving a standing ovation!

I genuinely don't think the Wednesday writers could like, live up to this. At least for me, it's that good. This is everything I've ever wanted for a Wednesday s2 honestly and I honestly, HONESTLY could not recommend this enough.

And after you read this, you can follow along the author's sequel to this fic, The Infinite Black Sea: Wednesday Season 3. Again, also highly recommend! A new mystery afoot!!!

I'm so sorry I didn't expect this to get super long but sometimes you just gotta give tens where tens are deserved!!! There are so many more great wenclair fics out there that deserve a reading and loving, like I know the tag can look a little scary sometimes but seriously there's some great gems there underneath all the scary stuff lol

These are just some of my personal favs, and honestly thank you to all the authors here yall are doing God's work fr!!!

[kathaynesart]

Hi there! Hope you’re taking care of yourself.

I was wondering if I could use your concept for Donnie’s visor and eyebrow display? Just the visor itself, not the background of why he wears it ofc. It’s such a cool look. I completely understand if not.

I am absolutely in love with his design as a whole (may he rest in peace) and every time I see his smug face in your response comics I want to scrunch into a ball of sheer joy. The drained battery expression is a punch of serotonin every time I see it.

That being said I am enamored with your art style. I don’t really know how to use words to express exactly what it is but it’s very shapes, with gorgeous lines and so very very expressive. Thank you so much for sharing your art.

Of course! The concept itself is by no means patented by me haha, however I would totally recommend creating your own spin on it to make it your own! Like maybe it’s more of a dome sphere (so that his eyebrows can lift higher which is a problem I run into haha) or maybe the pixelated display for his brows are less like bars and more like little square pixels or blocky Tetris blocks or even glitching!

Anyways these are just some quick suggestions off the top of my head. I love how people in communities can inspire each other to create new and amazing things through it :) Let me know if you ever post your design!

[n3onwraith]

GOD I love drawing those stupid jorses 😭😭

Straight up made an infection AU bcs it was going around tiktok and now I keep drawing those little fuckers and making new ones it's becoming a problem

Art under the cut, tw for gore in general in some

There's so much more but omg it's becoming a problem 😭😭

Anyways if yall wanna see the infection it's @/mlpchronicwastingfiles on tiktok and updates are slow and actually kinda mediocre because I made the first parts and the next one I have in drafts before I had the progression figured out, so it's all sorts of boring and full of plot holes rn but I promise it will get better!

[keets-writing-corner]

Alright everyone, buckle up and sit down. I was talking with @nerdasaurus1200 on another post and came to the conclusion that I need to write Sera meta so let's freaking GO

I'm mostly gonna be talking about Sera, what we know about her so far, and what makes her tick (aka her fears) and why she's not a bitch/asshole the way apparently so many people like to portray her? (I've mostly just been hanging out with fan art and headcanons specifically about Lucifer in the fandom so I haven't seen these specifically, but someone approached me about how they liked m portrayal of Sera in my fic which was NOT that of an asshole and apparently multiple people are portraying her that way? Idk I haven't seen any but uh yeah let's talk SERA)

Characters are always the most important part of a story, and even if they're not a main character and/or the audience nor the writer know what they want/need, the writer at the very least needs to know How and Why a character makes decisions, instead of just "oh they're an asshole" So let's do that for Sera. Why is she making the decisions she's making? LETS GO

Let's start off by talking about what we know about Sera

She's at least as old as Lucifer, she was there for the creation of earth given the appearance of her silhouette in Charlie's exposition

We know that the exterminations might have been Adam's idea, but it was HER decision to approve them

We know that she's FOR SURE older than Emily

and the other thing we know for sure about her is that she is the High Seraphim (we don't know WHAT that means exactly but clearly it is a position of authority and rule)

So those are the things we know for sure:

She's about as old as Lucifer

She approved the exterminations

She's older than Emily

and she's the high Seraphim

Now I'm going to circle back to all of these points but I want to start off with her relationship with Lucifer

Unfortunately for all of us, the only thing we can say about their relationship with 100% certainty is that they for SURE know each other, either because they were essentially "coworkers" in the past, or because they're both the respective rulers of their realms (even if Sera has some people above her) and they're implied to interact with each other

(at the very least you cannot convince me otherwise that they don't interact. Someone had to have talked to Lucifer about the exterminations for him to have had "approved it" and we know it wasn't Adam because Lucifer hadn't seen Adam since he fell to hell until the finale, and we know that Sera was not only the one to approve said exterminations but also decreed that no one else in heaven know about them. She clearly must have spoken to Lucifer about it because there's nobody else left who had the authority to do that AND knew about them)

So at the very least in present day Sera and Lucifer have some sort of professional relationship as leaders. And I'll come back to this because it's implied that this relationship isn't a very good one, but first let's talk about the past

full stop, we have NO IDEA what sort of relationship Sera and Lucifer might have had when he was still in heaven. But here's the thing, even if their relation was strictly "yeah I know them cuz I work with them, but that's as far as it goes" Lucifer's fall STILL would have been horrifying for Sera to witness. He was the same rank as her, probably no other angel except the elders likely ranked higher, and they still banished him. Charlie's storybook leaves it at that, but Lucifer implies it was violent in his debut episode.

trauma is a funny thing when you think about it, you're just as likely to develop trauma by watching someone else be assaulted as you are for you to have been assaulted. And Sera was there, she likely saw the whole thing happen. So not only did Sera watch how brutal the elders could be to someone who questioned and disobeyed the order, but the fact that it was done to LUCIFER someone of equal rank and authority as her means that absolutely NOBODY is safe from the elders

and this is without taking into account that on some level, she and Lucifer had to have been close. There are no other seraphim in heaven besides her, the elders (who appear to be rather hands off and uninvolved) and Emily. Emily was likely created as a replacement for Lucifer, so at the time, it was basically just her and Lucifer as the only seraphim up there. They not only worked closely together, they likely had a close bond as well. Now I have my own head canon preferences as to what kind of bond, BUT let's ignore that and look at 3 options (although there are likely more, but huuu this post is gonna be long already so let's not push it yeah? )

option 1: equal peers. You are Sera and you've known Lucifer all your life. You two have "grown up" together, learned about the world and your powers together. You're comrades in arms! You know all of each other's secrets! You lean on each other for support as you lead heaven together. You work together all the time. Sure, he can be a little excitable at times but it's so much FUN right? This guy could be your bestie/brother. And you sit back and watch as the only ones with more authority than you, skewer him and banish him to hell for having questioned the order and now there's a metaphorical spear against your back at all times because you know it could have been you instead, and it could still be you if you don't behave

Option 2: Lucifer is your mentor. He's taught you everything you know. The ropes, your powers, the world. He's fantastic! You admire him greatly. He has such energy you could never hope to match. You put him on a pedestal, and in one fell swoop the only people he answers to destroy your mentor in front of you. You are now alone, without any more advice or guidance other than a warning to not step out of line as your mentor once did

Option 3: Lucifer is your apprentice. He's adorable! A little over enthusiastic but who doesn't love someone who's passionate about the things they like? He brings a wonderful energy and vibe, and... he's your responsibility. You try to reign in his wild energy only for the elders to step in and banish him because you failed him and now you know that the elders could do that to you too

So, I'll be honest, option 3 is NOT the one I'm biased towards, but if it ends up being that one, it would make Sera's behavior towards Emily extra heartbreaking. She already failed one apprentice, she will not fail another one, right?

Either way, Sera is terrified of going against the elders because of what they did to Lucifer in spite of his rank. She knows first hand how harsh they can be and because of that, she will do everything in her power to make sure nobody around her falls into the same fate. No one will ever question the elders again, and she will lie and withhold information to make sure that happens

And we're just talking about the INITIAL banishment.

Now why would Sera bring this up, unless what she was most afraid of wasn't even the initial banishment, but of the suffering she clearly knows comes afterwards? And why would she care or even know about the suffering? Well, if it's true that she and Lucifer were close, then regardless if she was spying on him or not the way we know heaven can do, she still watched a cute enthusiastic little angel go from this:

to this

all because because he suffered.

She watched him question, get banished, suffer, and change into someone she didn't recognize, in real time. And the worst part is, she's not only scared of what happened TO him, she's personally scared OF him and what he's become. He might be fallen, but he's still a powerful angel

And this segways into another bullet: she approved the exterminations, but WHY

Charlie's intro implies it was as some sort of punishment towards Lilith who was rallying the demons and they felt threatened

But clearly there's more to this

So first thing I'd like to point out, Sera doesn't look happy about this decision. She mentions as much in the song "You didn't Know" when she outright tells Emily "It was such a hard decision" and earlier in the same episode she outright tells Adam she wouldn't have approved of this if she had known it'd make things "worse"

But this is incomplete. Something doesn't make sense. Sera clearly meets with Lucifer for certain matters as previously established, and Lucifer, in spite of his initial trauma "NO CHARLIE DO NOT TALK TO HEAVEN" knee jerk reaction, never doubted that he COULD in fact get her a meeting with heaven. He outright tells her at the end of episode 5

He never says, "I'll try to get the meeting". He says straight up, I can do this. There isn't a doubt in his mind that he can get this meeting. He knows Sera will meet with him/take his call (idk how he contacts heaven) and will agree to the meeting. We don't really know WHY Sera agreed to this if she thought it was a bad idea and never really intended to entertain the idea to begin with, going as far as to tell Adam to rig the results and calling Charlie misguided. So what's up? Why on earth would she agree to it? Well...?

Sera is scared of the demons of hell, hence why she approved the exterminations, but she's even MORE scared of Lucifer and folded to his request. (or idk maybe there's more going on here and she feels guilt about what happened to him so she folds to him sometimes idk, but for the sake of this meta, SHE'S SCARED OF HIM)

but here's what's kinda weird. Charlie's storybook only mentions LILITH'S involvement with the demons rising in power, not Lucifer. Sera later claims that they were uprising to Emily as the reason she's scared of them and that it's her job to keep everyone safe.

Clearly SOMETHING happened between the creation of Hell and the exterminations being approved that involved BOTH the sinners AND Lucifer that made Sera scared of both. Sera doesn't seem the type to fear without reason. She fears questioning the order because that incurs the elders' wrath. She fears the elders because of what they did to Lucifer. She fears angels falling because she saw how much it hurt Lucifer. Sera is not the type to fear randomly. Clearly there is some sort of thing that happened that made it clear to Sera that Lucifer is to be feared enough to fold to his requests and that the sinners are dangerous enough that it justifies genocide.

And now to bring back the whole Sera is older than Emily. Emily didn't know this otherwise Sera wouldn't have needed to tell her. AKA Emily wasn't even around when said conflict happened. Sera not only had to go through something that clearly traumatized her to the point where she agreed that genocide was a reasonable response, but she had to go through that ALONE. Trauma is hard enough to deal with, but to have to navigate it alone really gives it some steroids it has no business in having

This genuinely makes me wonder how long the exterminations have to have been taking place. It probably took a WHILE for hell to gather up enough numbers that they started making buildings by the look of Charlie's storybook, AND THEN did something against heaven, so this was not happening from day one of hell, far from it. And this also makes me wonder how old exactly is Emily? She strikes me as extremely young

season 2 come out please, I'm working from CRUMBS here, there is so much we don't know

But yeah, all of this to say, Sera isn't just some alpha bitch who's prejudiced against demons (not to say there isn't bias there, there ABSOLUTELY is, ugh) but at her core, she's a leader who underwent a lot of trauma and she's full of fear and she makes decisions, rational, moral or not, based off of that fear. And yeah unfortunately, fear, especially trauma based fear, messes with us in ways we never would expect

a kind man may suddenly resort to violence. The confident argumentative person, may instead end up frozen. Someone who thought they valued their family all their life instead runs away. We may regret what we do in moments in fear, we might even logically know that we're making bad decisions, or decisions that go against our morals. Sera CLEARLY hates that she made the decision to approve extermination, but she holds onto it steadfast because it alleviates the fear

Funnily enough, I don't particularly LIKE Sera. I dislike her microaggressions towards Charlie and her attempts to sabotage her efforts at the meeting by calling upon Adam. But as a writer, looking at the clues I got to say she's a very interesting character to me. She seems like a reasonable authority figure, but she's so full of trauma that she's letting her fear make all of her decisions for her

[quarks-pussy]

So I know we here at Startrekfandom love that "came back wrong but from the pov of the wrong" thing and apply it to many different characters and canon situations and I am far from trying to complain about it (I'm "came out wrong" trope myself so I was always gonna obsess over it) but having recently watched a very important episode (you'll know which one) for the first time I think there's a character who hits both tropes mentioned but llike, intertwined, opposite and subverted, and whom I wanna talk about.

Julian Bashir.

From his parents' pov he's "came out wrong but we got him help and he came back better" while from his own pov it's "came out 'insufficient', was destroyed for it, came back wrong and only later slowly came to terms with his new self tho never the process (justifiably so)" and it's heartbreaking because in a way, he's right! Jules Bashir died! His parents had an intellectually disabled child and decided to eugenics him! Julian is not the person he used to be and while I do love the person he is now, that doesn't bring back who he was! Part of me wishes we could've gotten to see Jules at least once and part of me hopes we never do because my heart would shatter.

This isn't a good comparison but nonetheless one I can't help drawing: it's giving similar vibes to anti-vaxxers. "I'd rather risk having a child who is dead than one who's autistic". Obviously this doesn't map over since Julian is still autistic and the procedure his parents subjected him to specifically targeted his intellectual disability and if any folks with id wanna comment on this I definitely recommend you listen to them over me, but it's a similarity I, as an autistic who has encountered anti-vaxxers again and again, can't help but point out. "Give me a normal child or give them death."

This may have been written about already but there needs to be stories about teenage Julian (after finding out and rediscovering who he was) practicing some good ol' recognition of the self through media. I need to hear about how he would encounter a story about someone who came back wrong (I'm gonna assume there's plenty of "wrong" pov stories floating around by the 24th century) and absolutely weep. I need to see Julian mourning Jules, taking years and years to process his feelings, experiencing guilt about how he, the imposter, didn't deserve to live Jules' life.

Came back wrong from the returned's pov but it wasn't an accident. It was done to you deliberately by the people who claim to love you. And now you are here, piloting the corpse of your predecessor.

Jules Bashir is dead. Long live Julian Bashir.

[eerna]

I think Inej's "I will have you without armor" scene is a good example of why you can't just randomly insert scenes from the source into an adaptation and call it a character arc. In the book, Kaz believes the only way to solve his issues is to brute force through them. When he tries to solve his touch repulsion, he does it by removing his gloves right away instead of dealing with the trauma that caused him to wear them in the first place, treating it as a physical failure instead of an emotional one. He isn't trying to solve his trauma, he wants to remove his "weakness". In fact, he is scared of letting go of the emotional damage done to him and reduces himself entirely to a "hurt guy looking for revenge who will destroy everything and everyone", since that's what has been keeping him going for years. Inej notices this, even if she doesn't have the full context. She witnesses him repeatedly trying to brute force his way through their relationship, opening up to her a bit only to shut her away the next second, because his only goal is to keep her by his side and not to actually heal himself. She understands his touch aversion is not just a physical thing, his gloves aren't just a way to cope with it, they are the symbol of everything that makes him a bad person - not his trauma, but the fact that he uses it as an excuse to hurt others. Inej herself has PTSD related to physical touch, but she doesn't let it define her, and she wants to heal and get over her past, so there is no way she could ever settle for a partner who is actively trying NOT to forget at the expense of hurting her and everyone around him. In the show, there is none of this buildup. We still don't know a single thing about Inej's trauma, except that one implied scene in s1 where she was scared of that dude touching her arm. She isn't even present for the wagon scene, which was supposed to be the first time Kaz was plainly suffering and in need of help. And Kaz is not running away from emotional responsibility - he has repeatedly told her how much she means to him, he tried to give her money to skip town, he got her indenture paid off, and all of that BEFORE this scene. So why is she saying it? What is the armor she is talking about?? It's word-for-word the same, but with none of the weight. It almost seems like it's literally just the gloves, just as all the bad-faith readers have been interpreting the scene for years, which makes me believe the writers went with that surface interpretation too and that's really sad

[sapphic-agent]

Let's Talk About Shigaraki

I've had some time to collect my thoughts, so I think I'm ready to finally talk about Tomura.

Fair warning, this is more of a rant. Mostly because there isn't much to say except that Horikoshi hates this motherfucker, almost as much as he hates Izuku.

Tomura is a character whose autonomy and agency has been stripped by the narrative repeatedly. And that's not really uncommon in MHA (Izuku, Hawks, Shoto, etc.), so why am I pointing it out? Because Horikoshi's assassination of his character didn't need to happen. In fact, it feels like he bent over backwards to make sure it happened.

Anyone who's been around my blog long enough knows that the MLA arc is one of my favorites, I even put it in my top five MHA arcs. It did a great job of having Shigaraki progress as not only a villain but a leader and come into his own power. My one issue with it and what kept it out of top three was that it seemed to immediately undo all the progress Tomura made by making him want AFO (the quirk). Him gaining this quirk didn't tie into his goals at all and it flipped him from wanting to use his destruction to make a world for the LOV to be free in (Eric Vale's delivery of this scene in dub was fire btw, go watch it) to him just wanting more power. It was an extremely weird decision.

The PLA War further perpetuates this and it causes some confusion as to where Horikoshi was going with his character. Instead of a newly established in-control and ambitious villain, he turned Tomura into a puppet for All For One to use for his own benefit.

(Off topic, but that also felt out of character for AFO. Prior to this, he seemed to want Tomura to succeed and carve his own path, even taking the time to gently correct his outbursts and give him actual advice and guidance. You could argue that this was manipulation on his part, but it didn't feel like it at the time. Why would he want Tomura to be level-headed and calm if the plan was to use him as a husk for his own control? It felt way more like Tomura was initially meant to be his successor, not his puppet. This reads more like another Horikoshi retcon)

For some reason, it feels like the intention was to turn him into a victim for Izuku to save. Which isn't necessarily a bad thing... Except he didn't develop Izuku enough for him to be able to do that.

Izuku doesn't understand Tomura, he even admits this himself. He sees Tomura as someone who causes destruction for the hell of it. And you know what? He wasn't wrong going off his few interactions with him. But that's where we hit our problem; Izuku has not interacted enough with Tomura.

And honestly? There's no excuse for this. They're supposed to be our protagonist and antagonist. They're supposed to be parallels with one another. So why in the world do they only really have one intimate scene together?

(I have mentioned this before, but Izuku should have been the one kidnapped, not Bakugou. Bakugou being in this position provides nothing to the plot, especially because All Might would have sacrificed his power for anyone. Bakugou isn't a dynamic or integral enough character for this to benefit the character progression of Tomura or the rest of the LOV, but Izuku is. Him learning why they're villains would have really done so much for their characters, as well as his own)

This leaves their interactions during the Final War completely stagnant and stale. Izuku doesn't understand Tomura, and Tomura knows that. He sees Izuku as a goody-two-shoes with no understanding of how dark the world can be. Except Izuku does understand because he experienced it. But how would Tomura know that? And how would Izuku know how Tomura became a villain? There's no understanding between them which is why Izuku is unable to connect with Tomura like he did Stain and Gentle Criminal. Which is why him trying to save Tomura goes nowhere.

It didn't have to be like this though. Even if it was rushed, Horikoshi could have squeezed it in. He could have made the effort. He chose not to. Partly because he can't be assed to give either of them good development, but also because he avoids the shit Izuku went through like the plague. He hates to acknowledge it and when he does it's sugarcoated (and used for Bakugou's gain, not Izuku's own). Because of he gets into the nitty gritty of it, his favorite blond rat's "development" goes right out the window.

Horikoshi wrote himself into a corner here, which is why the Izuku vs Tomura fight is so lackluster. Their interactions mean nothing, so their fight means nothing. What's his solution to this?

To fucking kill Tomura and retcon his entire backstory to force AFO back into the plot.

The last shreds of agency Tomura had as a villain were ripped away. He can't even have his own tragic backstory at this point. Hell, Kotaro can't even own his own shitty decisions, blame is pinned on Nana even though him abusing his kids was his choice and AFO somehow had a hand in him having kids?? Ok.

(Abusive man not being held accountable without someone else- a woman- taking the shit for it, what else is new in MHA)

Also, WHAT THE HELL DO YOU MEAN AFO GAVE HIM DECAY?

In all fairness, this has been a theory for a while. But again, the entire point of his character in the MLA arc was that he took charge of his "cursed" power and made it his own. So AFO giving him Decay erases another part of his development.

(And to add to this, what exactly was the point of having him take a quirk away from Tomura? Why not make him born quirkless so a parallel can be drawn to Izuku (and even Aoyama)? What is it with Horikoshi and quirkless aversion? There are four characters born quirkless in the narrative even though they're supposed to make up 20% of the population: Izuku, Aoyama, All Might, Melissa. Only Melissa stays quirkless)

AFO just happening upon Tomura- desperate, shunned, and vulnerable- who just happens to be Nana's grandson makes him so much eviler and more despicable. Him seeing an exposed child and deciding to use him to be cruel to Nana's memory and Toshinori drives home his callousness. Making it so that he orchestrated it just takes away from that. Tbh, it just makes him look like a loser. So, both Tomura and AFO just suffered character assassination.

Back to killing Tomura, do you know how awful this comes off? This character claimed his own power and goals, only for that to be stripped by making him a puppet, the attempt to save him is drawn out and goes nowhere, and then he just fucking dies. Like he never mattered at all. Like trying to save him was a complete waste of time and there's nothing about him worth saving.

And people saying he deserved to die for his crimes, THAT ISN'T THE POINT. It isn't about what he did or didn't do. I couldn't care less about that. It's about how Horikoshi stripped him of agency again and again and then discarded him when he didn't serve the shitty narrative he created.

Tomura and Izuku deserved so much better than this

[amethystina]

I'm waiting so excitedly for your updates, old and new, I can't begin to tell you! You are the fandom treasure! And as I'm waiting and biting my nails I wanted to ask something, what do you think about the final scenes of episode 8 where Gaon has dinner with his professor and tells him he chooses Yohan's side. How come Yohan knew where to find them and the precise moment to come in and pick Gaon up, was he following them or did he and Gaon had a deal?

And what's with leaving his car to stand next to Gain and look at professor? I love this scene so much but I don't know if I understand its message right. Was it posturing, laying a claim on Gaon or what? I tend to feel that Yohan was possessive of Gaon when it came to professor and his police friend and I think I feel some of it in this scene but I'm not sure, I just don't have a clear grasp on it. Would love to know your thoughts!

Aww, thank you so much, sweetheart! This is definitely the first time I've been called not just a fandom treasure, but the fandom treasure. Thank you 💜

Ah yes, the "Ga On runs off with his new sugar daddy" scene. Or, as I sometimes like to call it, the "You just don't understand, dad professor — I love him" scene.

I'm joking, obviously.

(... or am I?)

I would say that Ga On and Yo Han made an agreement beforehand, yes. They probably talked about Ga On's choice to switch sides and while Yo Han would no doubt have loved for Ga On to continue on as a double agent (feeding Professor Min intentionally faulty information) Ga On is way too honest for that. So he probably insisted that, no, he'll call Professor Min, meet up with him, and just flat out tell him that Ga On's spying mission is over. He's now going to elope work with Yo Han instead.

And I find it hilarious to think that, most likely, Yo Han was just sitting in his car, perhaps scrolling through his phone, waiting for his newly acquired sugar baby to finish telling his semi-father figure that he's going dark side. Because Ga On gets up and starts walking before Yo Han drives up, meaning that it's not like Ga On saw the car coming and went "oh, better wrap this up now." It was probably the other way around, where Ga On leaving the table was the signal for Yo Han to come pick him up.

So yes, they definitely had an agreement, especially since Ga On seems to know in exactly which direction to walk, even before the car shows up, and doesn't look the least bit surprised by Yo Han's arrival.

They planned that shit.

Brutal.

As for the fact that Yo Han gets out of the car? Well, buckle up, my darlings, because I think we should take a detour to discuss intent.

Now, intent isn't necessarily important when you want to interpret a scene, but I like the extra nuance it can offer. And by intent, I mean what the scriptwriter/director might have intended with a scene. Why is this scene here? What was the plan behind it? How is it supposed to impact the overall story? How does it tie into the rest of the plot?

Which is never something you can say for sure, of course, unless there are interviews expressly stating it, but, a lot of the time, we can guess.

The intent behind this scene, in its simplest, purest form, is to show that Ga On is switching sides. And, with that in mind, it makes sense that he crosses that road to Yo Han's car (if you know me and my metas, you know how much I love lines, characters crossing said lines, and the symbolism of that) and stops to stand next to Yo Han. It's a very simple yet effective way to show Ga On's choice and where it will take him.

Into Yo Han's arms.

NOW. Intent is very useful because, depending on how skilled the person writing is, you can hide a lot of subtext and leave room for a lot of interpretation with a cleverly formulated intent. That's how censored shows get away with so much, because they can point to the perfectly reasonable, heteronormative intent behind a scene and pretend that there aren't also a lot of subtler nuances to the reading.

And, if they're extra bold, they also add hints in the presentation and execution.

The scene where Yo Han invites Sun Ah to the house is a perfect example of this, where the intent is to make her feel lonely, like an outsider, as she's invited to observe this warm, comfortable family. Not a bad tactic as far as manipulation goes, I have to say. So, in other words, very reasonable intent — makes sense with what they're trying to achieve.

The fact that it ends up looking more like Yo Han is proudly showing off his doting, doe-eyed househusband who's passively-aggressively and not-so-discreetly staking his claim is... well, that's just an accidental side effect, isn't it? Not intent at all.

And that's true. It's not intent that makes it look gay.

It's the presentation of the intent.

(Sidenote: To be a fly on the wall when Yo Han and Ga On came up with this strategy. Because, clearly, they were both in on it and, I mean, how did that conversation go? Inquiring minds need to know.

Like, how did they go from: "We need to throw her off balance. We'll invite her to the house, show what she's missing out on, but also give her hints that she could have it all, if she's willing to surrender" to Ga On going: "I'll cook a fancy dinner. That'll make her jealous."

I mean, he's not wrong but, like, Mr. Sugar Baby. What? x'D

Also, imagine Yo Han's face. Transcendent.)

Anyway. Intent can also ruin a story. I think most of us have read a fanfic and gone: "... that character wouldn't do that. This makes no sense." That could be a sign that the author's intent is clashing with the characters or the story they're trying to tell. Or, put more bluntly, that the author is so focused on forcing an idea that they don't realise that they're going against the logic of the story or characters' personalities. Things happen because they want them to, not because it makes sense, meaning that the intent isn't tied to the story or characters, but what the writer wants. This is badly planned intent.

And, most of the time, readers can tell when the intent is off, even if you might not be able to put your finger on it while you're reading. But if you're feeling a niggling doubt at the back of your mind, wondering why this scene is here, what this scene even means, or why this character suddenly seems to act so strangely, it could be that the writer didn't plan it well enough.

That's not to say that a reader must always know the intent behind a scene. Ideally, the story should be good enough that they don't have to stop and think about things like that. If the intent and internal logic are sound enough, it should just flow naturally.

Because, when it comes down to it, pretty much all scenes in a story have an intent and that intent should be in harmony with the characters' personalities and how they would choose to behave. And I don't mean that there can never be conflict or that characters can't disagree — I mean that all scenes should have a reason for being there. It doesn't have to be a deep or complex reason, but there should be a reason that ties into the overarching plotline. And characters shouldn't be forced into a scene they have no business being in. Intent is very important from a crafting standpoint.

And intent is one of the things that makes The Devil Judge such an absolute joy. Because while there is always a perfectly reasonable — and very heterosexual, we promise — intent behind most scenes, they often choose to present the scenes in a way that leaves room for a much queerer reading. Now, that can happen with almost any story, but what sets The Devil Judge apart is that it seems to be entirely intentional.

The presentation is by no means subtle or accidental.

Like, they didn't have to make Ga On shuffle up in a soft, comfortable sweater and greet Sun Ah like a caring househusband, but they did. That was a conscious choice.

And this scene you mention, with Yo Han getting out of his car when he's picking Ga On up, falls into a similar category in my mind. The surface-level intent is clear — show that Ga On is switching sides — but he could simply have said so. He could have borrowed a car and driven himself. Yo Han didn't have to come pick him up. And he certainly didn't have to get out of the car.

But he did.

And that might be what you're picking up on when you're saying that you're not sure if you're understanding the message correctly. Because in a drama this clever, that puts so much effort into details and, again, intent, it feels almost a bit odd to leave this gaping hole, doesn't it? Yo Han stepping out of that car should mean something, right?

And, once you've gotten this far, you've got a couple of options to choose from to fill in the blanks. Either you can assume that it was just something the creators chose to do because it looked/seemed cool and therefore might not mean much at all. And considering that this drama does that a couple of times, this could honestly be the case. Maybe they just thought it would be more effective to have Yo Han to step out of the car? To really hammer it home to Professor Min what's happening?

Your other option is to bring in the harmonisation between intent and characters. Because, if the writer is good and their characters consistent, you should be able to pick up on secondary layers of intent, running parallel with the main one. Because while each scene has an intent, each character IN that scene also has one (though perhaps it would be more comfortable to call it purpose at this point?).

In other words: If "it looked cool" isn't the answer, could we find it in the character's behaviour instead? What is their intent, based on their personalities and previous actions? Does that give a more satisfying answer?

What reason would Mr. Kang "Abyss" Yo Han have for stepping out of that car?

I, personally, think that the answer is pretty simple.

He is absofuckinglutely staking a claim.

He's stepping out of that car because he's a Possessive, Dramatic Bitch and wants to rub it in Professor Min's face. He wants to show that he's won, that he's turned the spy Professor Min sent, and that he's, quite literally, taking Ga On away.

Yo Han is basically going: "Thanks for the sugar baby — I'll make sure to ravish savour treasure him."

So while the main goal of that scene is to establish that Ga On is switching sides, the intent Yo Han adds with his actions leaves room for a very gay reading. In fact, I'd argue that doing so only makes the scene more believable, since Yo Han's actions are otherwise kind of... unnecessary? He has no reason to step out of the car and make himself known, unless it's for the dramah.

Again, the presentation of the intent is where the magic happens.

So, why this long, godawful rant about intent, you ask? When I could just have answered the question right away?

Because while I know that I'm preaching to the choir in terms of this drama being gay as hell, I just want to highlight the importance of intent and how it can change the reading of a scene. I think intent — or specifically the harmony between characters and intent, and the various layers of intent — is absolutely fascinating, especially in this drama.

Especially if you want to argue that it's gay.

Because there is, in fact, some scenes where I just... I can't. The intent and characterisation don't match at all — unless you add a queer element. Like, this drama is so clever. Not perfect, mind you, but so clever. And so careful with especially Yo Han and Ga On's characterisation. Very little is left to chance.

And so, if you keep everything I've said about intent and characters in mind, and I ask you to explain the intent behind this one, singular shot, can you do so without making it gay?

I'm not joking when I say that this scene, right here, was the one that definitively made me go "oh fuck, this is gay gay."

Because in most others — if not all — I can find that safe surface-level intent which means that the people behind this drama can claim plausible deniability. Of course it's not gay! Look at this perfectly reasonable, heterosexual intent!

Except this one.

There's no explanation for this. Ga On has no reason to look this jealous unless his jealousy is the main intent behind this shot. There just isn't. And it's only made worse by his huff and the way he clenches his jaw a couple of seconds later. Not even the argument that Sun Ah is their enemy so letting her fix Yo Han's tie might be dangerous can justify this, since that's not a look of concern or alarm — that's jealousy.

The intent is jealousy. Plain and simple.

And that's why intent is important. Because, if push came to shove, the intent behind this one, singular screenshot could, theoretically, be the only evidence you need if you wanted to defend a queer reading of this drama.

Because there is, quite frankly — in my humble opinion as the fandom treasure — no other way to explain the look on his face in a drama this meticulous and obsessed with details.

In this scene, unlike all the others, the queerness isn't just in the presentation anymore — it's in both the intent and presentation.

So, if you want the scene that says "this shit's gay, fam"?

This is the one.

Thank you for coming to my TED talk.

[scarperseus]

I was reading some research about split brain patients, or people who have had the connection of the brain hemispheres (or corpus callosum) severed, leaving the two halves unable to communicate. And of course I immediately thought of Jekyll and Hyde.

Now I am one to know very well that J&H are not split personalities nor "brain sides", but the similarities are so neat I don't see why I couldn't dive in a little deeper into representation. I know this has most likely been looked into before as them being the two brain sides, but I wonder if ever in a much more real life situation like in split brain patients, (their experiments are trippy, I recommend watching them), not just in a hypothetical sense.

As Hyde representing the right brain, it definitely works as a really good "villain origin story". Since that hemisphere does not have the ability to speak, when working and connected with the left brain it is forced to submit to the more "analytical and reasoning" side. When Hyde is set free, he now has a voice and a freedom in what to do, where now the left brain has to submit (hence Jekyll not being able to change back since reasoning isn't priority, only want). That feeling is intoxicating for one who's never known it.

The right brain is primarily used for senses, identification, etc., so Hyde only cares about chasing his desires. Now able to figure out things for himself, without having to do whatever the left brain says, anything is possible. That feeling of unexplainable actions is very obvious in split brain patients (the left hand, controlled by the right brain, draws something that the left brain doesn't know the reason for) where the horror of this story being a possibility is much more conceivable.

So, who really are you? Or was Stevenson right and you.. were always really two?

[imhereformysciencefriends]

Thinking about how in the myth, Narcissus was the cause of Echo's strife and inevitable death. Thinking about how Ringmaster is absolutely 100% a narcissist with a cult-like belief in his own superiority and genius.

Thinking about how, given her actions, we can reasonably assume that Ringmaster is the one who sewed Echo's mouth shut. Thinking about how Echo was damned by the gods to only ever repeat the last thing anyone said due to her devotion to Narcissus. Thinking about how Echo was damned by Ringmaster to never speak, only copy the actions and routines of those around her--thinking Echo might have let the Ringmaster mutilate her, in her devotion to him.

Thinking about how Echo had a natural talent that was honed into a skill that was used by a man who never loved her and would never love anyone but himself.

Thinking about how Echo wasted away next to the lake and died from her starvation. Thinking about how Echo's first words were asking for something to eat that wasn't liquid.

Thinking about how all the clowns have bright, shapey, distinctive makeup. Thinking about how Echo is a blank mask onto which the Ringmaster can (and does) project any emotion or thought that suits his own desires, carelessly and callously ignoring anything that might be Echo's actual wants.

Thinking about how Narcissus died due to his own egoism and pride. Thinking about how Ringmaster got his jaw ripped off due to his own egoism and pride. Thinking about how Echo, the nymph, died with her Narcissus, and how Echo, the girl, did the killing. Thinking about Clown Corps I am thinking about Clown Corps.

[oshiawaseni]

What pulled me into my love of MHA is the relationship between Bakugo and Deku... and seeing out they are now after reading recent manga chapters makes me so excited about all that is coming up... I don't know what about BKDK speaks to me... but I can practically feel the love between them, and complex, deep, and layered love is my biggest weakness. (I envy them.) <3

I cry over bkdk because their love for each other now is just so perfect, but circumstances kind of outside their control have torn them apart over and over. And it’s so hard to see characters who love each other as much as they do never get to tell that to each other, and knowing that both of them have gone through Katsuki’s death without having said everything they wanted to say. In that same kind of desperate way Katsuki went feral over Izuku falling into a coma and not being able to tell him everything that was now filling his head up completely. That he is sorry for all he has ever done to hurt Izuku and that he cares so damn much about him.

"You better not die on me Izuku, because I need you, and there's still so many things I have to tell you."

This was also probably why they added that extra scene of Katsuki thinking of Izuku after waking up. It helped convey his new and open concern for him. His "tsundereisms" until now had only been assumed, because the “dere” side of his "tsun" had been almost impossible to see. Hori had kept this side of him very well hidden - possibly with an intention to get his desired bkdk romance across the shounen jump finish line.

So all of Katsuki’s hospital scenes confirmed suspicions that this soft side has potentially always existed, only now he was no longer holding back his “dere” for Izuku. He wasn't keeping it caged inside his heart anymore. And this is why I started getting my hopes up for for bkdk canon.

Anyway, they wanted to be the one that’s always there for the other but they kept failing in that, lzuku’s many failings to save Katsuki up until now or the way Katsuki had failed to see Izuku’s love for him, which lead to the breakdown of their relationship for so long. The failure of both of them to connect to one another emotionally, communicate how they feel and really fight for each other and overcome the issues before so many misunderstandings had the chance to take such stranglehold over their lives.

Narratively, all of their problems and lack of understanding each other's emotional selves, despite being so close, has been built up to culminate in a singular point that we are still yet to see.

The purpose of showing how well they know each other and can predict each other’s future strategies and their connection in the battle sense… Hori wrote them like this to juxtapose it against their never ending misunderstandings of the heart. It highlights how connected their emotions should also be, hinting that that their feelings were headed straight for each other until the day they crashed into each other violently and beautifully. All the events as of late have mostly been about Katsuki coming to terms with the contents of his heart and now the time has come for Izuku to do the same.

A lot of what has been shown is Izuku’s tainted vision of their relationship, or Katsuki’s lonely perspective of never being able to say what he really wants to say the most. And sometimes it’s been about both of them not feeling heard. There has been a veil between their true feelings for so long and it’s high time it is lifted and they meet together as two hearts that can truly see each other without anymore of the pretence. That’s what some of us think will happen in the upcoming chapters, and why Hori keeps having the other couples make references and parallels to them in a lead up to “?” and also why this was drawn:

I take issue with people who don't acknowledge these overarching narratives that are guiding their characters together - and that they are very much "Not Done" with Katsuki's apology. Their many misunderstandings and hidden feelings for each other must be revealed to reach the conclusion of this story. Because bnha is THEIR story. The only reason I can come up with as for why people deny this future intimacy they'll share... is that if people were to admit these two aren't done with Katsuki's apology, they're also admitting the fact that BkDk are going to become even MORE closer, and they can see the writing on the wall if that ever were to happen...

[sciderman]

Sometimes i remember a comics moment i randomly came across somewhere, where Sam Wilson mentiones a musical and Steve Rodgers says he doesn't like musicals, to whitch Sam goes "Guess that means you really are straight" and even tho i don't care about Cap America or the Avengers, the moment stuck in me for that quote by Sam. And like....Sci, any ideas if straight men actually don't like musicals or is that bullshit?

actually i think i know more gay men who hate musicals than i know straight men who hate musicals. i've had a drag queen stop me point blank when i was about to sing a barbra streisand song, and i know so many gays who pointedly hate abba. so based on my experience i think the inverse is true. most of the straight men i know are kind of impartial about musicals, but gay men? hate.

my theory is that a lot of gay men don't want to fall into stereotypes, maybe. but thaaaaat's just a theory! a gay theory.