#let me not like a character that is objectively poorly written

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tragic Hero

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Now the final part of the monologue in that chapter.

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

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

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

The second monologue is more denial.

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

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

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

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

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

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

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

As Codenamesanzanka says:

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

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

As @class1akids says in this reaction post:

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

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

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

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

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

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

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

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

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

Pro Hero Arc:

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

Hellish Todoroki Family 1:

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

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

Dabi's Dance:

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

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

The Fight Against AFO:

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

When Enji decides to double Suicide with Toya:

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

Hellish Todoroki Family Final:

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

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

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

As observed by Class1akids when we were discussing the update:

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

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

Batman doesn't fight victims. He saves them.

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

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

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

The Tragic Villain

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

Well, let me explain.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hey buddy, you're being selfish.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Themes Are For Eight Graders

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

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

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

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

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

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

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

Like, no.

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

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

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

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

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

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

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

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

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

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

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

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

"I wish you could be here, Toya."

"We all have to go stop, Toya."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EPILOGUE

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

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

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

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

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

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

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

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

You didn't mention Shoto once in this post:

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

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

[thepersonperson]

Oooh I'm really interested in your opinions on the flaming trainwreck that is gojo's relationship with women!

I wanted to respond to this topic in this ask, but then I realized it would be better as a part of something else. So I will link you to my yapfest that happens to delve into what I think are Gojo's woman issues.

So thanks for sending me into a mini crisis within a crisis! It gave me that nice little missing piece to pull apart Gojo even more.

I'm also shoehorning your tags on this post into this ask since they contributed to that analysis.

#fjddjdjs hiiii I apologize right back for subjecting you to my yelling in your tags almost all the time fjdjfjd #but WHAT a time for you to post this bc I literally just typed out a whole rant on gojo's sexuality that I bravely chose to not post djdjfjf hj

Post the rant anyways. Or whenever you feel brave enough. The perspective unique to you is valuable even if the topic has already been discussed.

#but you absolutely hit the nail on the head on why satosugu was and is n will always be doomed bc of COURSE gojo would never act on anything #like his whole thing in this story is witnessing human rights violations and only acting when the consequences are fatal

#hes absolutely my favorite jjk character but hes so very full of his own prejudices that I think the fandom doesnt acknowledge bc hes fruity #like we see him let a LOT of shit slip by bc to him (one of the most privileged cogs in the machine) they aren't real problems #which reminds me of cis white gays whose complections and even the random bouts of misogyny and mild racism he matches up with #he has a lil bit of that 'I can't be shitty to women I'm literally gay kinda' vibes and we see how he talks to utahime #and how he doesn't stand up for maki like you mentioned

That's usually my biggest complaint with fan culture in general. They shave off the yucky parts to make characters more palatable. Gojo's racist reveal post-mortem made me love him even more. He's my favorite character in JJK too and he has also unseated my most favorite fictional racist: Oliver Fire Emblem. (Yes, I have a fictional racists tier list. I'm giving myself a pass to have one as a person with a unique skeletal structure and muscles as Mr. Gojo Satoru would say.)

I think the reason people try to ignore these things is because of how subtle/realistic it is. Gojo's unsavory behaviors are the kinds people are most likely to have themselves. He kind of forces you to look at those flaws and that can be a deeply uncomfortable experience.

Also I think Gojo would be more like "I can't be a misogynist, I'm not a Zenin."

(Cough more on my racists tier list. It's more of "Were they written well? Was the racism properly condemned by the narrative? Is the racism relevant to themes? If they try to get better, is the racism properly addressed? Is it funny in the pathetic loser way?")

#but I also have this different vibe that he. despite how much he says so and maybe wants to. does NOT care about 'the weak' beyond his job #we see him literally step on people in shibuya to get to where he needs to quicker #he doesn't even bother remembering the names of the kyoto kids besides maybe todo and mechamaru (strong)

Well the thing is teen Gojo definitely didn't care about the weak. Post-Geto break up and after he started mimicking all of Geto's moral teachings? No idea. Gojo treats people he loves poorly so it's hard to tell when he really hates or doesn't care about someone. And he does posture about those things like with Megumi's body being used by Sukuna.

During the Shibuya incident, he does step on all those people's heads and let them be thrown against his Infinity like objects. But he doesn't hurt them. This is a guy who stepped on ants and made sure his Infinity prevented them from being crushed.

Kenjaku's group uses his love for other people against him here. Gojo tries to posture during it, but his composure breaks a few times when they start killing a lot of them. He also checked in on their survival after he UV'd them.

That being said, he probably cares more about them as living things than as equals. He has a very clear bias for the strong when it comes to putting in time and effort. ...But also Ijichi is so weak and Gojo trusts him the most. Gojo went out of his way to care for him when he was suffering. ...And he also relentlessly bullies him. (As you can see Gojo's true feelings on the topic are iffy as fudge.)

#imo the only reason he cares enough to correct nanamis language when talking abt yuuji is that he simply has a lot of potential to be strong #he took maki in hoping to make another toji out of her but bc he doesn't know how a toji is made he basically gives up #which is why I think he didn't even think to call suguru out for the way he talks to her

That would be really fudged up if he was trying to make another Toji and I wouldn't put it past him. He does put his students in really questionable predicaments in the name of growth. That might also explain why he corrected Nanami with Yuji. Someone with his power experiencing immense discrimination could churn out another Geto.

#like gojo has really lofty goals but his day to day consists of ignoring it all until there's a problem or he needs to talk about his goals #he's very much running around aimlessly like a headless chicken mostly bc of the higher ups so it's understandable that he doesn't have time #to even think about let alone try to unlearn all that internalized shit stopping him from achieving his goals #also everything about your tags YES TO ALL OF IT YOU'RE SO RIGHT AND BIG BRAINED

So true! Gojo is stretched so thin that I think he defaults to "cold logic" as Mahito puts it. If he's going to change things for the better, he has to invest in strong people, so they get all his attention and time. All the little systemic issues can be ignored because he was raised to only care about the big things.

It's such a frustrating predicament because I want to be mad at him for this, but it's also [Joker Voice] Society. I've settled on calling it out as a character flaw that can be explained (not excused) by circumstances.

#also uwu thank you 4 talking about kirara shes my everything and gojos an idiot for losing that entire years worth of students (2 whole ppl) #anyway I am sorry for clogging your tags yet again your posts make the gears in my brain turn very fast

Thank you as well. Clogging my tags makes me reexamine things more. I think after reading this response you'll be able to see the parts of your tags that influenced certain parts of the Ok Dad Gojo Analysis.

[somekindofsentience]

Foreshadowing in Omori and its manga: a critique

I'm back again, although it's been a while since I've written anything. I'm waiting on more Dreamscape chapters to formulate an analysis on Mari.

Omori Spoilers and Omori Manga Spoilers under the cut

Omori has poor foreshadowing, in the manga and the game, but for different reasons. And I can tell from one chapter.

Firstly, a rundown on the narrative device itself - foreshadowing provides an advance hint toward the events of the story. It's a very common device, but it's actually relatively difficult to do well. There's a very fine line between too obvious and too subtle, especially with the expectation of twists.

Foreshadowing in these types of psychological horror games tends to be very subtle, take Doki Doki as an example, and further foreshadowing in games like Yume Nikki is so subtle that the reality of the world isn't even evident at all. While this can be frustrating for the players, it's actually incredibly important, allowing you to theorise and discuss.

In the original Omori game, foreshadowing was often too abstract and subtle to be properly understood by a player - and this was fundamentally because there foreshadowing was so widespread, it overwhelms the player as they attempt to discover the truth.

Let me cite an example. Daddy Long-Legs belongs to a group I'll call the "Truth creatures" - characters like Stranger, the various Somethings, Hellmari, Phobias etc. He exists in a portion of Pyrefly Forest which foreshadows the truth of Headspace. But he's purposeless as a character otherwise, he only appears in a corner of Black Space 2 that is practically inaccessible to those on the Truth route. Why would you introduce a new character, one who becomes irrelevant, to foreshadow a part of the game that would be far better foreshadowed by Stranger? Someone who is actually relevant? This convoluted choice feels unnecessary, adding characters for the sake of subtlety.

In a similar way, the Somethings, Phobia bosses and Hellmari are loosely linked, and it's not quite explicit where each comes from and the relevance of each to the truth. Where's the distinction between the Mari Something and the others? Where does the game show me an explicit difference between the formation of Something and the formation of the Phobias? Why aren't Hellmari and Something more related, considering the events that formed them? A better foreshadower would be able to accurately make these distinctions, leading to overall better contrast between the recital day and the formation of the Phobias.

This is also incredibly obvious in Black Space, where the foreshadowing and symbolism ramps up. I will say it here, there is no way anyone will ever understand the purpose and analysis of every single area, object and NPC in Black Space. As a result, while it feels magnificent, there's so much that feels pointless, as well. This worked in Yume Nikki because it is very focused on this premise of "no real truth", but since Omori has a real truth and a real reason for Black Space's existence, it makes so many objects and areas feel pointless to analyse and overthink. Again, it's this insistence on adding things upon things to make foreshadowing far too abstract and impossible to understand.

Music and its importance to the truth was also very poorly foreshadowed. While I can understand, from a repression perspective, why Mari playing the piano or Sunny playing the violin was only very very subtly foreshadowed in the music itself, there is a point where you do need to make it obvious to the players, otherwise it feels like this idea of Sunny playing the violin is just thrown onto the players with no real interrelation. Similarly, Mari's character was far too hidden, where it isn't evident at all that Mari is a human with emotions - she's portrayed as a God the entire game. Again, too much subtlety has led to story beats feeling out-of-place and underrepresented.

However, in the manga, foreshadowing makes events very obvious to the reader, making me question the goals of this manga at all - are you really going to introduce Omori to new audiences in such a rushed and evident way? Making everything obvious and clear, when foreshadowing was such a key element to the original game? The whole point of the twist was it was completely unexpected!!

Immediately as we get into the manga, it's already obvious that Mari and violins are relevant to the truth. I wouldn't be surprised if the dialogue that Mari speaks during the Hellmari sequence is related to the argument between Mari and Sunny on the recital day, and I would be so disappointed if they chose to immediately out key dialogue that was not present in the original game.

Furthermore, why on Earth would you immediately reveal the hidden part of Mari's character in the first chapter? Mari is supposed to be perfect, at least in Sunny's mind. The game absolutely goes too far with this - it was a fundamental failure to have no dialogue in the Truth segment, as it led to so many misinterpretations of Mari as a character - but you choose to reveal her anger and humanity now???? NOT LATER??? NOT LIKE A BIT LATER?? SO WE CAN PERCIEVE HER AS PERFECT??

I'm not even going to get into the mischaracterisation of Aubrey, portraying her as evil and horrible without the very necessary exploration of how her relationship with Kel influences her actions.

I want to have faith in the manga. I want to enjoy it, but, just, the pacing and foreshadowing is already off. I'm worried. At least the horror art is gorgeous.

a summary of this analysis. HOW THE FUCK DID YOU MESS UP FORESHADOWING IN BOTH DIRECTIONS??

song i listened to while writing

i've been obsessed with the beef recently, it's so funny.

[sumiink]

Sumi's Fic Recs

I've been saving a list of fan fiction I like for years now and thought I should share it!

Fandoms include Danny Phantom, DPxDC, Batman, DCMK, BNHA, and Miraculous Ladybug, Legend of Zelda (Linked Universe), Mob Psycho 100, and Genshin Impact. Links, summaries, and comments under the cut.

Danny Phantom

Phantom of Truth by Haiju

NOTE: An edited/updated version of the sequel (Shadow of a Doubt) is also on AO3, but not finished. The finished, unedited version can be found on FF.net here.

Summary: Locked away in a secret government lab with Phantom as her sole object of study, nothing stands between Maddie and the truth... except, perhaps, herself.

Review: You can’t talk about Danny Phantom fanfic without bringing up Phantom of Truth. This one defines the vivisection genre. It’s written in Maddie’s perspective and you can see her character in every little detail of the writing.

Treading Water by TheFullCatastrophe

Summary: "This is the story of why we had to start calling Danny Fenton, Danny FINton. Get it, Danny? 'Cause you have FINS? Oh, I kill me." - a summary by Tucker Foley.

Review: Mermaid AU! Another classic fandom fic, this one with great worldbuilding and some dark, realistic vibes that make the ghosts (well, mermaids) really feel dangerous.

Modern Day Ghost Girl by MemoryWriter

Summary: Wendy Manson, 14-year old freshman in Casper High. Recently she's been able to sense ghosts, and on the day Wendy's paranormal curiosity gets the best of her, her project partner and ex-best friend Shane happens to follow her. When she meets a mysterious ghost in the abandoned apartment, what of her identity will she be discovering?

Review: One of the first fics I ever read, so it holds a special place in my heart.

Outside Looking In by Ellen_Brand

Summary: Casper High's new psychiatrist has some interesting interviews ahead of him.

Review: A great outside perspective into Danny. Also I just like Cade!

Phantom’s Sketchbook by AkoyaMizuno

Summary: Mr. Lancer finds himself in an unparalleled situation, he has access to something which can give him incredible insight into the personal workings of Amity Park's local ghost teen hero, Danny Phantom.

Review: Another fandom classic! A must read for the student/teacher relationship between Mr. Lancer and Danny.

You Should Be Dead by SapphireDragon11

Summary: Dash and Kwan are horrified to discover they've accidentally killed their classmate, but perhaps even more so when he shows up at school the next day. With his secret on the line, Danny soon discovers Dash and Kwan are the least of his worries.

Review: An epic story of Danny going up against incredible odds! One of my absolute favorites!

DPxDC

But I Want to Be Let In, Not Out by TheWritingOwl

NOTE: Actually a series of one-shots!

Summary: Growing up with the Fentons, Danny resigned himself to the fact that he would never see Damian again. However, when he gets summoned to Gotham after becoming the Ghost King, he finds himself reuniting with his long lost twin.

Review: Some nice demon twins au with batfam elements- all the stuff I like in a DPxDC fic.

close enough to be whole again by hailsatanacab

Summary: “If you ever find yourself in danger, go to Bruce Wayne. He will help you.”     His mother had loved him, in her own way. If she hadn’t, she wouldn’t have helped him escape. If she hadn’t, she would have dragged him back to the League of Assassins, to Grandfather. If she hadn’t, he’d be dead.     She loved him, but she loved the League more.     Jack and Maddie Fenton loved him too, they did, but they loved their work more.     They loved their work more.     --     After his parents react poorly to his reveal, Danny escapes to the only person he thinks can help him - Bruce Wayne. He doesn't know what to expect when he gets there, but it has to be better than where he is, surely? He certainly doesn't expect to be reunited with his long lost twin brother Damian. It's funny how things work out that way.     Danny is 16 years old, not Phantom Planet compliant

Review: More angsty demon twins AU with secret identity shenanigans, what’s no to love?

Recognized by AgentIanLegend

Summary: When they heard the fateful words "Recognized: Robin - B01," nothing could have prepared them for the web of secrets which would unravel as Daniel Fenton and Richard Grayson search for answers.

Review: An epic story will all kinds of twists and turns. Very will written with great pacing and tight storytelling!

Batman

hand in unloveable hand (a chokehold) by britishparty

Summary: Tim Drake is eleven years old when he’s grabbed off the streets of Bristol while he’s on his way home. It will be okay, he tells himself: they’ll call his parents, and they’ll pay the ransom, and he’ll get to go home.

There are pictures of Batman and Robin on the camera he was carrying. A lot of pictures.

They don’t call his parents. They call Black Mask.

- or: the one where Black Mask kidnaps Tim and tries to groom him into a ruthless heir, and Tim tries to figure out how to destroy him from the inside out.

Review: Tim is great in this. This one is full of scheming and mind games and all that good stuff.

From When He Sprang by WereDog15

Summary: January 2012. For the last four years, Jason Todd has been living on the streets of Gotham, doing whatever he can in order to survive on his own. But one night, as he emerges from his dwelling in Gotham’s underground tunnels, he encounters the legendary dynamic duo of Batman and Robin.A little bit of help can go a long way, but Jason's world is ripped apart as he is unintentionally put in the path of one of the deadliest secret societies that the world has ever known.Discover the story of the event that changed their lives forever, and put Jason on the path to becoming the second Robin.

Review: THIS FIC. It’s creative, it’s dark, it’s gory - this one makes me feel like I’m back in middle school reading The Hunger Games for the first time. This fic does not pull any punches.

Liminal Spaces by Calamityjim

NOTE: A multi-part series with some extra one-shots too

Summary: Bruce's habit of collecting strays is not limited by dimension. Or When Young Justice Batman comes across an angsty, seemingly abandoned by his Batman Tim Drake, he decides to step up to the plate and parent the crap out of him.

Review: Oh this one is a long, epic story with all kinds of twists and turns. And lots and lots of emotional batfam moments.

A Gentlekid Thief by Blazonix

Summary: Tim didn't mean to become the notorious thief Red X; it just sort of happened. Just like how he somehow wound up being Batman’s greatest nemesis - his therapist. He would like to remind whatever higher forces are out there that he is still only 12.

Review: Funny and clever!

From the Shadows by Wolfsbanesparks

NOTE: Shazam crossover

Summary: All Billy Batson wanted was to survive a particularly rough week living on the streets of Fawcett City. The last thing he was looking for was a new family. All Bruce Wayne wanted was to learn a bit more about his upbeat teammate under the guise of official Wayne Enterprises business. But he could never turn his back on a child in need. Especially one as surrounded by mystery as Billy. OR   Billy gets adopted by the Batfamily while trying to deal with a strong magical enemy.

Review: I’m always a fan of gen fic that also has an overarching story and great villain!

Shutterbye by katiesparks

Summary: The more I research it, the more I know it has to be true. Dick Grayson is Robin. And that means Bruce Wayne is Batman. All the pieces fit. I move my Dick and Bruce Wayne things into the Batman and Robin box and buy an extra lock for it.

Review: One-shot written from a young Tim’s perspective. The writing style really brings his character to life.

Surveillance by smilebackwards

NOTE: A multi part series

Summary: Tim knows antagonizing Lex Luthor wasn’t exactly his safest move but the point is really driven home by the bullet to the shoulder. Or: The AU where Jason never died and Tim is a civilian who contributes to crime fighting by taking surveillance photos and leaving them on the desktop of the Batcomputer.

Review: Gotta love some ‘stalker Tim gets involved in hero stuff without actually wearing a cape’ stuff.

Detective Conan & Magic Kaito

(Don’t) Believe What You Know by discordiansamba

NOTE: This fic is actually a rewrite, buuuuuut I saved the older, longer version if you want to read that one instead. Available here (I just copy and pasted it, so formatting may be a little weird)

Summary: For as long as he's known him, Hattori Heiji has always seemed to gotten mixed up in cases with a sort of... supernatural touch. Honestly, Conan's never thought much of it- it's not as if the things that go bump in the night are actually real, and they've got countless cases behind them to prove just that.But after getting mixed up in a strange case in Osaka and learning a disturbing secret from Heiji's past, its left Conan wondering if there's more his friend isn't telling him. So he does what any good detective would- investigate.He's just... not sure he was ready for the answers.

Review: I am a huge of discordiansamba’s writing! It very descriptive and the stories tend to have a lot of interesting moving parts. This fic in particular is great for its worldbuilding and the magical, dangerous adventures Heiji gets involved in. And Heiji trying to hide stuff from Conan always makes for some good tension.

Blood and Snow by discordiansamba

Summary: Heiji Hattori has never believed in the supernatural. Things like vampires have always been a bunch of nonsense to him. But the supernatural is about to prove itself very real.

Review: If you like the last one, you’ll like this one too – another supernatural adventure focusing on Heiji!

Unprofessional Opinion by Ellen_Brand

Summary: A series of psychologicalpersonality profiles of our boys... with guest shrink Cade Maboroshi!

Review: I just like Cade! And an outsider’s perspective is always fun, especially in this writing style.

The Case of the Magic Bullet Murder by MirrorandImage

NOTE: Technically a sequel, but I didn’t read the first one and wasn’t lost. There’s also a third fic that’s good too!

Summary: As always Conan stumbles across another body; and this time the prime suspect is this high school kid named Kuroba Kaito. Sequel to The Case of the Hidden Epidemic.

Review: We get to see Conan interact with Kaito, and that always makes for fun secret identity shenanigans. And we even get to see Kaito get involved in solving a case!

Insanity, Apparently by Taliya

NOTE: A series of one shots

Summary: Takagi Wataru would like to register a complaint to whichever deity thought it would be hilarious to toss him into odd situations with Kaitou KID. Repeatedly. Because this was far beyond his pay grade.

Review: A fun story with a mix of characters you don’t see very often.

Be a Better Me by Lisa_Telramor

Summary: Kaito thought that the Robot Incident ended with the destruction of his copycat robot. He couldn't have guessed how wrong that assumption was when he is injured months later.

Review: Wonderfully angsty and doesn’t shy away from the horror of Kaito’s new reality.

Guide you home by Tobina

NOTE: Uses Guide & Sentinel tropes, which I’d never heard of before but I guess it used to be popular in fanfic in the 90’s? Basically Sentinels have superpowers and Guides help them control it. The two tend to be lifelong partners, but it can be romantic or familial or platonic.

Summary: As a Level 5s Sentinel and skillful detective, Kudou Shinichi helps the Tokyo Police Department whenever they get stuck with a case, his Guide Ran at his side to ground him when needed. After a KID heist, it becomes clear that Guides are dissapearing and Shinichi and his western counterpart Hattori Heiji are knee-deep into the case, especially because this one hits far too close to home for comfort. When then even phantom thief Kaitou KID gets involved, things are bound to get... interesting.

Review: A GREAT story that does a good job with worldbuilding and characters’ relationships. While it focuses on Conan, my favorite part of this fic is the arc the Kaito goes through and the way this story takes a look at his motivations and moral compass.

It's Raining Men, Hallelujah by Asuka Kureru

Summary: Conan already has some kind of corpse magnet power, but when Heiji is in his orbit the corpses actively come to them. From above. Witness.

Review: A fandom classic! Short and hilarious.

Inconceivable by joisbishmyoga

Summary: In the face of a DNA analysis Kaito can't deny, he begins uncovering the rest of his family's secrets. Too bad he's not the only one looking.

Review: An epic story that has a takedown of the Black Org AND twin AU, what’s not to love?

Secrets in Indigo by Sinnatious

Summary: A throwaway comment about Kaitou KID’s eye colour sets Kaito on an uncomfortable path of discovery.

Review: I can’t give too many spoilers! An overall great story with great writing as Kaito discovers secrets and also tries to keep them hidden.

The Young Royals of Deduction by joisbishmyoga

NOTE: One shot

Summary: The Exclusive Interview with Four Children Taking the Investigative World by Storm

Review: Short but fun!

My Hero Academia

The Thin Gray Line by A_ToastToTheOutcasts

Summary: The beauty of the era of quirks wasn't the amazing abilities; it was that nobody sane would even entertain the thought that Kuroko, the most wanted vigilante in all of Japan, was Quirkless.

Review: A vigilante AU with a badass Deku (or, in this case, Kuroko) who puts the whole Hero Commisison to shame. The rivalry between Deku and Bakugou is so intense in this fic, I love it.

Yesterday Upon the Stair by PitViperOfDoom

Notes: When you’re done with this, there’s also a fun related one-shot by another author called U.A. Unsolved by kabukichou (ameliafromafairytale)

Summary: Midoriya Izuku has always been written off as weird. As if it's not bad enough to be the quirkless weakling, he has to be the weird quirkless weakling on top of it. But truthfully, the "weird" part is the only part that's accurate. He's determined not to be a weakling, and in spite of what it says on paper, he's not actually quirkless. Even before meeting All-Might and taking on the power of One For All, Izuku isn't quirkless. Not that anyone would believe it if he told them.

Review: An epic story full of secrets and ghosts!

Hero Class Civil Warfare by RogueDruid (Icarius51)

Summary: Heroes lead by Bakugo. Villains lead by Midoriya. Seven days prep time. Three days for Izuku Midoriya to show why they should be glad he's not a real villain.

Review: Badass Deku going all out and scaring his classmates. This one uses nearly every character from class 1-A and 1-B and manages to make everyone have an impact on the story!

Tales of the Jade Mantis by Chess_Blackfyre

NOTE: A multi-part series

Summary: The adventures of Inko Midoriya, Number One Vigilante in all of Japan, and her complicated relationship with the Number One Hero, All Might. However, it's not all about kicking butt and taking names, watch as the telekinetic in the leather jacket struggles with things like brutal mentors, working in customer service, and trying to be a good single parent.

Review: The only fic I’ve found with Inko as a vigilante! Quite the journey, this one goes over her career as a vigilante and what comes after when Izuku suddenly has a quirk. I love the weird adventures Inko gets up to and the interesting people she meets. One of my all time favorites!

Monochrome Skies by QuantumPoint

Summary: Midoriya Izuku died four years ago. Midoriya Izuku dead in a housefire when his mother didn’t notice him come home early. Midoriya Izuku dead because heroes failed to hear the screams of a scared child. Midoriya Izuku dead alone and scared.His mother mourned him but went on with her life. The heroes swore to be better, but still made the same mistakes. And for four years, everyone believed he was until Aizawa caught sight of a well-known vigilante and decided to investigate. Everyone believed it until Yagi bumped into a kind child on the street and tried to give him hope.

Review: I can’t say much because spoilers, but if you’re an artist, read this.

brilliant lights will cease to burn (by my hands i’ll reignite them) by novalotypo

NOTE: It’s a Card Captor Sakura crossover, but honestly I’ve never seen that and as far as I can tell this doesn’t have much to so with that show. It’s BNHA characters and world with some Card Captor magic elements.

Summary: Midoriya Izuku is quirkless. This, he knows very well.This is also what he knows:Weekends and vacations are reserved for walking neighborhood dogs. The elderly are the most powerful people on Earth. Local gods are picky eaters. Trust is a feeble, feeble thing. Magic cards are incredibly difficult to seal, especially when the world thinks you're a vigilante. Heroes are not magicians, but magicians can be heroes.Becoming a cardcaptor wasn't on Izuku's bucket list, but he'll be damned if he doesn't make the best out of it.

Review: Deku doesn’t have a quirk, so he gets sucked up into some magical card captor responsibilities and goes all out, as he does. This one has an analytical Deku, otherworldly magic, creepy villains, and some tension between a vigilante Deku and hero society as a whole. One of my absolute favorites!

Quirk: Knife! by brightredwings

Summary: Izuku Midoriya is unlucky, to say the least and life hasn't exactly been kind. Things weren't so bad in the beginning, but once he was diagnosed quirkless, well, it all went to shit. Everyone grew to hate him, even his best friend and own father.Was it really that impossible to become a hero without a quirk? It doesn't really matter because to Izuku, the term hero is flexible. He'll be his own hero because he's learnt from his own experience, people are selfish and the only one he can rely on is himself.Left alone to fend for himself in the world, Izuku goes out to change things on his own terms, despite his methods being slightly illegal. Keyword, slightly. It's only illegal if he gets caught, right?

Review: A long story with great arcs for a lot of League of Villains character, and a beautiful ending. Some pretty intense angst with happy endings for everyone.

Roses are red and they taste like shit by Unbreakable_Red_Riot

Summary: Katsuki was really fucking sick of the smell of flowers.

Review: Ah, yes, KiriBaku with hanhaki disease. Mostly from Bakugou’s point of view, so you get to see all his frustration and a ton of drama. Also looks into some other characters like Midoriya and Todoroki, which is a nice touch.

The Beauty of a Beast by starofgems

Summary: Once upon a time a lonely beast lived in a manor deep in the forest. He dreamed of the day his true love appeared to break his curse... When a beauty finally appears in his life, it is not quite as he imagined. For who could have thought a beauty would be more of a beast. Or The beauty and the beast AU nobody asked for but here it is.

Review: A very sweet love story. (KiriBaku)

The Deaf Hero: Deku by BeyondTheClouds777

Summary: His whole life, Izuku was told that he couldn’t do it. That he should give up while he still had the chance. That someone like him—Deaf, Quirkless—could never become a hero.But Izuku wasn’t going to give up. Not now and not ever. (OR, the one where nearly everything's the same, but Izuku is Deaf.)

Review: Right what it says on the tin. Deku’s added deafness creates more tension between Deku and Bakugou, his classmates, and even other heroes. Things get angsty but Deku always stays determined, which I love.

Miraculous Ladybug

Where Have All The Heroes Gone and Where Are All The Gods? by Anthemyst

NOTE: This is actually part 5 of a series, but I just started with this one and didn’t feel lost. Just know that in this story, Gabirel isn’t Hawkmoth. Most of this was written before Season 1 ended, I think.

Summary: On their fourteenth birthday, the Agreste triplets' world is turned upside down. Their government has been overthrown, their city taken, and superheroes all over Europe have suddenly and mysteriously vanished-including, to their shock, their parents. They'll need to work together, and become the heroes Paris needs, if they're going to save both their parents and their country.

Review: A next-gen fic that got me into ML fanfic in general! It’s got a fun dystopian vibe and the Agreste kids are all fleshed out very nicely. One of my absolute favorites!

Not A Bit by CaptainOzone

Summary: "Sometimes, being a brother is even better than being a superhero," says author Marc Brown. Félix Agreste has been both, and he can't have said it better himself. (AKA The Brothers AU I wanted to read but had to write myself when I realized this AU has a depressing lack of fic to its name)

Review: I’m always a fan of fic that has Marinette and Adrien AND Felix and Bridgette.

Legend of Zelda (Linked Universe)

Looking for Group by Tashilover

Summary: People want to be a Hero so badly, they're willing to bribe, lie, cheat, and beg. Twilight knows there's a Hero amongst the people in this college town. It's just a matter of finding them.

Review: The modern setting keeps things fresh, yet this story is still full of legends, danger, and a fight of good vs evil!

Mob Psycho 100

tomorrow isn’t always another day by suitablyskippy

NOTE: One shot

Summary: It’s like Reigen’s been waiting for the question. He stops dead on the pavement, grips Mob by the shoulders, and stares down into his eyes with an expression as haunted as though every ghost the pair of them has ever exorcised has taken up residence behind it. “Mob,” he says. “Mob,” he says again. “Tell me, Mob. Look at me and tell me. Tell me truthfully. Do I look cursed to you?”Mob looks at him, and tells him truthfully. “No.”“Well, you didn’t look very long,” says Reigen. “Let’s just stand here for a moment, like so, and you can have another look, a nice long look, and really think about it...” (There's nothing strange about being called back to exorcise the same haunted photocopier six days in a row. It must just be a very haunted photocopier.)

Review: THIS WHOLE CONEPT IS HILARIOUS

Genshin Impact

Traveler’s search for Scaramouche by Scuriel

NOTE: A choose your own adventure story!

Summary: Ei wants Traveler to search for Scaramouche and get back her gnosis. They have many decisions to make along the way.

Review: Don’t see something like this very often! There are actually a lot of different outcomes.

[longitudinalwaveme]

Best and Worst Comic Appearances of the Rogues

Note: Keep in mind that some of these choices are very subjective and based on personal taste. In particular, it's difficult for me to know if the storylines I list as the "best" for a given character are actually the best, or if they're just the ones that appeal the most to me personally. I feel like the "worst" choices are more objective (or at least more likely to be shared by a majority of the fanbase).

I'm also only judging stories that I've actually read for this list.

Captain Cold

Best Pre-Crisis Appearance: While I like his debut story from Showcase #8 a lot, I think my favorite Pre-Crisis Len story is Flash vol. 1 #150, "Captain Cold's Polar Perils". Ayesha, Len's stalkee-girlfriend du jour, is a fun character, and Len's powers are at peak Silver Age insanity, which is always fun. It's really the perfect encapsulation of what Pre-Crisis Captain Cold is like.

Best Post-Crisis Appearance: Flash vol. 2 #182. This is the famous Rogue Profile issue for Len, and it is legitimately really, really good (even if its treatment of Lisa is frustrating at times). It's a very solid examination of the character and the backstory provides a lot of depth that Len really needed. Basically, if you want to understand modern Captain Cold, this is one of the best issues you can read.

Worst Appearance: Flash: The Fastest Man Alive #10-13. Every character in F: TFMA is poorly written, and Len is no exception. From having a murder retconned into one of the periods where he was supposed to be reformed to letting a teenage speedster take over the Rogues for no good reason, this story just does not understand Cold.

I will also note here that I generally don't like Joshua Williamson's take on Len. I have trouble putting my finger on exactly why, but if I had to take a stab at explaining it, I think I would say that Williamson's Len is too ambitious and too hands-off. Having him take over first Central City's underworld, and then Central City, seems out-of-character for Len, who's usually smart enough to understand that escalating crimes to that level is a great way to attract a horde of superheroes, and having him sit back and organize crimes without going out into the field himself, which Williamson did more than once, likewise seems out-of-character for Cold. Johns' Len wasn't always the best leader in the world, but at least he was always in the field with the other Rogues. Williamson's Len seems a lot more willing to sit back and let other people do the work for him, and he comes across as a worse leader because of it. Effectively, then, I think my problem with Williamson's Len is that his Len seems younger, less experienced, less practical, and less likely to inspire loyalty than any previous version of the character (except the one that was being written around the time of F: TFMA.)

Captain Boomerang Sr.

Best Pre-Crisis Appearance: Flash vol. 1 #310-311, or Batman #322. The first story has Captain Boomerang getting double-crossed by Colonel Computron and sent back in time (on a giant time-traveling boomerang!), whereupon he has to team up with the Flash to fight pirates. It's delightful, and is made even more so by Digger's determination to save his ex-employer, W. W. Wiggins, from the vengeance of Colonel Computron. The second story features Captain Boomerang fighting---and nearly defeating!---Batman, who narrowly escapes death on Digger's "doomerang". Batman really needs to take Flash's villains more seriously....

Best Post-Crisis Appearance: Suicide Squad #44. This gives us Digger's modern backstory, establishes that he's actually W. W. Wiggins' biological son, and generally serves as an interesting character study of a generally unpleasant character. Flash vol. 3 #7 is a very similar retelling of the same basic backstory, this time by Geoff Johns, and would have been tied with Suicide Squad #44 if not for the gratuitous scene of Digger killing his assumed father (for my money, Geoff Johns is a bit too fond of gruesome deaths).

Worst Appearance: I don't read a lot of Suicide Squad, so I'm not familiar with the terrible Digger appearances that may have happened in the various Suicide Squad runs. Because of that, my nomination for the worst Digger story is Identity Crisis #2-5, the story that killed him (and poor Jack Drake and Sue Dibney) for the sake of earning grimdark edgelord points. What makes it even worse is that the story's scenes of him interacting with Owen are actually pretty good, so we got teased with a really interesting plot for him right before he was pointlessly axed.

Heat Wave

Best Pre-Crisis Story: Flash vol. 1 #266-267, or Flash vol. 1 #312. The first story gave us the first version of Heat Wave's backstory (specifically, it established his cryophobia due to having been locked in a meat freezer as a child), presented him as the main villain of a story basically for the first time (all his previous appearances had him teamed up with another villain), and was full of delightful Pre-Crisis pseudo-science, like heat-seeking fire. It also featured a panel of Mick totally freaking out at the sight of ice cubes. The second story was Mick's first reform, and it was a solid, if slightly goofy, tale of Mick proving that his parole officer was framing him for crimes. It also led to him and Barry becoming friends (and temporary roommates) a few issues later!

Best Post-Crisis Story: Flash vol. 2 #218. It's one of the few Post-Crisis issues that uses him as a lead character, and it establishes his now-iconic tragic backstory and pyromania. Even though it's a bit excessively grimdark (did he really need to burn down the circus where he worked as a fire-eater?), it's a solid story nevertheless.

Worst Story: The Flash: The Fastest Man Alive #11-13, or the "Three of a Kind" crossover (Green Arrow #96, Green Lantern #130, and Flash #135). Everyone was terribly written in F: TFMA, and Mick was no exception, as he was portrayed as an idiot and then killed Bart Allen.

In the crossover, Mick teamed up with two random villains that he had no prior connection to, for some reason decided to try to revive Dr. Polaris with them via hijacking a cruise ship, and ended up killing a bunch of people. It really felt like he just got shoved into the story because they needed a Flash villain in it, and they didn't think about which one would actually make sense in the plot. It makes even less sense when you remember that Mick would go back to being reformed directly after this.

Also, the New 52 introduced us to the Hothead McAngryman version of Mick, and it unfortunately took over five years for him to finally get back to normal. Having the character with fire powers be hot-headed and aggressive is probably the most boring choice they could have made, and it hurt Mick's overall character for quite some time.

Mirror Master I (Sam Scudder)

Best Appearance: Flash vol. 1 #126, or Flash vol. 1 #146, or Flash vol. 1 #306, or Batman #388 and Detective Comics v1. #555.

The first two stories are delightful Silver Age nonsense. Flash #126 features Sam traveling to a mirror world where the inhabitants essentially make him their king, but he quickly gets fed up with the fact that he's given whatever he wants means that he has no opportunities for dramatic theft, and he summons the Flash to help him escape from his boring life as king. Flash #146 is the story where the Mirror Master switches his legs with the Flash's legs. It also features Barry and Sam attending the same self-help class without knowing it!

Flash #306 has disco-dancing Sam, and, more importantly, it's one of the very few stories to try to give Sam an interesting motivation: specifically, he's fallen in love with a woman who's trapped in a mirror and is desperately trying to free her. The ending of the story is a sad one for Sam, but it's also surprisingly touching.

Finally, the Batman two-parter features Sam at his overconfident, flashy, hilarious best as he tries to prove that he's a better criminal than Captain Boomerang (incidentally, this is also a great Captain Boomerang story). It features such highlights as Sam freaking out at the sight of Batman, Sam getting freaked out by Gotham muggers, and Sam deciding to rob a bank because it's across the street and he doesn't have any better ideas. The first part of the story also features some of the best facial expressions he's ever made.

Worst Appearance: For a single story, it's either Flash Rebirth #2 or that issue from Joshua Williamson's run where Sam wore his socks and underwear in the hot tub. Weirdly, Flash Rebirth #2 featured Sam only briefly, and in a flashback, but it retconned a murder into his early past in a way that would darken all of his fun Silver and Bronze Age adventures. It's one thing to have the Rogues become more dangerous in the present, and another to retroactively make all of their early, light-hearted stories grim like this. (Geoff Johns was responsible for this retcon, and far too many others like it. I really wish he didn't like grimdark retcons so much.)

The Williamson issue had Sam who was Evan-in-all-but-name-and-accent. At that point, he might as well have not been Sam at all! That being said, this was basically just the culmination of all the problems Sam has had since he was brought back to life in the New 52. I don't know how you make a character as fun and dynamic as Pre-Crisis Sam was boring and confusing, but somehow they managed!

Weather Wizard

Best Pre-Crisis Appearance: Either Detective Comics vol. 1 #353, or Adventure Comics #466.

Watching Mark fight---and actually briefly outsmart!---Batman in Detective Comics #353 is a lot of fun, and this story is full of delightful Silver Age zaniness, including, but not limited to, Mark saving Gotham City from a drought by filling all of its reservoirs just so that he can make a big announcement in the sky about how he did it in thanks for getting to steal three priceless valuables, and in turn use that message to determine what in town is worth stealing.

Adventure Comics #466 is an entirely different brand of delightful insanity, and features the Weather Wizard briefly turning good, stopping a horde of locusts from destroying crops, and saving Blue Valley from a flood because sun spots were messing with his wand, which he somehow managed to telepathically link to his brain. No, really. Sunspots briefly make the Weather Wizard turn good. Reading this is worth it just to see Barry's reaction to friendly happy Weather Wizard.

Best Post-Crisis Appearance: Rogues Revenge #1-3. By far the most in-depth look we've ever gotten at Mark's past, his relationship with his brother Clyde, and his boatload of issues. Despite being one of the more frequently-used Rogues in the Geoff Johns era, it was rare for Mark to get a lot of attention outside of his role as a big threat, and this miniseries was a nice change of pace for him. I just wish it hadn't ended with the pointless death of his baby son, Josh, because seeing Mark develop a relationship with Josh would have been far more interesting (and less grimdark).

Worst Appearance: The Flash: The Fastest Man Alive #11-13. The story where the writers replaced the Rogues' brains with rocks, and hoped we wouldn't notice. We did.

Trickster I (James Jesse)

Best Pre-Crisis Appearance: Flash vol. 1 #142. In which the Trickster steals a little kid's toy detective set, and proceeds to screw around with the entire city, and the Flash, just because he can. It's a great display of the Trickster's inventiveness and creativity, and the story goes out of its way to state that Trickster is more interested in attention and having fun than in getting money.

Best Post-Crisis Appearance: Catwoman vol. 2 #69-71, or New Year's Evil : The Rogues.

The Catwoman story features some of the funniest James moments ever, and it's so much fun watching the two con artists try to outsmart and outplay one another. Catwoman and James have a great dynamic, and it's a shame they've never really teamed up again.

New Year's Evil: The Rogues features James at his most heroic, teaming up with the Pied Piper (and, thanks to some manipulation on his part, some of the other Rogues as well) to save his ex-girlfriend Mindy's son, Billy, from a group of mercenaries who are attempting to overthrow the government of Zhutan. The story also eventually reveals that Billy is James' son, which sadly never went anywhere since for some reason no one wanted to follow up on this awesome plot point.

Worst Appearance: Countdown! Not only does he forget all of his Post-Crisis character development, but he also acts really stupidly for no reason, is a humongous jerk to the Pied Piper (his close friend!) for no reason, and then is pointlessly killed for no reason.

It's also worth noting that his most recent big appearance, the one written by Joshua Williamson, was very frustrating to me. It's not as objectively bad as Countdown, or James' appearances in F: TFMA, but it takes James in an unpleasant, dark direction, and I didn't care for it at all.

Pied Piper

Best Pre-Crisis Appearance: Flash vol. 1 #307. This story is very important for the Pied Piper, because it not only gave him his full backstory but also gave him an actual name after over twenty years of him not having one! It's also just a fun read in general, full of delightful Pre-Crisis "science" and featuring some great character work for both Hartley and his parents, who are so desperate to preserve their family name that they have a reporter who uncovered the secret kidnapped so they can bribe her to keep quiet!

Best Post-Crisis Appearance: Flash vol. 2 #19, or Flash vol. 2 #32.

William Messner-Loebs' run on the Flash is underrated, and his work on Piper is a stand-out example of why more people should read it. Even though Hartley doesn't appear a lot in Flash #19 (his first ever Post-Crisis Flash appearance, by the way), but when he does show up, it pretty much single-handedly establishes what he's going to be like going forward; establishing him as an at least mostly reformed Rogue who cares about protecting the homeless and disadvantaged. It's just really sweet.

Flash vol. 2 #32 features Hartley teaming up with Wally to save his parents and his adorable little sister Geraldine from the henchmen of the Turtle and the Turtle Man. It's adorable seeing Hartley interact with his little sister, and it's also nice to see him finally make peace with his parents, even if they'll never be close. I really wish Geraldine had gotten to show up again, because I want to see more of Hartley's little sister. Also, this story features a line that I've always found hilarious for some inexplicable reason:

Thug (in response to Joan Garrick showing up at the Rathaways' mansion): An old woman? Seize her!

A close runner-up is Flash vol. 2 #190, which is a retelling of the origin story from Flash vol. 1 #307, but with more details and from Hartley's POV (the original tale had his parents telling the story).

Worst Appearance: F: TFMA and Countdown (since one led into the other, I kind of count them as one story). In which Hartley totally forgets that he reformed, is involved in the death of Bart Allen, loses about 100 IQ points, gets chased all around the DCU, gets insulted almost non-stop by the Trickster in spite of the fact that they're supposed to be friends, watches Trickster get shot in front of him, and almost goes crazy and dies.

The fact that he gets to blow up Apocalypse with Queen music is awesome, but not nearly enough to salvage this otherwise terrible storyline.

The Top

Best Pre-Crisis Appearance: Flash vol. 1 #297-303. Roscoe comes back from the dead, possesses Barry's father, spends what appears to be several months living with Barry and pretending to be Henry Allen (while slipping off to visit Lisa on the side), and then attempts to kill Barry Allen and steal his body for his own. It's weird and creepy and unique and perfect for Roscoe, and it features lots of top puns, as all good Roscoe stories should. Also, even though he's generally a huge jerk in this story, his relationship with Lisa is adorable, affectionate, and shockingly healthy.

The most hilarious thing about this story is the fact that at one point in it, Barry thinks to himself that his relationship with his father is the best it's ever been....in response to the interactions he's had with Roscoe posing as his dad. That's right, Barry apparently gets along better with Roscoe-pretending-to-be-his-dad than he does with his actual dad.

Best Post-Crisis Appearance: This is hard. Most of Roscoe's Post-Crisis appearances are pretty bad. The writers of Hawk and Dove didn't do an especially good job with him, Mark Waid's one story with him was a decent Pied Piper story but a terrible Roscoe story, and Geoff Johns seemed to hate the character, so that always affected his Roscoe stories. If I had to pick one, I guess I'd go with @gorogues' suggestion and pick Flash vol. 2 #215-216, since he's really intimidating and cool in those issues. Unfortunately, even those issues are not immune from the curse of bad post-crisis Roscoe stories, as they include the stupid Identity Crisis tie-in retcons that negated a whole bunch of the Rogues' character development.

I seriously don't know what the problem is with the Top's post-crisis stories. All of his Pre-Crisis stories were good, solid fun, and his best story shows that he can be really effective and creepy as a main villain. Why is it so hard for modern writers to write good Top stories? He isn't inherently any weirder or goofier than the Trickster.

Worst Story: Hawk and Dove vol. 3 annual #1, or Flash vol. 2 #120-121. The Hawk and Dove annual features some truly hideous art (I'm sure @gorogues has some scans to prove just how bad it is), and features a badly out-of-character Roscoe, who just seems out-of-place fighting Hawk and Dove.

Flash vol. 2 #120-121 takes the solid idea of Roscoe trying to become president by possessing the body of a senator, and then kind of ruins it by having 99% of the cast treat Roscoe as a total joke (the same Roscoe who once tried to blow up half the world with an atomic grenade!) and by having Roscoe act like an unparalleled jerkwad towards the Pied Piper for no real reason. Before his death, Roscoe generally got along pretty well with the other Rogues, so there was no reason for him to act so nastily here. Worse, I think this depiction went on to influence Geoff Johns' portrayal of Roscoe as the most unfriendly and cruel of the Rogues, which is kind of frustrating as he wasn't always like that.

Golden Glider

Best Pre-Crisis Appearance: Flash vol. 1 #257. Golden Glider is terrifying and awesome, and this story shows you exactly why. Within this issue alone, she discovers Barry's secret identity (making her the first Rogue to pull off this hat trick), almost kills both of Barry's parents and Iris (as revenge for Roscoe's death, which she blames on Barry), puts up a very solid fight against the Flash, doesn't even flinch when the Flash threatens to kill her as a bluff (saying that she has nothing left to live for now that Roscoe is dead), and, although Barry manages to save Iris and his parents, she escapes without being captured. Pre-Crisis Golden Glider is the best, and it's a shame she never gets written like this anymore.

Best Post-Crisis Appearance: Flash vol. 2 #19. Her interactions with Wally in this story are great fun, and I like seeing her be chummy with her older brother and her fellow Rogues at the party they're throwing. Her interactions with Connie Noleski (Wally's one-time girlfriend) are also pretty funny. This issue is also notable for being one of the last stories that doesn't portray Lisa as a total lunatic, as for some reason, her character got shifted into that direction not long after COIE.

Worst Appearance: As I thankfully haven't read Teen Titans vol. 6 #22, I'm nominating Flash vol. 2 Annual 5. It's a great story for Captain Boomerang, Weather Wizard, and Trickster, but it's a pretty bad story for Lisa, as it portrays her as being completely insane and serves as Exhibit A of how Mark Waid didn't know how to write the character. Golden Glider was scary because she was smart, calculating, and surprisingly composed (given how full of rage she was). Making her violently comic-book crazy undercuts how scary she was back in the Bronze Age.

You know, it really says something that Carey Bates, Lisa's creator, is probably still the best writer she's ever had. And he was writing in the late 70s and early 80s!

Mirror Master II (Evan McCulloch)

Best Story: Animal Man #8, 17, and 21, or Flash vol. 2 #133.

Nobody writes Evan McCulloch better than his creator, Grant Morrison, and these issues put that on full display.

The Animal Man stories introduce McCulloch, establish his weird personality, his freaky powerset, and his strict refusal to kill women or children, and are generally a delight to read. McCulloch has a very distinct voice throughout and is the funniest part of all three stories. Basically, everything you need to know about the character was established in these three issues.

Flash #133 is McCulloch's best appearance in an issue of Flash. He maintains his weirdness, his distinctive voice, and his insane powerset, and he takes the Flash and the reader on a trippy, colorful adventure around the world and through the looking glass. He maintains his generally cheerful and friendly attitude towards superheroes, and he is, once again, the funniest character in the story. Grant Morrison's Evan is a delight.

A close runner-up was Flash vol. 2 #212, the story that gave Evan his backstory (grimdark though it is, it somehow kind of works for him) and established what has become arguably his second-most famous characteristic (after his Scottish accent): his addiction to cocaine. It is a very good story, and I like that we get to learn more about Evan's history, but I will say that Geoff Johns' Evan isn't nearly as cheerful and weird as Morrison's, and I think that the story would have been even better with Morrison's cheerful nutty Evan than with Johns' creepy, sullen version.

Worst Appearance: Flash: TFMA. You know the drill by this point. Stupid Rogues. Pointless death of Bart. Bad writing all around.

Trickster II (Axel Walker)

Best Appearance: Flash vol. 2 #183. There are actually surprisingly few issues that focus on Axel as a lead character, but I've always enjoyed his introductory issue. It establishes some backstory for him and effectively tells you who he is (an annoying brat who might be in over his head) and what he can do (use a lot of crazy trick gadgets and work computers better than the older Rogues). I also like the bit towards the end of the issue where Mark is thoroughly unimpressed by Axel and asks if he's supposed to be their mascot. It always gets a giggle out of me.

I also thought the arc in Joshua Williamson's run where Axel briefly got super-strength was a pretty good story for Axel. It's one of the few times he's been played sympathetically and I thought that it worked really well.

Worst Appearance: Helmet of Fate: Detective Chimp. Okay, I haven't actually read this one, but I know enough about it to know that Axel murders 4 teenagers for no real reason, and that's enough for me to list it as his worst appearance.

Also, I can't really think of any Axel issue that I have read where Axel is portrayed really terribly. Writers usually seem to have a decent grasp on his character.

Captain Boomerang Jr.

Best Appearance: The best appearance of his that I've read is in Flash vol. 2 #220-225 (the Rogue War storyline). It's one of the few stories to feature him with the Rogues, and his grief over the death of his father and his relationship with Captain Cold are both very interesting. The story also finally tells us who his mother is (Meloni Thawne) and how she had a kid with Digger (well, sort of. We know time travel shenanigans were involved, at least). That being said, @gorogues says that his appearance in Manhunter v. 3 were really good, and I've heard that the story where he teamed up with Tim Drake was a good one as well.

Worst Appearance: Blackest Night: Flash #3. The story where he was turned into a idiotic child murderer and then was pointlessly killed off!

A close runner up was the Rebirth (I think) issue of Suicide Squad where he suddenly showed up and was inexplicably a snobby criminal mastermind who really hated Digger.

[noxinkwell]

Let's Talk About: The Bizarre Relationship Between Readers and Writers/Authors and Book Reviews/Fanfiction Comments

So this is gonna be a rambly one and I'll put a TL;DR somewhere, I promise, but I've been on BookTok and I wanna talk about the weird relationship between authors/writers (published and non published) and readers. Let's create a discourse on the types of conversation we see online about books/literature and fanfiction. TL;DR: A book is not bad because you hate it. A character is not bad or poorly written because you hate it. And it is so freaking important to remember to think about what authors are intending to do with their writing before you make very strong claims about it. Writing is such a personal experience because of most of us (if not all of us) write from a personal place in our hearts. Getting negative feedback is not at all helpful from randoms on the internet so maybe don't share it where the author can easily see it (i.e. don't tag them, don't comment on their fanfictions).

Disclaimer:

We are all entitled to share our opinions.

The BUT to that is: We are entitled to share out opinions kindly, respectfully, and we should keep in mind keep the thoughts of those who are on the receiving end of those opinions.

Initially, I thought it was a cognitive dissonance but I'm not sure the definition quite matches up. But maybe it does, so let's go with it.

If anyone is curious though:

Cognitive dissonance occurs when a person's behavior and beliefs do not complement each other or when they hold two contradictory beliefs. 

Typical examples:

"I want to get healthy, but I'm not going to make the changes to do it."

"I could have done more work, but I watched TV."

"I really want to help the planet, but I'm not going to recycle."

To me, it occurs with readers like this: "I want to help make the writer better by giving some random concrit/constructive criticism to an author when I have zero idea on what their intentions are as a writer."

Or: "I'm going to leave a negative review for a book and it will impact other people to read the book or make the author change how they write."

I am mostly talking about this as a fanfiction writer and someone who reads more published writing than I do fanfiction (these days).

My first thing is: Goodreads. Or just comments/reviews in general on fanfiction and other literature/books.

Some of the Goodreads reviews are. fucking. bizarre. And by bizarre I mean, they are so aggressive. And they bring zero productive conversation to books. They're just inflammatory. They're not at all constructive and quite frankly, they're not helpful for readers either.

And let me just say, that is entirely fine. Y'know, I think book reviews are for READERS and not the WRITER/AUTHOR, but still... I'm not even sure what I gain as a reader reading this type of review:

*yawn* I'm really sad I wasted my time on this romance that was completely overhyped, in my opinion.

or

at any given time, i feel like i'm reading romance as a cry for help.

And when I see these types of reviews, I feel like people fail to remember this very simple thing: Not. all. books. are. made. for. you.

Not. all. fanfiction. is. made. for. you.

You. are. not. always. the. target. audience.

So why do you read it? Stop reading it—especially if you can't share that opinion in a kind way. It's not productive.

When I get feedback on my writing (as a fanfiction writer) I will always, always, always ask for specific feedback. Is this line okay? Are my characters coming across in this way? Is the pacing okay? Does this make sense? How's my SPaG? How's my prose as a whole? Am I varying my sentence structure enough? Is my character development going okay?

And sometimes, with my most trusted writing friends I will say: "Hey, give me whatever feedback you think I should hear. Give me what you feel is going to help strengthen my writing."

Because YES—in my opinion, some parts of writing is purely objectively good or bad.

So when I see reviews or comments about someone saying a character is objectively annoying or that they don't relate to them I get sad. When I see that someone says a book is bad because of xyz reason... I sometimes want to shake them because it's just not how that works.

A book is not bad just because you hate it. A character is not bad because you inherently dislike her/him/them.

A fanfiction is not bad because a character did not do something you didn't like. A fanfiction is ALSO not bad if the character was out of character from canon and you didn't like the choices they made (this one irks me the most as a beta reader and a writer).

Why am I saying all this?

Because sometimes, readers forget what the author or the writer is intending to do with their writing. Sometimes the writer intentionally makes the characters annoying. Sometimes the writer intentionally adds angst and hurt and pain and jealousy. Sometimes the writer intentionally adds TOXIC traits to a character because they thought it would be fun or because it serves the moral they're attempting to tell. Sometimes they're toxic because it's DRIVES THE PLOT.

If a character cheats or kills someone it does not at all mean 1.) the author is condoning it and 2.) it doesn't mean the character is a bad character or a poorly written character either.

It just means it didn't resonate with you.

So I want to ask you all: Do you ask yourself why you dislike something before you decide 'yes, I hate it'? Do you think about what the writers intentions are when you're reading? And hey, perhaps, this type of reading may take the fun out of it for you. And I get that. What I don't get though, is disparaging authors and writers who are trying to make a living or trying to write for fun because you feel the need to give criticism on something that you actually may not know enough about.

To top it all off, we don’t know the authors. We don’t know the writers. So an author/writing receiving “advice” or “constructive criticism” from a random “schmuck” in their writing is just not gonna over well. Writers take a lot of time practicing their craft. While we’re all entitled to an opinion, it doesn’t always need to be shared in the face of the creator. I say this kindly, sometimes, you’re reading a fanfiction or a novel and you don’t like it, but that doesn’t necessarily mean you know why and it doesn’t mean that your opinion on it aligns with the goal of the person telling the story.

Constructive criticism is a WHOLE other post probably, but I'll just say this here: If you don't know how to give it, then don't give it. If they didn't ask for it then DEFINITELY don't give it. If you REALLY have to give it, think about what you’re saying before you say it. And if someone is upset with you giving concrit and they never asked for it, maybe look within and ask why you felt this was helpful for the person on the receiving end of that concrit.

Also, if you're gonna post something negative: Do not tag the author. And if you're gonna comment negatively: Don't post it on the fanfiction either.

Why? Because reviews are. for. readers. You saying that you didn't like something on a fanfiction does not do anything for the writer except discourages them. Fanfiction writing =/= Published writing.

If the author wants it, they'll ask. (And I will post something this later). Did you make it this far? If you did, damn. Thank you for coming to my TED Talk. Authors and writers are humans. We write from a personal place in our hearts. Sometimes we write about the things in our lives that hurt us the most. Sometimes we write about other extremely personal experiences. So getting feedback on it is scary and forcing negative feedback for them to see is not kind. Writing takes hours, days, weeks, months, and even years to do. Reading takes...a fraction of that. So before you go and destroy someone’s work with your words online, maybe think about it first.

I, too, am an avid reader and sometimes we just want validation for our opinions (good or bad). But sometimes it's important to remember how we share them.

[marzipanandminutiae]

I see you talking about ouat and it unlocked thoughts that have been neatly filed away for years so here I am, yelling them at you.

I assume at this point spoilers arent a problem anymore for you but you said you originally didn't watch past the frozen but a warning just in case.

I kept watching for quite a long time, but I quit after the whole thing with ruby and Dorothy because what? it just felt so incredibly forced and badly written? and I'd gotten so annoyed because before we'd already had the whole thing with aurora and mulan, which I was rooting for but okay, that didn't work out, too bad for mulan. then we get a perfect set up for ruby and mulan. and it's just. never mentioned again???? ruby comes back eventually but wtf happened to mulan? it annoyed me so fucking much let me tell you.

also I remember trying to write out family/relationship trees and stuff for ouat to see how weirdly convoluted everything got. was very impressed that it seemed they managed to avoid accidentally having incest or something in the show with everything that was going on there.

I have so many more things but this has already gotten way longer than intended. do you have a favourite part of the show? I'm assuming your favourite characters is either regina or emma?

Oh man all of that brings back memories. I didn't stick around long enough for Ruby and Dorothy, but I got the sense that they were doing it to try and counteract the "avoiding Swan Queen because homophobia" allegations.

(I actually don't think they WERE avoiding Swan Queen because of homophobia, necessarily. I think it was never their intent to begin with; they just happened to attract a sapphic audience who were deeply on the Enemies to Lovers train. I do think they may have indulged in a bit of queerbaiting, though, because of some Emma/Regina moments that happened after the writers definitely knew the ship existed. I think it was never going to be canon, but they handled it poorly once they realized that people saw it as an option.)

I stopped watching around Frozen for a couple of reasons:

On a personal level, I just got sick of seeing the characters I shipped with other people. That's not an objective problem; it's my opinion and not everyone will agree. But to me, Hook was a whiny insecure manchild and Robin had the personality of Clippy the MS Word paperclip, and damnit, I wanted Emma and Regina to kiss each other instead of them!

On a This Is Bad Storytelling level, I HATED how Frozen was integrated. Earlier stories had been a nice blend of traditional fairytales with Disney adaptation elements- Beauty and the Beast where Gaston and Chip are both kind of there but in subtler ways, for example, or Cinderella where her dress resembles the 1950s animated version but everything else is different. Frozen, though, was just...Frozen. The entire plot of the movie Frozen had happened before the characters entered the OUAT storyline, their costumes were identical to those in the movie, and while I've heard that they added some different backstory- it just wasn't the "Hans Christian Andersen story with subtle Disney touches" that I would have expected from earlier seasons.

Personally, I don't think the initial curse should have been broken in a season. I feel like that locked them into a pattern of having to continually invent a new Darkest Evilest Most Powerful Magic EVER!!!!! to top the previous season, and that took them to some really weird places (I heard they went to literal hell at one point?). The show had a cool premise and some interesting ideas- I loved how they managed to give individual kingdoms distinct cultures and even fashions. You can tell the "look" of Snow White's kingdom from Cinderella's and Cinderella's from Ariel's, etc.

Everyone who would watch an entire season of Abigail's Ancient Greek Steampunk-ish kingdom, raise your hands. Seriously, so cool.

But something went wrong, IMO around season 4. I'm not sure if the show had just outlived its original concept or had outside pressures pulling it in different directions or what. All I know is, as far as I'm concerned, the show ends when Emma and Henry leave Storybrooke in season 3A. Pity It Was Cancelled So Soon, etc.

(although OOC Matronly SnowTM would have been perfect for live slug reaction memes, so there's that)

[hello-nichya-here]

Let’s be real. The only reason toxic Zutarians and delusional Zukkas became so rampant is for the same reason.

Zutararians and Zukkas are two generations of the same issue.

Maiko is written so incoherently and Mai gets no development of her own. Zuko and her are a terrible match and treat each other poorly (I know the fandom can’t agree which one is at fault but I don’t think it matters).

Fans searching for a more satisfying conclusion of the fandom fav Zuko stumble into the waiting clutches of Zutarians or Zukkas who bombard them with their terrible takes, OOC writing, and admittedly beautiful fan art. Before you know it, they lose touch with actual canon.

This is all Bryke’s fault for writing Maiko terribly.

And yet people blame Zucest… nonsense!

Anon, I don't mean to be rude, but you're just wrong all around. Not only do I not think Maiko is terrible (might not be my OTP, but I am fond of it), but even if it WAS and fans had to rely on fanon for good romance, that does NOT explain or justify the way Zutarians and Zukkas not only act like their personal preference is objectively better than everyone else's but also actively lie to themselves and others about their ships totally being secretly canon but screwed over at the last second.

They do that for one reason alone: Entitlement. They're entitled, spoiled cry babies who screetch at anyone with a different preference because they take it as a personal attack.

Bryke writting Maiko any differently would not have made these people less insufferable. Hell, their ships hapenning in the exact way they wanted them to would also not do the trick, if anything it'd make them worse.

It doesn't matter what you think about Bryke as writers and people, or how you feel about the canon ships: The bad behavior of Zutara and Zukka fans is the responsibility of Zutara and Zukka fans, nobody else.

I don't like Legend Of Korra or the comics. Never sent a death threat to the people who made them. Never harassed fans of it or had them doxxed. I love Zucest to unhealthy degrees, but you won't see me claiming "There was totally a deleted scene of them kissing in the finale instead of fighting, but evil Bryke ruined it all, and if you don't believe my obvious bullshit I'll scream at you until I'm blue in the face!"

I LOATHE the ending of How I Met Your Mother with all my being, and resent the showrunners for being such dicks to fans and complaining we didn't praise their terrible writting. I would NEVER accuse them of abusing their authority over the actors and being predators just because I disagree with awful messages the finale sent - something zutarians do Kataang and Maiko fans ALL THE TIME.

It's really, really, really, really easy to not do that kind of stuff.

Be critical of Bryke and their writting, have whatever opinion you wanna have on Maiko, but let's not pretend writers/showrunners are to blame for FANS attacking people.

It'd be like going "Oh, this actress and her fans got death threats because audiences didn't like her character, clearly this is the writers fault for mishandling said character" NOPE, the blame of that kind of awful behavior ALWAYS lies solely with the people who choose to act like that.

[zerothejackal]

This post contains textual TMOSTH spoilers! so if you haven't played for whatever reason... don't look!

This is still a crazy theory that mostly feels like a headcanon or whatever the fuck matpat does and calls "theories." But, hey, it still deserves to be updated!

After all, y'all seemed to like the crazy theory in its raw poorly-written state! :D

the final argument is still... not the best, and feels even MORE headcanony than everything else... but i think it's neat!

here's my hypothesis again, for those joining in late, and because that's how theorizing works:

Barry the quokka, our avatar, is a chaos user.

Now, I know what you're thinking...

"There's no proof of that bestie, bro's onto nothing 💀🔥🔥!"

well, normally I'd say:

"It's just my own silly headcanon without any support ^_^ just for fun!"

EXCEPT, there may be some evidence, in the behavior of the THINK minigames.

So what if these minigames are more real that what we're led to believe, I mean Barry is clearly not carrying his DreamGear with them, as no character ever brings it up.

my theory here is that Barry has a weakened/dormant ESP ability. Let's go through my evidence, shall we?

(and some extra stuff i noticed after writing the original post, and that other users brought up)

Evidence No.1 — The nature of the interrogation sections.

Every Interrogation section unfolds as follows:

We have Barry collect the clues (although Tails gives his own insight, Barry is always the one to notice them.)

Tails mentions that he and Barry have formed a case/hypothesis, or Tails goes directly to make an accusation or argument.

(Barry themselves progressively wonders why they are added onto the accusation with Tails)

We have to select the exact correct clue/object from Barry's inventory to support Tails' argument.

We then go through the THINK minigame so that Barry can order their thoughts.

Tails explains his argument with Barry's proof flawlessly, although Barry often lags behind during this part.

"But this isn't proof of anything--"

SILENCE! TO THE DUNGEON WITH THIS FOOL!

I believe that these "game features" can be explained in-universe through some sort of telepathy.

"But, what is it there to explain? All of that seems normal to me?"

then, my good friend, you may need to re-read!

(especially the italicized and bolded bits)

Barry is always the one to find clues and stuff—but we will go over this later. So, remember it.

And even though Barry is not often fully aware of what Tails is thinking, he always adds them to the accusation, it's always "we," and never "I."

(correct me if I'm wrong here but I don't think Tails ever excludes us once we have gathered enough clues)

And while yes, Tails is really friendly and Barry is basically playing to be the detective's assistant, maybe its because Tails notices something we don't

The game doesn't actually show Barry telling their thoughts to Tails, yet both Tails and them manage to form a flawless argument from some object or trash that was lying around.

SURE, MANY TIMES THEY HAVE DIALOGUE DURING THE INTERROGATION, RIGHT AFTER A MINIGAME, BUT NOT ALWAYS

He comments on them first to give the player insight on what we should be looking for, but Barry never really tells Tails directly what they're thinking on.

And their dialogues often evolves from a small argument being immediately supported by Tails with a stronger argument.

And look, Tails is a smart kid, we know this. But intelligence is tied to specifics. One cannot be intelligent on basically everything.

But even if, for the sake of the argument, Tails were to be smart at everything... he's still a kid. He's going to be prone to making mistakes, many times before him being a kid has overcome his high intelligence.

terrible example but, look at Forces.

But somehow Tails always has something to say during an interrogation, and almost always includes Barry even if the quokka is not adding much to the conversation.

Now, going back to "all of this can be explained with telepathy": What if Barry has been giving information to Tails with this unknown power.

And Tails, being always surrounded by chaos users, doesn't point it out because, well, he's simply used to odd shenanigans when it comes to chaos powers.

Though the part of "Barry always finds the clues" feels less of telepathy and more of something else, but the theory isn't over!

After all, my hypothesis was that Barry had an ESP ability power, but I never specified which one. So let's continue.

Evidence No.2 — Barry is somehow aware of what they should be looking for, always.

Barry is the one to always inherently notice something relevant, even if Tails is the one to point out its importance, this is shown through the game outlining with green certain objects.

While Barry probably doesn't see this outline that helps the player, they probably do notice the objects over other things—but hey, maybe they do see it, but they... think it's normal.

something like that is probably something they've never questioned before.

They are the one to also find which specific clues or people can aid to Tails' argument, this is especially noticeable on the final interrogation, where Barry has their time to shine.

this specific section, originally, was part of evidence No.1, but I think it deserved to be pointed out individually.

something, something, some sort of clairvoyance or greater awareness acting here.

But that is not all, Barry is also somehow aware of "Chaos Control," and while it could be argued that they SHOULD be aware of it, because this technique has been used to save the world several times.

What they shouldn't be fully aware of, probably, is what the technique is specifically called, for all the public knew, chaos control was just another power of Shadow and Sonic.

But given that in-universe this surprises everyone, let's assume that Barry shouldn't know of it in general. And yet they still know of it.

And talking about supernatural awareness...

That time in which Barry pointed out Espio talked on italics? Sure, its treated as a joke but... what if it wasn't entirely one?

Evidence No.3 — Barry's physical actions during THINK minigames.

there's at least one (and two debatable one) occasions on which Barry performs a seemingly physical action during a THINK minigame.

First, when barry has to distract Knuckles so that Tails can fix the machine.

Knuckles seems to be going in for the kill, and prevent Tails and Barry from seeing the score of the arcade machine, Tails tells Barry to distract Knuckles while he fixes the machine.

But then we get a THINK minigame, instead of ... anything else, which is odd, Barry should be actively preventing knuckles from advancing, not thinking.

This implies barry was doing something while thinking, and while they could've tried to hold knuckles or something, we know by previous dialogue that Barry both is weak physically and that Knux wouldn't hesistate to hurt them!

The second time, which is highly debatable, is when Sonic is breaking the doors to advance.

Sonic mentions how he's gonna need a few hits to break through the doors, but instead of just seeing a small cinematic (like the one we're shown after the minigame)

We go through another THINK minigame, and after it, Sonic breaks the door with a single spin dash, it's odd that we see this.

Not much from a gameplay perspective, sure, but still overall strange in several levels, But personally, I choose to believe Barry is somehow unconsciously giving power to Sonic!

whether it is an ESP ability or just poeer of friendship is up to debate though...

The third time is during the boss fight against the Mirage Express itself.

Not only we do not get to really see how sonic and his friends are fighting the train, but what we do see... doesn't add up, especially so with the THINK minigame we have to play.

We see the flicky which should probably be inside the train, yet we see Amy hitting the train from the outside, and the minigame itself puts us in Sonic's place outside the train?

But like the previous point, what if this was explained thanks to Barry and what they could be doing. The last fight is a THINK minigame because Barry was helping.

Do you think after being inspired by Sonic himself, Barry would just stay there cowering?

Especially seeing, seemingly, everyone fighting along? Such a strong bond between the different friends of Sonic, from Vector to Tails.

He, without probably realizing, could've helped with some power, giving Sonic the information needed to hit the train.

Or perhaps even using some psychokinesis to attack too, we really don't see what's happening, and technically we only see Amy somehow delivering a hit to a train actively moving.

So anything goes, I suppose

this point is the weakest of the whole theory, but I think it still holds some weight, especially since no one seems to point anything up.

But I like to think that Barry did something, and based on previous time's they've done odd stuff... well, I just connected two dots.

Conclusion: Barry is a psychic chaos user, and they probably don't know.

[physalian]

I think being an ace writer lets me write sex and romance with less of my own biases/wants/what-I-think-is-sexy getting in the way, to better incorporate these scenes into the story as a method of plot and character development instead of just gratuitous, among other things. In the same way being atheist lets me write real and fantasy religions without my own beliefs interfering, because I can respect religion academically and objectively, as a tool, not a given.

I write my characters in tons of situations that I myself would never enjoy, anything from bathing together or having kinks or even making out. I know why people enjoy these things and I’ve read enough romances to know how to write the proper buildup and the right tone to strike and all that jazz and I do enjoy reading romance.

There’s absolutely other factors at play here and I can’t speak from experience for a lot of the situations I put my characters into (nor do I write smut, I’ve tried, I’m bad at it because I’m ace) but I’ll beta read sex scenes for original authors, especially cis/het authors, and while “writing to satisfy yourself or your readers” is different than straight up just writing a story that includes romance, I seem to keep finding myself stuck with a constant stream of author wish fulfilment, a lot of newbie original authors seem… narrow-minded when it comes to sex.

Like they can only imagine what they find kinky or romantic or sexy, like the subtext is saying “this is sexy because I think it’s sexy and if you don’t think it’s sexy something’s wrong with you”. Which isn’t at all a problem in fanfic for whatever reason (probably because these authors also tend to think sex=romance thus smut=character development).

So I have a character with a medical kink, for example. I haven’t had readers gushing over him or that scene (haven’t had that many readers period, mind you), but I haven’t had any complaints, either. Heck, my protagonist in ENNS is a frustrated virgin in a vampire romance who at one point realizes “hm yeah I definitely don’t hate teeth anymore pls do it again” meanwhile I’m sitting back with my metaphorical coffee going “you have fun now, enjoy”. Maybe because it’s not just an 111k word fantasy smutfest but his self-discovery is part of his arc.

But I think the difference is, either in just skill at my craft or being on the outside looking in, is that I think “what would he think is sexy? And how would I go about writing that?” vs “what do I think is sexy? And how do I go about contorting my characters to fit that?” I spend the time making sure he’s in character, it makes sense for his character, and that he’s acting authentically.

Or at the very least, I think aceness (and possibly aro-ness we are undecided in that department) gives you a baseline of 0, clean slate, not that aces can’t enjoy the idea of sex, the idea is that sexuality is self-contained. But when your whole life is sex-favorable/allonormative I think it puts blinders up.

Or, I just keep reading heterosexual romances that leave something to be desired. Not just beta-reading, the romances in like, Maas books, for example—no kinkier or more wish-fulfilling than a fanfic with the same tags, but there’s something so cheap and artificial about those sex scenes. The first time I read… I think it was book 3 or 4 of the TOG series and I realized just how much sex there was, I legit got bored and scanned ahead until I could get back to the story—and I have sat through fanfics that surpass 100k words with as much smut and I am fine and entertained. Is it because she’s not a great author, or because she’s a cis/het author with blinders up, or some mix between the two? I have enjoyed poorly written but sincerely written smut in fanfic, so it can’t be that, either. If this was a science experiment and I’m controlling for all other variables except the sexuality of the authors and/or characters, I’d have my answer.

That’s not at all to say allonormative authors cannot write beautiful romances and hot sex scenes. There is only one (1) romantic scene in Maas's books that I used to go back specifically to reread, and it was just two characters finally tossing decorum aside to make out. She lost me completely after that.

Just in my experience, inexeperienced allonormative authors vs queer of any kind tend to be worse at making it compelling and sincere and my theory is that they can’t escape their own ideas of what sexiness is, because they've never had to, and can't get in the minds of characters and readers who don’t all think like they do.

—

Interested in a queer vampire fantasy novel? Eternal Night of the Northern Sky is out now!

[crocutacanidae]

I think Password's character writing would work a lot better if every character were constructed like Tyson (And to clarify, I mean Tyson on every route except his own, because Tyson route Tyson is a fucking dangerous man that needs a circle around him where no one can go). Let me explain.

I think the reason Tyson ends up as a character to watch (for me) because he is incredibly simple in construction. He has one trait (Penchant for poorly forethought violence) and one motivation (protect dave) and that's just his whole character the entire time! that's it!

As I write this I find that only a few characters are missing motivations (from my perspective not having finished the game in its entirety yet). Knowing this, it might be that these characters flop from undercommitment. When I realized Oswin was meant to be a second father figure to dave, I was primarily horrified but secondarily I was also confused because I couldn't tell where the story was taking this as it gave mixed messages as to which side of the fathering spectrum he fell on (my gut instinct says Bad given the D and E route conversations from him after having lost benson and returning to the mansion). Sal is in my opinion a graver victim of the way password is written. I can clearly tell what his main trait and main motivation are supposed to be (emotional intelligence and protecting EVERYONE at the mansion), but he executes these in the most boring possible way because this is an idiot plot. He fails to complete his objective because of the Hand of God, basically. They need to stay on the mountain for the story to happen, but the most surefire way to keep everyone safe is to climb over the damned rocks. these are mutually exclusive so obviously the story continues and the excuse given is that orlando is too fat to climb the rocks (seriously?). Thus does Sal utterly fail at his one job. It's a shame cause the pieces were all set up, too.

tl;dr: Password should have more absolutes and should also commit more. Make sure those gayboys canNOT in ANY way get off that mountain by themselves and make sure they act in accordance with their supposed motivations in a way that is clear and logical even when they aren't the center of attemtion in the story because otherwise why are they even there.

[emblazons]

I think the thing that makes me sometimes "doubt" Byler endgame is how the writers seem to treat Will in the narrative by either making him nonexistent, sidelined and unimportant overall with often minimum screentime. Idk. A lot of ppl tried to explain why it was necessary for him to be sidelined but that resulted in the audience thinking that Byler has no chance of becoming canon and that Will is just a useless background character. Add the monologue moment in S4 and Mike constantly talking about all in S4, how do you explain the duffers will make the narrative fit in what they have showed so far in the show? Most ppl will think Byler came out of nowhere and if Will gets a huge moment regarding fixing/saving the world ppl will think it came out of blue and there was no buildup. It takes really pains to prove Will's importance and Mike's love for Will. And not sure if the writers will manage that.

—so I’ve answered some version of this kind of doubt several times on this blog before, so I’m going to direct you to those posts, so as not to reinvent the wheel:

Will's Taking a Backseat in S3 + Dustin companion piece

The Duffers, Show v Tell, and people missing subtext

The Duffers Aren't Writing "Casual TV"...they're writing for themselves and people like them

Why people assume ST is written poorly (like other shows)

General Audiences, Media Literary, and "Catching" Byler

Why I Don't Understand "Duffer Doubt"

On: "Objective" Byler (and ST) Commentary

The Duffers, the "GA," and how your value system affects how you go about interpreting (or missing things in) media

Mike & Will's 3 season arc (and how it fits in the wider narrative)

On: M&R being "2 Straight White Guys" writing a queer story

+ a cut for more thoughts about how Will really wasn't all that sidelined lmao

That said: if I’m honest, I fundamentally disagree with the premise that the duffers somehow need to “make the narrative of Will fit into s5,” as though he hasn’t been integral to the Hawkins connection to the UD since literally day one.

That, combined with the fact that he was barely even in season one outside of flashbacks (and yet still managed to carry all of S2) + hasn’t really been sidelined at all if you know how to read emotional beats and not just “action” ones? Like, sure, him not being front and center was true in S3, but given that he is the center of all of Mike’s emotional decisions across all of S4 and is now quite literally holding the “main relationship” (which it’s not, but we’ll let that go) together…saying he’s not central to what’s to come given his active connection to El, Mike, every single Byers, the rest of the Party and now Henry/Vecna as we file back into Hawkins is insane.

IMO, the real problem (and at the risk of sounding like every byler critic on the internet) is that the show is made of an ensemble cast who have all had their rounds in the spotlight over the seasons…which means that Will is not going to always be at the fore front of the action, because this is not The Will Show and not every season is written with his story as its primary narrative core. That said, if you are paying attention to the emotional and even supernatural beats of the show, you can clearly see where they’ve set Will up to hold an important and even critical role in the final season—

—especially given that characters like Henry and Vecna didn’t even technically exist 2 seasons ago, and yet now hold primary weight in the story and in the minds of this “general audience” people love acting like matter most to the Duffers (even tho they have repeatedly said they don’t lmao).

I personally do not give a damn about what “the GA” thinks is possible given that half of them were mad when Will was central to the story in S2 (the 'S2 was my least favorite season / the season I don't watch much of people) and half of them couldn’t even tell he was gay, despite being plain as day to anyone who doesn’t need every single beat of the story spelled out for them….and that the duffers literally and repeatedly make fun of people for doing I throughout the show.

All that said...I respect your right to doubt, but…of all the things I could doubt The Duffers being able to pull off in the minds of this nebulous “GA” everyone thinks is so stupid they haven't picked up on any subtext or plain narrative (which I could make a strong case they aren't...which is why they pitch such a bitch lmao), making Will central to the 5th season after all the pains they’ve taken to flesh out both his connection to the UD and his romantic feelings/sexuality is not one of them.

It's not as nearly "blindsiding" as people seem to think it is—because the second you stop thinking everyone is heteronormative, you realize a lot of people who just aren't as loud as the naysayers on the internet see it plain as day.

[bluecichlid]

2, 26, 31 for the writing ask game :)

2.       Anything that you'd like to write but feel like you're unable to?

I’ve done this one, so I am going to change the question a bit: what holds me back from being the writer I would like to be?  

Overall I’m pretty happy with my writing when it gets to the point of posting, but I do find that I write in fits and starts, and I get stuck on silly stuff way too long.  I also am far too hard on myself when my writing doesn’t go the way I envision in my mind.  (Shower me is brilliant!)  A lot of that sucks the joy out of my writing for me, and I wish I didn’t let it.  I’m envious of people who spit out chapter after chapter, and its all great and fun and its clear that they are having a ball doing it.  That’s what fanfic should be!  I’m trying to learn to be gentler on myself and to be more creative and joyful in my writing.  I’m not there yet, but it is a journey, not a destination.

26.   What would you describe as OOC?

That’s an interesting one!  I think a character being OOC and them being poorly written is often linked, but they shouldn’t be confused.  I would call OOC something that is so far from the character as established that they are fundamentally not the same person - their words and actions have no grounding in their past.  

At the ending of Game of Thrones, Daenerys burns King’s Landing and is about to set herself up as tyrant.  I wouldn’t call that OOC, because we had seen her do similar things before, on a lesser scale.  But it was poorly written (IMO) because we didn’t get enough of her abandoning her desire to be a good ruler, to be fair and to be loved by her people.  By contrast, in the final council, Tyrion suggests Bran be the new King because he “has the best story.”  (Shudder.)  I’d call that out of character as well as poorly written because nothing we have seen from Tyrion provided a basis for that bonkers suggestion, and he’s just received a harsh lesson in the dangers of handing vast power to someone you don’t know that well.

People being unrecognisable as themselves is one reason I’m a bit picky about my AUs, if they are not canon-divergence but an entirely different premise.  If you have a character in a new setting, is there enough there to say this is the same person?  I have nothing against a nice meet-cute or coffee shop AU - they can be therapeutic, just so long as the characters are still my people.

31.   What was the most difficult fic for you to write (but in the end you made it)?

This is a hard one, and the answer is a sad story because I didn’t make it in the end, but definitely my big novel-lengthy fic from my Game of Thrones days, Ties of Blood and Fire.  There were a lot of moving parts there - some issues with the plot that I would have done differently in hindsight, not enough planning of the story and too much seat of the pantsing, some  negative commentors who objected to the feminist content, a friendship breakup, general fandom negativity, and the cruddy ending to the show.  It all came together and I realised the story had brought more negatives into my life than positives.  A lot more.  So I abandoned it.  

But I wrote 140K words, and most of it is pretty darn good, if I do say so myself!  And I guess I am proud of that. 

On a happier note, Nothing Alike has been the most challenging to plot out, but it has been a blast, and I'm getting there! The mystery format and all its constraints have been a great work out for my plot-bunny mind.

[kingmagnificoofrosas]

AH today is a very bad day. On the youtube I've seen at least three video about Wish, particularly our little sunshine Magnifico, and im so tired of listening (or reading in titles like today) everyone's "he's selfish", "he's toxic", "he's poorly written"... GEEZ HE'S MY FAVORITE DISNEY CHARACTER. and in Wish HE'S THE DEEPEST CHARACTER ACTUALLY.

he has his problems, trauma, cons, pros, cute things, expression, his character, his look, his— Magnifico is so magnificently ALIVE. more than anyone in the origin movie. in my opinion of course.

I'm so happy I found your blog. so refreshing. i hate when people say those things above to me, or even out loud. of course i wont go and be angry just because of, but... meh.

I just wanted to say that the world you have created is so soft cozy and safe I cannot begin to describe! 🤲🏻

Hey dear! 💙

Oh my ... well, I know how you feel 🫂 It upsets me just as much! All we gotta do now is ignore. Everything they say is nonsense. Let's focus on spreading love! Sadly, there will always be haters, but on the contray us Magnifico-defenders are here as well and we will stand our ground!

Matter of fact, besides the bullcrap I keep seeing haters write, I also stumbled across something that I consider just as bad ... I cringed so bad and to say I was overcome by disgust is an understatement! Hating him is one thing, but reducing him to an object of sick twisted lust is absolutely beyond me! Yeah, he is hot, he's truly magnificent, and I keep gushing at his beauty nonstop, but making him a porn object and writing downright disgusting things .... sometimes I question people's sanity.

We know that he isn't a villain and we truly appreciate him! He's or sunshine and moonbeam. Eh, their loss. 😌🫴🏼 Like Anon said, the hater's brainwaves aren't waving!

And awwe 🥰 I'm glad to hear that!!! 🫶🏼 This was exactly my goal! To make this place cozy, warm and safe for all Magnifico-defenders ⚔️🛡🩵! As always, I highly appreciate your words!!! I will keep trying my best to have this blog stay this way 💙

[loyalhorror]

reading you hate Rice's writing and lestat especially gives me so much life as a Rice reader. Not a Rice fan, was literally talking to TWO people today how I don't *like* her work/writing, I am fascinated by it, and naturally that is not a popular position to take. So seeing someone else be like 'actually this writing is bad, the pet character the writer is so enamored with and so is everyone else actually is un-fuckin-bearable to read about, and while I don't object to the themes Rice likes per se re child sexualization her handling of it is really troubling and it's baffling to me how no one talks about this WHY DOES NO ONE TALK ABOUT IT" like thank youfor letting me know im not crazy

GOD NO LIKE. it's absolutely baffling to me that people... like book!lestat? that they like the writing style? that they aren't actively rolling their eyes out of their head because so much of the way lestat talks as a narrator reeks of "it's 2005 and i'm on fanfiction.net reading a poorly written fic about how special and beautiful the writer's oc is and how everyone in the universe wants to be/fuck/kill them"??? (disclaimer: mary sues are fine. bad writing though? bad writing i'll criticize.)

really the MAIN thing for me is the writing style. the rest i could forgive (and in particular, lestat would be less unbearable if the writing was just... better!) if the writing weren't so fucking obnoxious. i find it both really pretentious and also borderline incoherent at times; part of that may be because i was reading it digitally and formatting can be a bit awkward there, but tbh i don't think a physical copy improves things much. i couldn't get through the first chapter of a physical copy of iwtv because the writing was so fucking... Like That TM.

it also makes me so much more thankful that the movie and tv show adaptations have made lestat ACTUALLY charming/compelling/likeable in a way the books simply. do not, for me.

[frobbybrainrot]

it's going to be incredibly disappointing if the writers destroy what bobby and freddie have by having anna come between them

obviously i would love endgame frobby, like if they were canon it would be a dream come tru for my idiot ass, but friendships between two men are just as important!!! it's so important to show that between two men, it's okay to be platonically intimate. it's ok to be close. it's ok to hug, or cry, or offer each other support.

so many things that are written time and time again for friendships between two girls, sometimes even between a guy and a girl even though the chances of it staying platonic are pretty slim, but two guys? two guys being close and showing unconditional love and support for each other? without it being romantic?? THAT'S SO IMPORTANT TOO AND WE RARELY SEE IT.

it's such sloppy, lazy writing to have a girl come between two guys who are joined at the hip. a girl who's been in town for all of 5 minutes that neither of them really know

and dude, i love anna. she's my favourite knight character. i think she's sweet and kind and cute as hell, but please god holy shit don't make 70% of her existence being her hammering a wedge between two guys. like let her have a personality beyond being the third point to a stupid, poorly written love triangle that never needed to be a thing in the first place. i know it's shocking but there's way more to writing women than just what they can offer to men (wild! crazy!)

pisses me off too that most of gina and anna's writing has just been "potential love interest" like they are nothing but an object. a means to an end for male characters. i couldn't tell you a damn thing about them beyond "one is a recovering addict who can be kinda mean and the other misses their mom and is kinda sweet" awful awful awful writing I HATE IT

at this point just give us frobby. i don't care. let the knight girls be their own persons with interests and ambitions, and give the gays freddie/bobby since they may as well already be canon. instant improvement to the writing you're welcome eastenders