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toxicpineapple · 10 months

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writing tips masterpost

hello to my loyal tumblr followers... i am often asked to give writing advice but usually when people ask me this i'm nooooot completely sure what to say despite having a ton of advice to give. it's such a broad question when there are so many different things i can advise on, right? so i thought i'd make a sort of writing advice masterpost where i can compile the tips that i think people specifically in fandoms could benefit the most from hearing, OR that i wish someone had told me when i was still finding my footing as a writer.

hopefully this will be helpful to you. i am putting all of the advice under a read more since this is going to be a long one. let's roll!

✬ paragraph breaks are your friend

the fastest way to get me to stop reading a fic is if i click in and see that there are NO paragraphs made and the entire piece is in a huge block of text. no matter how good your work is, i just can't read it at that point. the giant paragraph makes me get lost, i can't focus on anything... it's a huge no.

the trick is you want your paragraphs to sort of act as a guide for your reader, taking them through the story, keeping them engaged. do not be afraid to do short paragraphs! i can understand wanting to shy away from one or two sentence paragraphs for fear of not having "enough substance" in your work, but the truth is, a thousand short paragraphs is ten times easier to read than a huge block of text.

realistically, you want to have a good amount of variety in your paragraph length. variety is key. readers will notice when your work gets formulaic, and some people will like that, but for others that can turn people away from your work. but don't force it! a paragraph should end at the end of a statement, or if the paragraph is getting too long then cut off the thought and continue in the next paragraph with a transitional phrase.

as a general rule of thumb, you want lines of dialogue by different speakers to be put in separate paragraphs. you also want to avoid doing huge chunks of narration or exposition in the same paragraph as you introduce a new speaker. just make a new paragraph! no big deal. i guarantee you your reader will be way more engaged and nobody is going to come at you for doing more rather than less.

✬ make sure the reader knows who is speaking and when

you don't have to end off every line of dialogue with "she said" and in fact i would really recommend you don't. but you ALWAYS need to have some kind of indication in the text as to who is speaking, otherwise the reader can get lost.

this doesn't necessarily mean that you always have to explicitly say who is saying what, though. if it is obvious in a scene who is saying something -- so for example, a scene where there are only two characters talking OR the dialogue has some kind of phrase, statement, etc that makes it obvious who the speaker is -- then in that case you can just let the dialogue speak for itself. sometimes in writing less can be more. you disrupt the flow of a scene if you start to exposit unnecessarily when the reader could reasonably work something out for themself.

✬ "said" is your friend too

related to the last piece of advice, here's another note: don't shy away from using the word "said".

don't overuse it, either. obviously, you don't want every single line to be "he says" "she says" back and forth, especially when they might be asking questions or shouting, in which case the word "said" probably isn't all that applicable at all. but it's a nice default. if you catch yourself busting out the thesaurus, my recommendation? quit it. just use said. it's not going to hurt you and the reader isn't going to mind.

but yeah, in the event that a character is raising their voice, whispering, inquiring -- there are tons of other words you can use in lieu of said and then an adverb. it's just context-dependent, and also, you don't really want to lean too far one way or another. like i said, variety is key. too much of the same breaks immersion.

✬ if you wouldn't say it yourself, probably don't use it in writing

another related tip. look, i get it. you want to spruce up your writing with synonyms. but the fact of the matter is that a lot of these words that "mean the same thing" on paper actually have wildly differing connotations and if you don't understand what those are you're going to look kind of silly whipping out a word you just found off the internet. we can usually tell, too.

your vocabulary will naturally grow and expand as you continue to read and learn. you don't have to try and force it to seem smarter in your writing. people who can write compelling prose and dialogue without throwing in fancy words they barely understand look a lot more intelligent than people who have a thesaurus at the ready 24/7.

✬ if there's a simpler way to say it, take it

this one can be sort of style-dependent, so if it's not your cup of tea then feel free to take or leave this tip, but in my opinion, taking a whole seven-line paragraph to describe a simple action wastes both your and the readers' time.

how many times have you read a fic where the main characters are having a conversation with these long rambling paragraphs between lines of dialogue? sometimes this makes sense! if you were writing a death note fic it would absolutely make sense for light or L to be pausing every few seconds to carefully analyse their opponent's move... but that's not always the case. sometimes characters are just making small talk.

i'm not saying you can't show off. you should show off where applicable. but there's a time and place. sometimes a scene benefits more from you taking the easy way to describe something and moving on. flowery language is great, but if you're meandering too much the reader will lose interest and attention.

✬ a metaphor is useless if nobody knows what it means

writing is subjective and highly personal. write for yourself first and foremost, and use the metaphors that feel right to you -- but the best metaphorical pieces, to me, are the ones that people can understand and identify with.

you've read a story like that, haven't you? with a reoccurring theme or motif that comes back into play at the end in a way that makes you feel so satisfied and complete? THAT'S what you aim for with literary devices like that. if you write a story that nobody can understand, with metaphors that just don't make any sense -- then you haven't really successfully told a good story, have you?

i understand wanting to have a magnum opus. i think it's easy to fall into the "misunderstood writer" mindset where you want your pieces to be so magnificent that only the likeminded will get it -- but writing is a form of communication. metaphor is just another means with which we can illustrate how we feel. you WANT your readers to understand what you're doing with the metaphors, you WANT the people who step away from your story to know what you were trying to say. you don't have to be obvious, just make it good. make it something that can be reasonably drawn from the text.

at the end of the day flowery language is just flowery language. that doesn't actually make your story good.

✬ grammar intermission

(.) period/full stop: used at the end of sentences. oftentimes not used at the end of sentences in dialogue, because lines of dialogue are considered a fragment of a larger sentence. use a period/full stop at the end of a line of dialogue if the dialogue is followed up by another complete sentence. example:

"i just went to the store," he said, scratching his head.

"i just went to the store." he scratched his head.

(,) comma: used in the middle or to separate different clauses (parts/sections) of sentences. used for incomplete clauses, AKA sections of the sentence that could not function as individual sentences. also used to indicate a slight pause. example:

she reached for the ripest banana, plucking it from the bunch.

a comma can also be replaced by a conjunction like "and" or "but". example:

she reached for the ripest banana and plucked it from the bunch.

(;) semi colon: used to separate different complete clauses in sentences, AKA sections of the sentence that are related but COULD function individually as their own sentences. example:

he sighed as he looked out the window; it had been so long since he stepped outside.

not to be confused with

(:) colon: used at the end of a line that leads into or introduces another line. example:

his fingers drummed restlessly against the window sill. it was finally happening: he was finally leaving this place.

(-) hyphen: used to connect compound words like three-years-old or hyphenated surnames like jones-smith.

(–) en dash: used to indicate ranges of time or distance, like 3–4 hours.

(—) em dash: a girl's best friend. slash j. but an em dash is used to indicate a few different things: an abrupt end to a thought or sentence, a "cut-in" where you interject something tangentially or unrelated before returning to the original thought, or a diversion in the sentence/thought. examples:

"no, listen, you don't understand—"

he scowled—an ugly look on his usually handsome features—and told her to be quiet.

it's not like she had wanted it to go that way—but when had it ever mattered what she wanted?

(()) parentheses: used to add additional context, information, or a semi-unrelated thought that would break the flow of an ongoing sentence without completely taking the reader out. example:

"no, i'm sorry. i just forgot to call you this morning," he said, looking away. (in truth, he'd sat by the phone for fifteen minutes trying to psyche himself into it, but hadn't been able to muster the courage.)

✬ show don't tell, and tell don't show

show don't tell is one of the classic pieces of writing advice that i do, often, think is correct -- but it's a little more nuanced than just never telling your readers what a character is thinking. you want the work to speak for itself without you implanting messages or themes into the reader's brain. at the same time though you don't want them to be doing too much work because it breaks immersion.

this ties into what i was saying above about simpler being better sometimes. you want to be concise especially in scenes that might call for it. a fight scene should be quick and snappy. no need to dig into the physical sensation of being enraged -- just say the character is pissed! but if a character is having a meltdown or panicking, you can get SO much more out of describing how that feels than just outright saying it.

✬ remember your perspective

another huge thing with show don't tell is that you don't want your character to be able to objectively say what everyone else is thinking and feeling -- unless that makes sense for them within the context of the story. really dig into it. DOES the character have a reason to know what their opponents, friends, etc are thinking? how well do they know the other characters? how attentive are they to the emotions of those around them?

it's better to focus on descriptions than labels in that case. say what face a character is making, describe their body language or tone. your character can have impressions, just make it clear that those ARE their impressions. and let your character be wrong! they do not have to be a completely objective source of information.

✬ when it comes to representation, if you aren't confident you can do it well, don't do it at all

i'm one of those people who's kind of of the opinion that white or cishet or otherwise systemically advantaged people have no place being the loudest voices in conversations about representation, least of all AS the representatives. if you are someone with systemic privilege and you choose to portray someone who is oppressed -- that's not necessarily a bad thing. but you need to be willing to do your research and have a sensitivity reader, and you have to be ready for people to say you did it wrong.

not much else to be said about that. your voice on the matter isn't actually all that important. there are people from the demographics involved who DO have stories to tell about themselves that will be MUCH more valuable than your perception of them, so it's honestly better to just let them tell it. that's how i feel.

✬ don't break the rules unless you know how to follow them. in other words, your rebellion should be obvious

a lot of times i see people breaking grammar or other rules and citing "stylistic" choices as their reasons why. which is all good and well, to an extent -- but you want it to be very clear that you ARE breaking the rules on purpose in a way that adds to the artistic merit of your piece.

if you don't know the rules, then it really just comes across like messy work. you both have to know how to apply the rules, and also how to break them in a stylistically significant way. if it doesn't make sense for the rules to be broken, if it says nothing... it's honestly better to just follow them. that's my take.

✬ don't be scared of names and pronouns

i said before that you want variety in your work, and that is very very true -- but it's also true that certain words like names, pronouns, etc will sort of blend into the background in writing. people don't notice them. that means if you're using a name or pronoun a lot in a scene to make it clear who exactly is being referred to...

hey. look into my eyes. breathe. it's okay. you do not have to resort to highlighting arbitrary characteristics of the characters. i know. just breathe. it's okay. use their names. they have them for a reason. it's all good.

this isn't to say that you SHOULDN'T do that, just do it when it makes sense to. if height is something the characters are noticing then use "the shorter boy". if age is relevant, eye colour, hair colour, whatever -- go ahead and use them. but don't be excessive with it. i should not be having to read the bluenette more than i'm reading shuichi's actual goddamn name.

✬ read

this is the huge one. reading other works informs your writing. it teaches you skills and tricks you can use. it helps expand your dialogue and your world view. it might even highlight to you things you do too much of in your own writing. read, all the time, whenever you can. it doesn't have to be books. it can be fanfic, articles, whatever -- just keep reading, because you will be passively absorbing knowledge during that time and it'll help you grow as a writer.

✬ practice

BOOOOOO TOMATO TOMATO TOMATO! SHE SAID THE THING SHE SAID IT!

but listen, it's literally just true. i write almost every day for at least a couple of hours and i have been on a trend of consistent growth for the past five years. go read my fics from 2019 if you don't believe me. i've grown fast and i've grown constantly. you just DO grow through constant practice, even if it doesn't always seem that way.

not only that, but you start to build confidence too. writing a lot helps develop those muscles to a point where you start to realise that you ARE that good and you DO have that dawg in you. or whatever. you just have to keep at it. you're not going to magically improve thinking for six months about how you want to be a better writer without practicing anything about it.

✬ yeah, betas are good

you want to have a good editor. i know that that can feel like having someone ELSE be the reason your piece is good, but that's genuinely not it. a beta reader is a second pair of eyes on your work, someone who can tell you about the issues and mistakes you're missing. they'll tell you when something doesn't make sense. they'll point out your punctuation errors. you don't NEED to have a good editor for every crummy little oneshot... but it's good to have one.

✬ numbers are fine and all but don't compare yourself to other people

i think almost everyone in some kind of creative pursuit wants to get some kind of acknowledgement for it. we want to be the best we can be, and it can be discouraging to receive utterly no validation along the way! i get it!!

just don't get caught up in crunching the numbers. you are not as good as your fanbase is. you alone know your skillset and you absolutely should not say "well this other writer got THIS much attention" because that'll just wear you down. it really will. external validation will only keep you going for so long, and you'll always end up needing more. you HAVE to build your own personal confidence first or you'll crash and burn.

✬ read your writing out loud

there is no quicker way to see if something is wonky in your prose than reading it out loud and seeing if it makes sense verbally. i highly recommend this to anybody who struggles with sentence flow. it's a good one.

✬ yippee hooray!

🥰 and that's what i've got for now. thank you if you made it this far, please take all these tips as you will, it is all subjective of course, these are just the tips that help Me the most when i sit down to write something.

please feel free to ask me for additional advice (on specific topics if you could!) at any time, i love encouraging new writers and i am passionate about writing so i will gladly offer support in any way i can, including beta reading works for anybody who might need that.

take care now 💖

#writing #writing advice #writing tips #fanfiction tips

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wandering-tides · 5 months

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TNE Fandom where are you?

Sujin shippers where are you?

I have Fics to Rec

I don't really go out of my way to rec fics (and I dunno why I have never done this before on tumblr), but BY GOD, have these two fics taken a special place in my heart.

I ADORE everything about them.

They are both Suho x Hajin ships

But the ship aside, I am so incredibly grateful for the authors to have brought them to life and allowed us to read these absolute GEMS of a fic in this little, little fandom of The Novel's Extra.

Really, y'guys have no idea how giddy and excited I get at every update.

Now, the fic in question?

1. Flowers of Agápē by DescendedGaia (Not sure if the author has a tumblr or any other social media... but lemme know if you want me to tag you :) )

Kim Hajin is a failure. There's no two ways to look at that objective truth. It's a truth that resonates through how others look at and ridicule him. It's a truth that echoes infinitely inside his head, compounding and doubling down on his inadequacies. It's a truth, despite the unconditional love of two parents that soothe but cannot dispel those haunting doubts. Kim Suho is simply perfection. The desperate vessel and ideal of Hajin's "ifs" and wishes. Because Kim Suho, the protagonist of Hajin's novel, is everything Hajin wants to be for his parents and more. But, that same story falls apart at the seams the same way Hajin has lost faith in himself. Yet, as the common narrative dictates, everything begins anew with an innocuous email requesting to remake Hajin's novel, his desperation and desire incarnate.

*** Alternatively, the extremes of Korean culture break Kim Hajin into someone who feels much more acutely, and everything shifts to the left.

This is such a MASTERPIECE. Hajin's characterisation in here is just *chefs kiss*. For me, thats one of the biggest plus points in this fic. Hajin is so much more emotionally sensitive in here and feels far more acutely than in the orignal, as should have been.

This fic has been adressing almost all the points that made me frown at or dislike in the orignal novel and manhwa (and from what I can notice, almost every one too).

This fic is kinda a rewrite of the orignal novel, (tho the author follows the manhwa flow of the story) with added Suho interactions, and such good characterization of Hajin, I fell in love at first read LMAO.

So far, there aren't any major spoilers (unless you read the author end note, where they give their own tid-bits of the chap, which sometimes contain spoilers too, or go to the comment section which may sometimes give you spoilers to the novel lol) If you are caught up with the manhwa, or atleast the season 1 of manhwa, then so far there won't be any spoilers for you!

And I think i'll stop talking about it here cuz if I keep going, I think i'll end up giving in-fic spoilers Lmao

(Oh, btw, this updates every other thursday! So far, it's been consistent in its updates ^^)

So onto the next fic!

2. Mountain To No one by @thek1ngtalks (as k1ng0fn0b0dy on ao3)

There's a number on his smartwatch that leads to nowhere. Suho's gotten in the habit of texting it throughout his day. Today, it texted back.

_ Or, in a world missing Kim Hajin, everyone is worse off. Fixing this starts with (a lot of) text messages between a protagonist and his missing piece.

And Man.... where do I begin? I have SO MUCH to say about this fic but I think i'll end up spoiling the whole fic if I start lmao. It's just so good dammit. Just gonna say that this fic takes after the end of the novel, after the conclusion. Only couple few remembers Hajin in the orignl right? Well, in this fic, nobody does. But Suho is probably (???) Going to be the first to remember... I dunno tbh, the fic is only 2 chaps in (and yes, I really adore it already)

I love what the author did with Suhos character and how he is dealing with the aftermath of... everything. Same goes for Hajin, and I love where they seems to be taking this fic. How they characterizes these two main characters and everything.

Listen, I have a LOT to say but i'll just end up giving spoilers so really go read it for yourself. This is another MASTERPIECE of a fic and I am so grateful for its presence in this little TNE fandom TT

Really, thankyou for such amazing fics authors!!

And that's all from me!! Lol I was so excited while writing this XD (could you tell? Lol)

(I edited this post twice because of all the typos I ended up making in excitement LMAO)

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moonstandardtime · 1 month

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OFFICIAL ART COMMISSIONS POST!!!

BASE COSTS

SKETCHES / SMALL DOODLES -- $10

BUSTS / PROFILE PICTURES -- $15

HALF BODY -- $20

FULL BODY -- $30

FULL PIECE -- $38

Communication will be over Discord, or Tumblr DMs if necessary. DM me here or use Ko-fi to start!

previews + more info under cut (blood/gore warning for one of the previews (its part of a screenshot, so not detailed))

WILL DO:

Humanoids

System alters

OCs

Fanart

NSFW (with limits)

Gore (probably not anatomically accurate)

WONT DO (with exceptions):

Super high detail designs (unless you have a detailed ref/are okay with less detail)

Animals

Complex scenes with over 3 characters

GENERAL GUIDELINES:

ALL OF WHAT FOLLOWS, AS WELL AS PRICES, IS SUBJECT TO CHANGE.

Payment via Ko-fi or Cashapp.

Costs are loosely based on an hourly wage. I'm open to minor negotiations, but don't expect discounts.

Payment is up front. If either of us needs to cancel at any point, I will provide (NOT FULL) refunds depending on where I am in the process.

Timeframe is around a week, give or take a few days, depending on the complexity of the ask. My ADHD is awful, so PLEASE pester me!

I need a ref! I'm not great at visualizing from text descriptions, so if you could provide references and a general sketch of what you want, that would be great! It doesn't need to be good at all--what I have in mind is really nothing more than a stick figure scribble. It just needs to get the idea across somehow.

I will work with you and talk back and forth as I work on the sketch! I will also check in throughout the process to make sure everything is going as you wish.

You can ask for a specific style! Simply provide an example of a piece I've done in the past. You can see my art on my tumblr -> https://moonstandardtime.tumblr.com/tagged/my%20art

PLEASEEE COMMUNICATE!! Thank you!

SPECIFICS:

REFUNDS:

- If you commission a piece and you cancel it, you will be refunded for what I haven't made significant progress on. For example, if you cancel a full-body with color, simple shading, and a simple background, and I've finished the lineart and started flat colors, you will be refunded $20 out of $55. You will recieve the unfinished piece.

- If you cancel a commission before I start it, you will recieve a full refund.

- If you cancel a commission before the intial sketch is finalized, you will recieve a 90% refund and the sketch.

REVISIONS:

- You can change as much as you want during the initial sketch. Anything after may come with a fee.

- If you want something changed late into the process, the fee will be increased.

- If it's too late, I may not be able to change it.

ON MY SIDE:

- I reserve the right to cancel and refund the order at any time for any reason.

- I retain all copyrights over the commissioned artwork.

- I will NOT claim the intellectual property (IP) of the commissioned artwork (your characters are still yours, etc.)

- I will NOT profit further from the commissioned artwork unless you (the customer) break any of the terms.

- I reserve the right to post the commissioned artwork online and in my portfolio..

ON YOUR SIDE:

- You may upload the commissioned artwork on any website and social channels.

- You may NOT make profits from the commissioned piece (reselling, redistributing, uploading to POD-services, making prints for selling, etc.)

- You may NOT alter the commissioned artwork without my consent.

- You retain the rights to the intellectual property (IP).

- You may NOT use the commissioned artwork for commercial purposes.

- The following is considered copyright infringement:

- Reproducing/using the copyrighted artwork commercially - means making money off it in any way not excluded from these terms.

- Claiming the artwork as your own.

- Altering the artwork without my consent.

#venus.txt #venus.art #my art

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hauntedhokage · 10 months

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PART 10: Patching Up

WORD COUNT: Thread by thread you're coming to accept that Bakugou really doesn't hate you.

SUMMARY: 1.5k

[series masterlist] | {ao3} | [tumblr masterlist] | {ko-fi} | [spotify playlist]

“We haven’t had a true date night in a while.”

The comment from Eijirou has you pausing in your apple slicing, and he doesn’t miss the chance to pull a slice from the cutting board to snack on while you’re distracted. “I’m not complaining, though. It’s something Bakugou brought up and wanted to make sure we were okay without that time.”

Of course it was something Bakugou had brought up. But that made you wonder if he was getting that time he needed with his boyfriend as well. Was bringing it up a hint or were you reading too much into it? Probably a yes to the latter, since Bakugou wasn’t the type to tip-toe around a topic when he was talking to Eijirou, but you can’t help but be a bit nervous when the blonde was making observations about your relationship. Things were better, but they still weren’t perfect.

“I hadn’t really thought about it, being honest.” You finally state after a moment of consideration, setting down the knife beside your half sliced apple so you could properly turn to look at your boyfriend. “I feel like we’re still getting that time, are you doing okay?”

“Yeah, I’m not upset about it by any means. I also hadn’t really noticed until he brought it up.”

It was interesting to you that Bakugou would bring it up at all. Not surprising that he’d notice by any means, since the blonde paid attention to everything, but he wouldn’t necessarily comment. Especially where your relationship with Eijirou was concerned. Now you were thinking the worst, and can’t stop yourself from voicing the first thought that came to mind.

“He’s not sick of us being here all the time, is he?”

“No, baby, that’s not it at all.”

“Are you and him getting the time you need? Like, I’m not-”

“You’re not intruding, not taking anything from him. He’s not upset, take a deep breath and relax.” And you do, letting him take your hands in his and holding them to his chest as he takes a deep breath. On the second breath you follow the action, smiling up at your boyfriend as he grins down at you. “Do you wanna go out on a date tonight?”

“Dinner and the arcade?”

“What about the mini golf place?”

“That new one? Nah, let the hype die down first. Last time we went somewhere new people thought I was doing a promo piece on it.”

“We got in for free though,” he reminds, and you roll your eyes as you pull away so you can go back to slicing your apple. “Arcade is good too. Scores on the strength meter reset last week so I gotta reclaim my throne anyway.”

“The only other people who try that thing are like twelve, babe.”

“I'm an inspiration to grow up and get big and strong.”

“More like overly competitive,” you counter, smacking his hand to keep him from taking another apple slice. “If you wanted me to slice an apple for you, you should’ve asked.”

“Is it too late to ask?”

“Considering you already ate half of my apple, yes.”

You elect to ignore the pathetic whine that leaves him, instead moving what was left of your apple onto the small plate before taking the cutting board to the sink to deal with after you’d finished your snack. You had work to do anyway, he could fend for himself for a couple hours. He doesn’t join you at the kitchen table, instead turning right where you had turned left while saying that he was going to pick out your date night outfit to leave you one less thing to worry about today, and that gives you the moment of freedom from his concerned gaze at how concerned you still were about Bakugou and how the blonde potentially felt about you.

You hated that you couldn’t just let things happen. He’d told you that he’d never hated you, he’d saved your life, he’d bought you a massive palm that was staring back at you - the palm that only ever brought a smile to your face whenever you looked at it. He was trying and trying so hard, why was it so hard for you to accept that he was okay with you being around? Why was your first instinct to assume that he had a problem whenever he was brought up? That wasn’t fair to him in any way.

Maybe Bakugou and I need our own date night? You ponder, clicking your pen idly as you consider it. Technically you were going to that community center opening together, but did that count as a date? You didn’t see why it couldn’t, but you also felt that he maybe needed something a bit more private to be comfortable calling it a date. You’d ask Eijirou for his thoughts when he came back from raiding his closet and dresser for a suitable outfit.

“How come you haven’t worn this shirt in a while?” The question comes fifteen minutes later and has you looking up over your laptop to see Eijirou holding up one of your blouses, the black one with the white and orange flowers. The one you’d worn the day you yelled at Bakugou at the news station, the one you’d been staring at every time you saw it neatly folded on the shelf above their washing machine over the last couple of months. The one that reminded you that Bakugou had tried to extend an olive branch and you’d snapped it in two without thinking twice, extending the suffering for the both of you. “It’s one of my favorites and I miss seeing you in it.”

“The button came off,” you explain simply, choosing to leave out the rest of the history that shirt held for the sake of avoiding a conversation about how bad you felt about that day. “I’ve been meaning to take it to the dry cleaner to have them fix it since I can’t but I keep forgetting. The last few weeks have been a bit much.”

“Yeah, fair. Which button was it?”

“The top one. Not really one I use, but I don’t want to lose the button either.”

“You sure you’re not thinking of a different shirt?” He asks, earning a raised brow from you as you lean back in your seat. “Because the button is attached?”

“No, it was that one because that’s the-” you catch yourself, standing from your chair so you can cross the flat to get to where he’s standing with your shirt in hand. He hands it over easily, concern obvious on his features as he watches you closely inspect the button. “I swear it was this one. This is the shirt I was wearing when I yelled at Bakugou at the station, he had offered to- oh my god.”

“What?”

“He fixed it.” You whisper, looking closely at the threads that held the imitation pearl button in place before comparing it to a button that you knew wasn’t damaged. Sure enough, the threads on the fixed button were brighter than the worn threads of the others - meaning that they were newer. “Katsuki fixed the button.”

It was something that was so small in the grand scheme of things, but in this moment with the history that you had with the blonde it meant everything. He had taken the time to locate your shirt and reattach the button and patch the small tear, even though he had nothing to do with the damage to your shirt. He’d only been there when it happened, that’s all.

“I’m not good at this shit, but I don’t hate you. Never have.”

He said that to you at the hospital, and you can only laugh to yourself at the fact that he was terrible at this shit. But, clearly, so were you if you’d resigned yourself to never wearing a shirt until you remembered to take it to the dry cleaners when you knew the blonde was capable of fixing it and you just didn’t want to ask.

“God, I suck,” you whisper, lowering the fabric to see Eijirou watching you with a concerned frown. “I suck so much, Eiji.”

“Not right now, baby. You did then, but how you both were then isn’t how you are now,” he reasons, gently pulling the blouse from you and draping it over his shoulder. “Then, yeah, you both sucked a lot but I think it’s safe to say you’ve both grown out of it and are a lot better now.”

“Yeah, but-”

“No buts, and no more living in the past.” His tone is very final as he gently squeezes your hands, and you can only nod while biting your bottom lip. “Stop worrying, or I’ll kiss that frown off your face.”

“That’s the opposite of a threat, Eijirou,” you tease, finally smiling as he pulls you in for a kiss. “He’s out all night?”

“Yeah, why?” You only look up at him, eyebrow raised as your fingers play with the hair at the base of his neck. “Oh! You don’t want to go out anymore?”

“I’d rather have you kiss the frown off of my face, Eiji.”

#alp #kirishima eijirou #bakugou katsuki #kirishima eijirou imagine #kirishima x reader #bakugou katsuki x reader #bakugou imagine #katsuki bakugo imagine #kiribaku #mha fanfic #bnha fanfic

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On Heteromorphs and Heteromorphobia (Arc XXI-B + Conclusion, Final War-B: The Hospital Attack)

To preface before I start documenting these final four chapters, there’s been a lot said (not least by me) about how wildly out of touch the resolution to this plotline is. While I didn't set out to rehash all of that again, it turns out I can't actually talk about how the series portrays heteromorphobia without talking about how it resolves it—if I'd wanted to do that, the place to stop would have been with the last post. This whole piece is also destined for AO3 eventually, so it needs to be readable for those who don't follow me on tumblr. Therefore, if you've been following my #heteromorph discrimination plot posts for a while, there are portions of this post that will be pretty familiar territory!

If you're new and want my full breakdowns, you can find them in my Chapter Thoughts posts or in this pair of posts rounding up the asks I’d gotten on the topic. Here, I will simply say that I don’t think Horikoshi’s fumbling of the plot can be read to mean that all the stuff I’ve documented thus far was just me reaching too hard, reading stuff into the manga where nothing was intended. While I’m sure some of it is—I definitely went out on a few limbs!—I think the main answer to, “How can heteromorphobia be such a well-thought-out depiction of a logically foreseeable form of discrimination while also having such a terrible resolution?” is, “Because the mainstream opinion about how best to handle discrimination is wildly different in Japan than it is in progressive American circles.”

That doesn’t mean I’m willing to wave the wand of Cultural Differences over this resolution and forgive everything—there were plenty of Japanese fans critiquing it as well![1]—but it does somewhat modulate my feelings about it. In any case, let’s get to it.

1: Most of what I saw was on Twitter, but there’s a Japanese site called bookmeter that’s kinda goodreads-esque, and which had several critical reviews posted for the volume, including one that felt like every point laid out was something I’d complained about as well. Super validating, but a shame it was necessary!

(I'll be changing up my formatting just a bit in hopes that I can find a way to present sub-sub-bullet points that tumblr won't choke on in this 13K post. Pray for me.)

Chapter 370:

O We open with a scene which we’re led to believe is about Spinner but which the end of the chapter will reveal to be about Shouji. It’s shockingly open about the extent of the discrimination Shouji faced, and there’s worse yet to come, but here we find people throwing stones at him, telling him to die, saying he has dirty blood that will defile the land, that he should stay inside the house, and that no matter how much time passes,[2] they will never accept “his kind.”

2: Viz renders this as “no matter how much society progresses,” but the word jidai means something more like “the times”/”the age,” and the progression term used can mean improvement, but in the circumstances, probably just means forward movement. I think the intention is more like, “No matter how much the times march on,” if only because it would be very odd for the people yelling this vitriol to frame it as themselves resisting progression. After all, bigots don’t typically think of themselves as “regressive” compared to everyone else’s progressiveness; they think of themselves as normal or valuing tradition compared to everyone else’s moral laxity/perversity.

So, remember how I talked about the spiritual/religious charge to the language the CRC used to talk about their “sanctuary” and the League/Spinner’s presence in it? Here’s the full scope of that. It’s about kegare, a Shinto concept of uncleanliness associated particularly with blood and death, and while that’s normally something that can be purified simply by undergoing the proper ritual cleansings, when something is, in itself, intrinsically unclean, no amount of purification will fix it; you can only keep it sealed away. Hence the yelling at Shouji not to leave the house.

The spirituality-based discrimination calls to mind the burakumin, originally an outcaste group of people who made their living working with all the aspects of life Shinto considered kegare—butchers, tanners, executioners and the like. They were made to dress and cut their hair in ways that identified them on sight, barred from entering temples or schools, and lived in their own villages. The laws mandating much of this were abolished in 1871[3] and urban sprawl gradually rolled over burakumin villages, turning them into slum areas. While today it’s not uncommon for people to not even know they’re descended from burakumin lineage unless they’re specifically told,[4] more subtle discrimination does endure. While it’s clearly not the only inspiration, there’s a lot about anti-burakumin bias that’s reflected in heteromorphobia.

3: Albeit not without considerable and violent protests against the liberation of the burakumin/the idea that they were henceforth to be allowed to hold other occupations and become ordinary citizens. Arson, destruction of villages, attacks and deaths—all things considered, the anti-Kaihourei riots are probably a decent place to look for inspiration on the historical massacres Spinner’s #2 will be talking about shortly.

4: Or find out because someone who knows the significance of those old neighborhoods finds out first and they’re suddenly on the bad end of some discriminatory act or another.

O We find out that the group Spinner’s leading consists of fifteen thousand people, that number split between PLF remnants and ordinary civilians who support the PLF’s cause. It’s unknown exactly how that split breaks down, but based on how the rest of the attack goes, I think it’s probable that the group is mostly civilians—if it were more PLF, it probably wouldn’t be so wholly defanged by Shouji’s big plea for peace. So that’s what we might call a “bad look,” that fifteen thousand ordinary civilians feel so incredibly hard done-by that they not only flock to join a known terrorist, but that they do so for the purpose of attacking a hospital.

O They’re opposed by about two hundred police and heroes, the relevant of whom for our purposes are Present Mic, Rock Lock, Officer Gori, Shouji, and Koda. With the exception of Present Mic, who will in any case be heading inside very shortly, they’re all minorities of some sort, with Rock Lock being very visibly, obviously Black, and the others being heteromorphs. None of them are immediately thinking about the composition of the crowd, but rather about how difficult the crowd is being to handle.

O Rock Lock yells out that the rioters are too organized to be some random mob, a dismissiveness that gets him shouted at by the Spinner fanboys—tragically their only appearance in all of this!—that, “Folks with human faces just don’t get it!” I have to assume that putting Rock Lock in this scene is no accident, but rather is there to make the rioters come off as short-sighted, so deep in their own pain that they lash out at someone who, if HeroAca!Japan is anything like present day Japan, almost certainly understands better than they think!

The phrasing, in any case, points towards the dehumanization that heteromorphs, especially animal-associated ones, are subject to. After all, as Re-Destro might point out, in the post-Advent world, isn’t it the case that any given heteromorphic human’s face, no matter how strange it may be, is de facto a “human face”? Yet the vitriol from the Spinner fans clearly reflects how internalized it’s become for them, that they don’t look “human,” despite the fact that “looking human” means nothing at all in the time of quirks.

O Koda gets called a traitor by an elderly beaked heteromorph from, apparently, a rural area, underscoring what’s been alluded to a few times prior to this, and which will be laid out explicitly in a few pages, that heteromorphobia is far, far worse in the countryside than it is in the cities. Mr. Beak assumes—correctly, it seems[5]—that Koda’s a city kid, because why else other than ignorance would a fellow heteromorph stand against them?

5: Koda’s from Iwate Prefecture, which is only above Hokkaido in terms of population density; a bit of research suggests that its largest city, Morioka, is considered to be a mid-sized city. So that’s definitely the hard upper limit on exactly how “big city” Koda could reasonably be. That said, Shouji also identifies Koda as someone who grew up in a city, for which I assume he must have at least some basis.

O Spinner’s #2 fulfills the promise of his early shorthanded characterization of being a fiery, well-spoken zealot by standing on top of a building over the mob and exhorting them onward with revolutionary, inflammatory rhetoric. And boy, does he bring up a lot to talk about!

Demagoguery for Fun & Profit

O Quirk counselling and quirk education? Phony nonsense, he says. That’s a fairly confusing grievance to bring up in this context, so let’s consider what he might have in mind.

• For quirk education, I would contend that BNHA has shown very little of it, in spite of having Academia right there in the title. The academics in question are about Heroics, after all, not quirks in and of themselves. Here’s the complete list of what I would say the reader has seen that could be qualified as actual education about quirks:

Aizawa telling the kids(/low tier villains at USJ) some broad generalities, things like a very basic explanation of how quirks work on the genetic level or how they’re classified. Most of this is delivered in the context of how his quirk works; the only outlier that immediately comes to mind for me is his explanation of how quirks are like muscles, and can be strengthened via training.

Mirio and Tamaki’s middle school class doing “quirk training,” which is framed as a P.E. class and is specifically aimed at finding ways for each kid to be “useful to society,” not about them learning anything about quirks in a broader sense.

Endeavor’s recent reference to Nedzu’s alleged “quirk morality education,” about which I have already registered my skepticism.

The bit in Re-Destro’s monologue to Shigaraki where he mentions he was taught not to judge others by their quirks. It’s hard to judge how applicable this is to normal society because Re-Destro was raised in a cult, and the book shown during this sequence was released by Curious’s publisher.

So of those options, what is #2 talking about? I’d say the last one is probably closest to what he means: don’t judge others by their quirks. But of course, people judge others by their quirks all the time. Family, classmates, teachers, people in the same neighborhood, heroes and police—we see examples from literally the first page of characters who are being judged by their quirks or lack thereof. While that judgement doesn’t apply only to heteromorphs, they are, by dint of their visibility, going to face it everywhere they go, regardless of whether any given situation—say, going to the grocery store or on a date—involves quirks or not. So, whatever lessons people in this society are getting about quirks and judgement, they clearly aren’t absorbing them.

It also bears pointing out, of course, that #2’s personal affiliation is with the Metahuman Liberation Army, and he definitely shows signs—as I’ll get to in a bit—of the quirk supremacism that group is so unanimously painted with in the endgame. So while the supremacy he’s preaching is about heteromorphs rather than quirks more generally, he could well be saying quirk education is phony because he’s all for judging people on their quirks! However, his criteria for that judgement differs from both forms of judgement taught by the society he’s railing against—what they practice and what they preach.

• Then there’s quirk counseling, a practice the story most prominently associates with Toga, who’s barely a twitch of the needle away from baseline (though her abuse is not wholly without reference to her appearance, in that her natural smile is repeatedly branded as scary or deviant). So why bring it up in association with heteromorphs? My suspicion is that a heteromorph—especially a heteromorph with an animal-associated quirk!—being visibly “different” in some way makes the people around them hyper-sensitive to behavioral “deviations.”

For a start, you see that hyper-sensitivity brought to bear against Toga. Curious contends that Toga’s sense of “admiration” was a perfectly normal thing, but it was the tie to blood that made it wholly unacceptable. It’s notable that, before she snapped, Toga was never shown to actually want to hurt people: the bird was already injured when she found it, her friend got a scrape the way any child might, Saito was involved in a fight Toga had no hand in. She hurts people now because a lifetime of rejection and dehumanization, but Toga’s admiration of blood was not intrinsically indicative that she’d grow up to be violent; people treated it that way because of cultural attitudes towards blood and blood-attraction.

So, might the same sort of thing be true of e.g. animal-associated heteromorphs? That they might exhibit behaviors which would, in different circumstances, be totally fine, but which they’re judged for unduly harshly because of cultural beliefs about the animal they resemble? Let me just spitball a few possibilities:

A cat heteromorph who, as a child, showed affection by nuzzling. That’s fine when a literal kitten is doing it, and funny and cute when a baseline child sees a cat doing it and imitates it for fun, but when the cat heteromorph does it, he makes people uncomfortable, makes them wonder if he lacks self-control, comes off as weird and too-forward. So his parents rebuke him and bring him to a quirk counsellor to break him of the habit, leading him to feel ashamed and alienated from a harmless natural impulse.

A snake-headed girl is the first heteromorph in her family line and the way she stares at people so fixedly, never blinking, creeps them out, makes them feel like she’s dangerous. She isn’t and has no intention of being so, but she’s sent to quirk counselling anyway and the lesson she learns is to just never look people in the eye at all.

A condor heteromorph develops a morbid interest in corpses in middle school. He doesn’t want to eat them, he’s not some kind of cannibalistic animal—at least that’s what he told himself before quirk counselling, where his counsellor, like his teachers, assumed that his interest had to be tied to animal instincts. He wanted to be a mortician, or join the police and get into crime scene investigation, but when he told people that they just looked at him like he was already holding a fork and knife. (He ends up getting into photography, and just has to live with the fact that now people have two excuses to call him a vulture.)

Two children—one with a plant-based emitter quirk, the other an eight-eyed spider heteromorph—are caught in the act of killing some insects by a local police officer. It’s the sort of innocent childhood cruelty you might find anywhere, and, indeed, when the officer calls their school about it, that’s what gets decided about the emitter—he was just a child who didn’t know any better. But the heteromorph gets recommended for quirk counselling instead—after all, spiders kill insects. What if this is an early warning sign for instincts towards predatory behavior? It’s important to nip these things in the bud.

That’s all off the top of my head or taken from some conversation with friends on the topic, and maybe it’s a reach, but it’s also a very plausible explanation for why a heteromorphic idealogue might bring up quirk counselling as a specific grievance—because, like the Villain-designation for criminals, it’s unevenly and unfairly applied.

O The next point #2 makes, and definitely the one that made the biggest splash in fandom at the time, is his invocation of a pair of historical incidents, possibly both but at least one of which was a mass murder targeting heteromorphs, carried out by a bunch of baseline types. He names them as the 6/6 Incident and the Great Jeda Purge. These are both stealth Star Wars references, though the former is disguised a bit better by being in the same format that Japan sometimes uses for naming events like attempted coups.[6] Given the image we see, it’s fair to assume the event in BNHA was similar.

6: See for example the May 15 Incident or the February 26 Incident, called the 5・15 Incident and the 2・26 Incident respectively in Japan. You see this in China as well, with the Tiananmen Square massacre being referred to there as the 6/4 Incident.

Notice that the perpetrators here are mostly holding weapons. Were they quirkless themselves, or were they avoiding using quirks such that they couldn’t be branded as Villains? Knowing the answer to that would give us a timeframe for this.

He goes on to declaim, on the basis of these events, that the history of the paranormal is one of persecution and oppression of those with “differing forms.”[7] The term in Japanese there is kotonaru katachi, 異なる形, which uses a different reading of the kanji in igyou (異形) and muscles in a verb conjugation, which has the effect of softening the harshness of 異 somewhat.[8] This would be a great catch-all term for those with heteromorphic bodies who might or might not have heteromorphic quirks[9] if it weren’t for the fact that literally the only person we ever hear using it is an anti-social zealot. No one on Team Hero ever makes this kind of distinguishment.

In any case, #2 is obviously over-simplifying to play to his audience—recall the baseline woman we saw back in that shot of Persecuted Early Quirk-Havers back in Chapter 59—but, as I’ve discussed extensively, being more visible does make one a more ready target. Also, of course, the presence of the CRC in the story lays the groundwork for this sort of historical horror story even long after the worst days of the Advent.

7: I provide my own translation here because the Viz one, “those who don’t fit the mold,” is vague to the point of uselessness.

8: The koto reading, as best I can tell, seems to be pretty rare, often tagged as archaic in words including it. The i reading is far more common, in words that denote wrongness, divergence, abnormality, and so on. But it may be less about the reading and more about the fact that adding the verb conjugation makes the term more of a descriptive phrase than a direct noun. As ever, take my talk about Japanese language minutiae with a grain of salt.

9: “Differing forms” is broad enough, however, that it could also be read as covering, say, people with amputations, congenital anomalies, or other sorts of non-quirk-related disfigurements from accidents or disease. As in real life, navigating the linguistic space between specificity and Othering can be tricky.

O Next, #2 rhetorically demands what excuse was given by those who perpetrated these slaughters? He answers his own question with the quote, “They give me the creeps.” Note how this ties in with my earlier suppositions about the likelihood of discrimination worsening the farther one is from baseline, as well as those about the necessity of putting up a good, positive, appealing front. It’s a perfectly intuitive leap, that more extreme variants of heteromorphy, or those who evoke negative associations—animals tied to rot or bad luck, people made wholly out of green ooze—are going to be more likely to be found “creepy” than those who look like e.g. sexy bunny girls or straight-laced guys who just happen to have pipes jutting out of their calves. Of course, that’s on something of a sliding scale; the more biased an area is against heteromorphs in general, the easier it will be to find oneself on the wrong side of that line.

O #2 presents the idea that society has reflected on their actions and made amends, or at least that’s how society’s narrative goes. Illustrating this, we see two of the three heteromorphs in the police force, as well as Nedzu. Interestingly, the panel does not include any heteromorphic heroes! I might guess that this is because heroes are meant to use their quirks to serve others; they’re really just enforcement tools, lacking any particular authority beyond a quirk-use license and some admittedly broad soft power courtesy of the social contract.[10] Conversely, a school principal and a police chief (Gori remaining the outlier here) have actual authority, such that the average heteromorphobia-denier can point to them as evidence that heteromorphobia doesn’t exist anymore.

10: Which is to say, I don’t get the impression civilians are required to take orders from heroes, such that they would actually get in legal trouble for disobeying. The fact that people do typically follow those orders speaks more to the power heroes wield via their association with the police force, as well as the general tendency of people to assume that someone in a uniform giving orders during an emergency is probably a professional whose orders it would be safe and wise to follow.

In the same panel, we also see a baseline guy palling around with a vaguely murine heteromorph dude (he looks more like a mascot suit mouse than an actual mouse, but he’s certainly nowhere close to baseline!), illustrating another way society wants to pretend it’s moved past heteromorphic discrimination. I can’t help but note, in regards to this specific pair, that the manga uses faces the readers know to illustrate the point about heteromorphs in positions of authority, whereas to make the point about baseline/heteromorph friendships, it has to make up a new pair to show us because the series hasn’t made the time to actually build any (heroic) relationships that actually look like that!

Now, one could argue that using familiar faces to underscore #2’s speech would imply that he’s aware of those faces, and while that’s fine for figures of authority, there’s no reason for him to be aware of e.g. Natsuo and his mousey girlfriend. However, the same would apply to anyone placed to demonstrate a random urban friendship crossing the “differing forms” line, including those two strangers. Who are those two, after all, that #2 is any more familiar with them than he would be of Natsuo and mouse gal?

Honestly, I think the best relationship candidate we have—a pair who would both communicate what the panel needs to communicate to the reader and who would feasibly be enough in the public eye to get pointed at for rhetorical purposes by an in-universe speaker—would be Kamui Woods and Mount Lady. Unfortunately, they don’t work because Horikoshi has never seen fit to actually reveal Kamui Woods’ real face, so they’re much less visibly “a baseline person being emotionally close with a heteromorph” than the random two Horikoshi made up.

O The oratory continues into discussing the divide between city versus rural views on heteromorphs, and this is, to me, the first clear sign that the series is beginning to lose the thread of this plot. Taking #2 at his word asks us to concede the heteromorphobia has been completely wiped out in cities, eradicated with that wonderful antidote called “education.” But discrimination very much does exist in cities! It may be less violent, less extreme, less vocal, but in the form of things like law enforcement bias, housing discrimination, microaggressions, the quirk counselling #2 himself brought up, it’s very much still there! Now, it could be that he’s just downplaying that discrimination to focus on the really ugly stuff you don’t see in cities, but I don’t know what his reasons for doing so would be? Not when there’s so much else he could say that would be equally inflammatory without alienating urban heteromorphs by dismissing their still very much present, modern suffering.

O He then brings up the talk of “light”—echoing Skeptic’s earlier rhetoric—and it not reaching those gathered at the hospital, so they must make their own, for people who’ve never once regretted the quirks they were born with can never be their heroes. What this primarily puts me in mind of is Hawks’s background with heroes prior to his father’s arrest—that heroes were only on TV, not present to save him in his actual life. Keep that in mind for Shouji’s response later on.

O Towards the end, #2’s speech finally tips over the line from what could plausibly be read as protesting unequal treatment to an outright call for supremacy. Notably, he doesn’t call for quirk supremacy, but rather for heteromorph supremacy—for the tables to be turned, the cards reversed, for them to not merely be equal, but rather to be superior.

It’s unclear how much of this he’s sincere about and how much is just convenient rhetoric disguising views that are more quirk supremacist in actuality. For many reasons, I want to read him in good faith: because the MLA originally struck me as being written in good faith throughout MVA and the first war arc; because #2 never once uses his quirk in this mini-arc, casting doubt on him having such an amazing quirk that he’d benefit overmuch from quirk supremacy anyway; and especially because it would be incredibly bad faith on Horikoshi’s part to make a character delivering a speech like this a total bad faith, manipulative outsider. Unfortunately, #2’s inner monologue in later chapters will make a good faith read all but impossible to sustain.

O Halfway through his speech, #2 unmasks himself, revealing both his face—dominated by four pairs of pedipalp-esque mouthparts, though the markings on his head are pretty eye-catching, too—and his scar. We’re never told how he got it, but the implication is certainly that he was attacked for his appearance. That may just be a conclusion it serves him to let people make, given his bad faith elsewhere, but thankfully the manga doesn’t go so far as to say that explicitly. In any case, his deliberate reveal turns his wound into a form of performance art, drawing attention to it, forcing it to be a part of the conversation—the polar opposite of Shouji covering his scars because he doesn’t want them to be a part of the conversation about him, and those scars being revealed because his mask is torn off against his will.[11]

11: This also fits a larger pattern of villains, by and large, choosing their expressions of vulnerability, making deliberate shows of agency in how their weakness is perceived by the broader world—Shigaraki taking his hand off for the first time, Dabi’s video, Toga approaching heroes with genuine questions, and so on. There are certainly exceptions, but generally if a villain shows his “true face,” it’s because they’re making a conscious decision to do so, and may be actively manipulating how that reveal is going to land. Conversely, heroes want to present a powerful, confident, untarnished image to the public, so their shows of vulnerability all have to be forced out of them after pitched battles or acts of violence. Heroes don’t make themselves vulnerable to the public on purpose, which feeds into the way the public then treats them when they are forced into vulnerable positions.

O Spinner’s a mess at this point, and the reason he’s a mess is all tied up in his faith in/desire to help Shigaraki. It’s not explicitly about heteromorphobia, but on the other hand, given that the thing that drove Spinner to be here at all was his horrifically low self-esteem caused by heteromorphobia, maybe it’s not so irrelevant after all. It may have taken Spinner longer than the Tenkos, Touyas, and Chisaki Kais of the world to reach the “fall victim to a dark influence due to the neglect and abuse you faced at the hands of Hero Society” plot, but he certainly got there in the end![12]

12: I call this The Sekoto Peak Problem, and it’s a big criticism of mine about how the final arc is framing all these conflicts as being solely brought about because Bad Faith Villain Men like AFO are scooping up vulnerable people and driving them towards violence, without acknowledging the much worse circumstances those vulnerable people might be in if they were just left to their fates. Touya, for example, if not for AFO’s timely rescue, would likely have simply died on the mountain long before Endeavor was able to find him.

O Shouji takes the mob to task for attacking a hospital without ensuring the safety of the uninvolved innocents within, a laughable bit of sophistry[13] that accurately foreshadows how disastrous his reasoning will be throughout the rest of these chapters.

13: It’s laughable sophistry firstly because the heroes knew this mob was coming but chose to leave Kurogiri at a hospital anyway; one can mount a very reasonable argument that Kurogiri’s teleportation power qualifies him as a military objective, which would make stashing him at a hospital an actual war crime in an international conflict, as well as negating the hospital’s protected status as a civilian object. It’s laughable sophistry secondly because it criticizes a Villain-led mob for failing to evacuate the building, as if said mob had exactly the same social cachet possessed by heroes, that they could freely walk in the front door of a hospital and start shouting evacuation orders with reasonable confidence that they’d be obeyed. Finally, it’s laughable sophistry because Shouji is quite simply wrong about the order of the actions he’s describing—the heroes’ evacuation of Ujiko’s hospital was concurrent with their invasion of said hospital, not precedent to it.

Chapter 371:

O Shouji accuses Spinner of taking actions that will set them back thirty years, which is just a really egregiously victim blamey sort of thing to say, placing the responsibility on heteromorphs for the crimes of those who hate them.

O Koda’s perspective gives us a flashback to Shouji telling his classmates about his history—his town and his scars and his reason for wanting to be a hero. It’s all material that works in the context of all the set-up we’ve gotten—the CRC and the religious inflection of their specific brand of hatred, the rural heteromorphobia, the hints about Shouji’s own discrimination, the attack on the Ordinary Woman, and so on—but that would have been far better served to have been integrated into the story more naturally. Koda has no specifically established relationship with Shouji (seriously, there is absolutely nothing; it’s shocking how out of nowhere his sudden deep dedication to Shouji is), nor does the scene he remembers have any specific flags for when it might take place,[14] leaving the memory feeling less like a natural extension of their arc than it is a graceless sequence muscled in to attempt to rouse some emotion in the audience when Koda has a quirk awakening he is not otherwise remotely in dire enough straits to have rightfully earned.[15]

14: Shouto and Bakugou being missing might suggest that they’re off at their remedial license course, which would put the scene somewhere in late September up through December (stretching from the aftermath of Overhaul to the introduction of the MLA), save that there are several other students missing as well—Sero, Iida, Sato, and Aoyama, none of whom where in the remedial course.

15: Nearly every other inarguable quirk awakening[※] we know of in the series has as a chief component serious physical injury: Bakugou, Ochaco, Toga. Geten’s is the only exception, and his is tied to the strength of his feelings for Re-Destro, which are clearly and overridingly his most significant character trait! Shouji is not anywhere near that central to Koda’s life, and he sure as hell isn’t injured enough to have gotten it that way.

※: By which measure I exclude stuff like the change in Shigaraki’s Decay or Mina’s acid attack against Gigantomachia. Shigaraki was explicitly just breaking through a mental block to access power he already had. Meanwhile, if Mina’s Plus Ultra moment had been a sudden quirk evolution, she wouldn’t already have an attack name picked out for it, nor would her horns have gone back to normal after it. Acidman: ALMA is an Ultimate Move, not Mina having a quirk awakening.

O The flashback itself calls for another subsection.

Ignoring the Difference Between the Personal and the Systemic for Fun & Profit

O The big thing here the description of the whole town coming out for a “blood cleansing” whenever Shouji touched someone. This is depicted as Shouji, probably a preteen in this sequence,[16] being savagely attacked with farming tools, the most visible of which is a pitchfork. This visual, as well as #2’s invocation of historical slaughters, is the darkest heart of heteromorphobia: a child being ritualistically assaulted in the open street as a matter of course, as a consequence for touching someone. This is the image you should hold in your mind as The Problem through all of the potential answers and responses that get trotted out through the rest of these chapters.

16: Visibly older/bigger than, say, Kouta, but also visibly younger/smaller than middle school Deku.

Before moving on, I do want to examine this image in just a bit more depth.

This is, firstly, the moment that Shouji got those scars, and it’s very important to note that what we’re being shown is likely not a random, representative sample of what the town “coming out in force for a blood cleansing” looks like. The strong implication is that this is in the immediate aftermath of the sequence we’ll see shortly of Shouji saving the girl from the river: he’s wearing the same clothes and shoes,[17] he’s the same size, and there’s a spray of blood from where he’s being struck across the mouth where he didn’t have his distinctive scars when he saved the girl. Does that mean the blood cleansings were typically not this violent? That’s hard to say. On the one hand, we don’t see any other scars on Shouji, and he wears his arms pretty bare! On the other hand, we never see any part of his body bare except his neck and arms, and since he can regrow his arms,[18] they’re not exactly conclusive evidence that he’s never been scarred there. Also, he does say talk about his situation—the scars he bears—as something other children in the country have to bear, suggesting that the norm is rather worse than a little symbolic gash across the palm or something! 17: In fairness, he may not own very much different, as I’ll discuss shortly. 18: The duplicated ones, at least. I seem to recall reading once that he could regrow the base set as well, but I’m still working on tracking down a citation on that.

Secondly, as was the case with the image of the historical massacres, the adults here are using tools/weapons in the assault, not quirks. As I mentioned in a footnote last time, them not using quirks to carry out this attack makes them merely criminals, not Villains, and therefore not nominally a Hero’s job to deal with. While I can’t imagine any Hero in the manga these days would stand back and let this go on, the absence still stands out—no Hero is participating in this, nor observing from the sidelines, nor trying to intervene. Heroes simply don’t figure into this picture at all.

Thirdly, we can see a few children in the background, both there with adults, I assume their parents. The child on the right is a passive observer, clinging close to their mother and simply watching; their father has one hand supportively on their shoulder. Neither parent seems distressed, insomuch as we can tell from their somewhat indistinct features and rather clearer body language. The child on the left is being actively held back by their mother, who’s standing with her back to the violence, her body interposed between it and her child. The kid is reaching out towards the scene, but it’s unclear what the intent is. Are they trying to intervene or do they want to join in? Neither child appears to be the little girl Shouji saved—the one on the right is dark-haired, and the one on the left—the more likely prospect just going by the body language!—is wearing a long, dark T-shirt instead of the little girl’s overalls. I suppose the left one could be the little girl if we assume she was hustled out of what she’d been wearing by her parents, eager to get her out of now-tainted (and also soaking wet) clothes and into something dry and warm and, in more ways than one, clean. However, that seems like the sort of thing that would take longer than what looks to have been a pretty impromptu, disorganized bloodletting, unless everyone just held off on assaulting Shouji right out on the street until the “victim” could be present.

Finally, there’s the pair of adults right at the center of the background. If anyone in this picture is actually related to Shouji, I’d put money on them being here, watching but not attempting to intercede. I don’t think it’s conclusive, though; the woman is thin and hunched, making her look older—I’d guess Shouji’s grandmother before Shouji’s mother. That hunched posture and her hands being raised to her mouth do give her the most obviously distressed appearance of any of the adult, though, to the extent that the person with her is focused on supporting her rather than watching what’s going on in the foreground—and forward attention is what I’d expect if the dark-haired figure is related to Shouji.

So that’s the image we have of the crowd—actively taking part or observing with varying degrees of reaction running from distress to indifference to, potentially, enthusiasm.

O Next, let’s talk about Shouji’s parents. He implies they were baseline—at the least they were significantly more baseline than Shouji himself, as they lacked arms “like his.” That makes it quite telling that Shouji’s parents are nowhere to be seen in his story beyond the simple mention of how they were different than him.

Now, I don’t want to suggest here that Shouji’s parents are completely irredeemable people. While I would imagine that—at least initially—they shared their town’s bigotry, having a heteromorphic child themselves would have exponentially increased the hardship of their own lives. In a town like that, I’m sure that many if not all of their neighbors must have come to regard them with suspicion of wrongdoing or transgression—recall the first page of the last chapter, where Shouji is accused of tricking the town in his having brought dirty blood to it. Hie parents almost certainly lost friends and likely became ostracized themselves, and ostracization in a small Japanese town can be a horrifying thing to deal with.

And yet, even with all that being the case, they didn’t abandon Shouji or give him up; they didn’t commit family suicide with him.[19] Assuming he wasn’t removed from their custody after the incident, they’re presumably paying his school and living costs;[20] likewise, unless he just ran away from home or is carrying out an incredibly elaborate deception about what school he’s attending, they almost had to support his desire to attend a hero school to begin with. In his situation, parents who support his desire to be a Hero is a big fucking deal. After all, between the winning and the saving, heroes will de facto be touching people all the time! If Shouji’s parents still live in his hometown, how do you think those people will take it when someone first realizes the Shouji family sent their kegare-riddled monster off to be a Hero?

19: The history of honorable suicide in Japan casts a very long shadow, and when it’s combined with the meiwaku culture, you get an underreported epidemic of things like parents who can’t see their way out of a bad situation taking their lives and their children’s as well, so as not to leave messy loose ends that others will have to bear the burden of dealing with.

20: I won’t get into whether or not the U.A. students’ parents are paying for any given thing on the following list, but here are some potential costs to consider, assuming that Shouji, like Uraraka, was commuting from an apartment prior to the dorms being implemented: tuition, school uniforms, textbooks, school supplies, school meal plan, food not served at school (e.g. breakfast and dinner or meals when the school is on break), non-uniform attire, personal care and hygiene, housing and transportation costs, a measure of spending money for unanticipated expenses or culturally expected gift-giving, etc.

All that being said, it’s obviously not a glowingly loving relationship, either. Think back to Shouji’s absolutely barren room in Chapter 99 and consider it in the context of the information we get in this chapter. Is he really so ascetic by inclination, or is he just used to making do with as little as possible? After all, it goes without saying that if him coming into contact with someone called for blood purification, anything he himself was in regular contact with was also to be considered incredibly impure. That includes his clothes, personal belongings and living space; even setting aside his parents’ view on it, who in his hometown would even want to provide or sell things to the family that they think will go to the child with the dirty blood that’s defiling their land?

Shouji’s parents’ absence is also glaring in other ways. For example:

They’re either not in the beating scene image above at all or they’re that central background couple hanging back and just watching; whichever is the case, what they’re assuredly not doing while their son is being beaten so badly he will still have glaringly visible scars years later is “trying to stop the violence or take the blows themselves.”

Shouji says he has one single good memory about his body, but his parents are nowhere to be found in that memory. Ergo, his parents have not given him a single moment of positivity about his heteromorphic form.

Parents of U.A. students were evacuated to U.A.—not just the ones near it, but even ones like Uraraka’s parents, who live at least a two hour drive away, in a wholly different prefecture with a third prefecture in between them and U.A. Every student we see in the departure scene in Chapter 342 is shown with their parents except Shouji.

To sum all that up, Shouji’s family situation is not maximally bad, but it’s certainly proximally bad.

O Next, we get Shouji alleging ignorance on the part of heteromorphs raised in cities, that there are still parts of the country in the modern day where stories like his happen.[21] It’s a milder version of the same assertions made by #2 and the beaky heteromorph last chapter, in that Shouji doesn’t suggest heteromorphobia doesn’t exist at all in cities, simply that there are extremes of violence that can only be found in the country. It still feels off, however, to suggest that absolutely no one else in Shouji’s class might ever have heard of this through any channel at all: being from similarly small towns, reading about an attack in the news, reading about factors that impact the public approval ratings for Heroes, going through a morbid phase in middle school and researching it, being talked to about it by their parents, etc.

21: The suggestion of the Viz translation of this suggests that city-raised heteromorphs do know this, but only because they’re read about it in textbooks. My sister-in-law, who does professional translation, tells me this was a subtle mistranslation of the original text, however; the textbook framing is supposed to imply a remove of time, not merely of distance.

It’s not as unrealistic a story beat here as it would be in an American comic, as Japan does tend more towards using silence as a weapon against bigotry—children won’t learn what they aren’t taught, and similar reasoning. Still, to portray the class as so unanimously ignorant reflects a deep incuriosity, be that in the kids themselves about the world around them or in their author about how the knowledge/perpetuation of discrimination spreads.

This is particularly the case when you consider the story’s handling of the Ordinary Woman—attacked in her own town because people were suspicious of a heteromorph out after dark, turned away from multiple shelters because of her heteromorph status. It’s certainly true that things got worse for heteromorphs after the first war arc, but for discrimination in that specific form to emerge, there needed to be something for it to draw on. The fear of villains and the association of villains with heteromorphs are the foundation for the upswelling in anti-heteromorph sentiments in cities.

O Mina’s reaction to all this is one of rather theatrical anger. That is, no one around her takes her broad declarations—that the world would be better off without the people who hurt Shouji—as anything more serious than hyperbole. This is, it would seem, the only sort of anger that’s acceptable to show in response to hearing a story like Shouji’s—empathy to the wronged, sure, but no real intent to confront the wrongdoers.

O Mineta stares into space for a second before emphatically apologizing for calling Shouji an octopus once—a call all the way back to his microaggression in Chapter 6!—and asserting that it wasn’t his intention to say Shouji was gross or anything. Shouji responds gracefully, saying it’s “only natural” that his arms would make people think of octopus.

He doesn’t go on to say, “But that doesn’t mean people have to say it out loud,” but it’s possible that Mineta’s apology is meant to suggest that regardless. At least, one certainly hopes this isn’t the author’s way of quietly absolving his more popular characters of all the times they’ve done the same thing! It’s notable, however, that none of the other Class 1-A kids that have done this are in the scene. Shouto and Bakugou, who have both used that kind of language in anger (and in the latter’s case, also just with no provocation whatsoever) are the missing elephants in the room, and even Sero, who was the actual person to call Shouji an octopus, is, in his absence, Sir Letting The Gag Character Handle This Apology So I A More Serious Character Don’t Have To.

O Shouji brings up the Heroes Who Look Like Villains rankings. We know the Number 1 on that list is actually Endeavor, per a movie bonus booklet, but bringing it up in this context does implicitly confirm that said rankings have an unseemly slant towards heteromorphs, and what did Skeptic say about Villains and heteromorphs again…?

O Shouji says he wears the mask because he knows that if people see his scars, they’ll wonder about them, and fear he’s out for revenge. He doesn’t want people to think that, so he covers them up. He’s praised for this by Tokoyami, and the narrative pretty clearly also thinks it’s admirable and cool. I have serious issues with this—chiefly that it’s prioritizing the oblivious comfort of the baseline citizens over the fellow feeling and affirmation of other persecuted heteromorphs—but I’m also curious to see if the mask will come back now that its meta-narrative purpose of hiding Shouji’s scars from the reader has been fulfilled. I note, for example, that Shouji is not wearing the mask in the color spread for Chapter 394, and the color art does have some precedent for being an early predictor of stuff in the body of the manga.[22]

Incidentally, while I’m talking about Shouji’s mask, I do wonder how effective it would even be for him to cover his scars up? I have my doubts for two reasons. First and most obviously, heroes are such celebrities, all over the news all the time, such that if Shouji really does get as popular as he intends to, there will be people who want to know what he looks like.[23]

22: The big one is Aizawa’s eyepatch. It showed up in two pieces of color art (the popularity poll results spread for Chapter 293 and the new art announcing the BNHA Drawing Smash Exhibition) before it was revealed in the manga. Both pieces released within days of each other in early December, 2020, three months after Shigaraki raked his hand down Aizawa’s face during the war and almost two months before the latter showed up in bandages in the hospital, with another two months to go beyond that before the eyepatch itself made it to the manga in late March. In a more stealth spoiler, the same popularity spread revealed Shigaraki’s blackened, burned face-hand two chapters prior to Spinner digging it out of Shigaraki’s pants. The 394 spread is also my basis for asserting that Mina’s horns have gone back to normal after her attack against Gigantomachia, compared to Shouji lacking his mask and Koda having his new horn in the same spread.

23: Edgeshot’s character profile page notes that his fans are split into two factions: those who’re mad to see his real face and those who think the mask is what makes him cool.

O More importantly, though, heroes have to be licensed, and Hero Licenses are photo IDs. Photo IDs don’t typically allow face coverage because not being able to provide a visual reference to what the bearer looks like defeats the whole purpose. While we don’t know what full-fledged hero licenses look like to say if they’re taken in or out of costume, we do know the provisional licenses the students carry showed them in their school uniforms, despite the fact that they definitely had working costumes by then:

Pardon the sudden screenshot. The manga has this shot, too, but the anime fills in the details of the text a bit more.

It seems probable to me that the photo on a Hero License must show the bearer’s face, so that if they’re tooling around a crime scene and a cop who hasn’t seen them around before asks for their license, it can reliably be used as a form of identification. (I wonder how Hagakure manages?)

Also, think back to the press conferences we’ve seen in the story, most recently the one post-war: at every one, the heroes are in serious, solemn black suits, not their costumes. So at any press conferences Shouji ever has to speak at in the future, he’ll have to show his face there, as well.

O We see a direct flashback to Shouji saving a little girl from drowning in a choppy, swift-flowing river as he says in voiceover that he’d rather cling to the single good memory related to his body than dwell on the bad memories. He very much uses his quirk to do it, with his right set of limbs used to hold onto the bank while his left ones reach out to the girl, extending out another few “nodes” of arm-length when he at first can’t keep hold of her fingers. As they sit and catch their breath afterward, the girl clings to one of his tentacles and cries. This is not quite what his entry in the Ultra Analysis databook was hinting at[24] when it said he wears the mask due to his scary face making a little girl cry; that’ll be next chapter.

24: My apologies for not bringing this up before; it’ll be covered on AO3. The gist is as detailed above; the databook came out circa the Endeavor Agency arc, so this was a known factoid about Shouji by the time this chapter came out three years later.

O Wrapping up the flashback, we’re left with Koda’s memory of Shouji saying that he knows it’ll take longer than a generation to tear down a wall that’s stood for over a century, so, just as previous generations have done, he’ll keep paying it forward, being the coolest hero the world’s ever seen, “to give good memories to generations to come.” Which sounds really nice when he says it that way, as opposed to the broader implication that people whose children have been or are in danger of being maimed by bigots should just keep their heads down and “keep paying it forward.”

The whole “be a cool hero and give good memories” bit is particularly egregious to my eye, for a few reasons.

How much good did cool heroes do for Takami Keigo when they were just on TV? Which is where Shouji will be, because in order to be “the coolest hero the world’s ever seen,” he’s going to have to be at the top of the rankings, and being at the top of the rankings means prioritizing cities, which means all those heteromorphs out in rural areas are never going to see him in person. And anyway, what’s stopping all those bigots from just changing the channel or going on a rant about Woke Mutie Agendas every time a heteromorphic hero crops up on TV?

How much did the visibility of previous generations’ cool heroes do for Spinner? Does Shouji think Spinner was super inspired and uplifted by seeing e.g. Gang Orca on TV using the emitter-like hypersonic waves his quirk gives him to beat up Villains, an undue percentage of whom are also heteromorphs?

It’s certainly nice that Shouji was inspired enough by heroes on TV to want to emulate them, but he is demonstrably not the norm when it comes to wildly disadvantaged and victimized heteromorphs. Also, I have to wonder how much his admiration of TV heroes would have done him if he’d gotten to the girl just a little later—say, in time to get her out of the river, but too late to be able to save her life without knowing CPR. As bad as it was for him when he saved a little girl but had to touch her to do it, can you imagine how much worse it would have been if he’d touched her and then failed to save her, being found or having to walk back into town with her body?

I realize that's incredibly dark, but it's the kind of question that presents itself when the story is so insistent on Shouji's exemplary behavior being the model for heteromorphs to follow in their own lives.

O Exiting the flashback, when Shouji calls out to the heteromorphs, we finally get a straight-out look at how disastrous this conclusion is going to be in the way he shouts that no, the people who hurt them weren’t justified, but that there has to be a better way, that they should think about how to use their rage—but offers exactly zero suggestions himself for what that better way might be, or what they should be using their rage to do instead.[25]

25: I have seen the argument put forth that Shouji is one (1) teenager, and one (1) teenager cannot fairly be asked to Solve Bigotry. To this, I would counter that if Shouji doesn’t have even one (1) single idea to offer, why is the camera lens holding him up as the hero who quelled a fifteen-thousand-strong mob with only words? He doesn’t have to Solve Bigotry, but if he’s going to be used as a counter for other peoples’ misguided but at least active attempts to address the problem, he needed to be better than a mere white knight for the status quo.

Spinner’s #2 calls Shouji out on this directly, saying that if the situation were that easy to resolve, it wouldn’t have come down to this, and accusing Shouji of having no feasible solution to offer, just childish and naïve egotism. And call me a hopeless MLA Stan and you’d be right, but truly, where’s the lie?

His efforts in this regard, however, wind up pushing Koda to what certainly has all the markings of a quirk awakening because it upsets Koda to see Shouji being “mocked.” Man, sure is a good thing quirk awakenings are just a dime a dozen and definitely don’t require life-threatening injuries and/or incredibly severe emotional distress over someone who means more to you than your own life, right?

O In a last little stroke of ugliness for the chapter, Spinner calls Shouji gross. Just to, you know, make it really obvious that the villains are all totally bad faith representation for this cause and thus can be safely dismissed. (Christ, I hate these chapters.)

Chapter 372:

O We get the flashback of Shouji and Koda asking All Might to assign them to the hospital defense group. Points of note:

Neither Shouji nor All Might can be bothered to use the Ordinary Woman’s real name, instead just referring to her by her size. Seriously, I get the intent behind insisting that she’s just an ordinary woman, that there’s nothing in particular stand-out about her in the current age; it’s pretty much the same deal as Shinomori saying that OFA can no longer be wielded by an “ordinary” person, with that phrasing being used to ironically emphasize that quirks are now seen as ordinary, while those without quirks are the unusual ones. However, it obviously wouldn’t work in-universe for characters trying to specify who they’re talking about to say, “That ordinary woman,” with the end result being that they have to grab for what stands out about her if they want to be understood—in this case, her obviously unusual height. In trying to emphasize that she’s normal, Horikoshi forces his characters to define her by what makes her stand out.

Koda says that if Shouji’s going, he is too, a moment that would really land much better if they’d had literally any interactions of note at literally any point prior to this exact moment. Frankly, even last chapter’s flashback is pretty thin on that front, since Koda is not one of the students who gets speaking lines when cuddling up to Shouji to comfort him. (I’m not even convinced it’s very in character for Koda to be one of the kids diving in for cuddles—he’s usually pretty shy!)

Shouji says that he could never call himself a hero if he were to stand back while the hospital attack plays out, implicitly emphasizing the role his reaction to his own oppression plays in his heroic motivation.

O Another flashback[26] gives us Koda’s mother discussing the possibility that he might get horns like hers someday, and what those horns can do, as well as mentioning that she used to have to put up with considerable mistreatment herself, and, lastly, telling her son to grow up into a man who gets angry when people mock those dear to him.

26: The sheer number of them crammed into this mini-arc really says a lot for how rushed it is, but complaining about the structural problems of the last few arcs would be a different essay.

Breaking those down, we’ve got:

The fact that Koda’s mom says he might grow in horns like hers suggests to me pretty strongly that her own horns are a quirk evolution she just doesn’t have the language to name as such. If it were just a matter of maturation, something that came in with puberty, there’d be no “maybe” about it. Given what we know about the context of quirk evolutions elsewhere, this in turn suggests that she did not exactly get her horns under peaceful, wholesome, uplifting circumstances!

This is backed up by her mention of the “real cruelty” she faced. Interestingly, this kind of raises some questions in relation to Shouji’s assertion last chapter that people like Koda who grew up in cities lack an understanding of the extremes of heteromorphobic violence that endure elsewhere. Did Koda’s parents move to the city from the country at some point when Koda was young/before he was born, and the “real cruelty” was out in the country? That might track with the overalls she was wearing. And of course, Koda’s mother was a younger woman then, so maybe it’s just the fact that heteromorphic discrimination was worse at the time. Either way, Koda’s mother is clearly open with him about the fact that she was mistreated because of her appearance, though she may have downplayed the severity of it.

The idea of Shouji being “dear to Koda” is immensely frustrating for how utterly groundless it is, based on absolutely no prior grounding within the story other than the general bond among the 1-A students. That’s just me complaining, though—more pertinent for this essay is the problem with how this moment frames anger. Like, the whole mini-arc has the same problem, but this chapter is particularly rotten with it. To preview: Koda’s anger is portrayed as righteous, as was his father’s, because their anger is about protection, about defensive reaction, about intervening with harm currently in progress—basically all the stuff Heroes are supposed to do. It is notably not about action based on past harm or proactive attempts to prevent future harm.

O Koda’s bird attack knocks Spinner’s #2 off the roof in one of the most egregious examples of, “I can’t come up with an actual counterpoint for his arguments, so I’ll just shut him up through force,” I’ve ever seen. Sure, there’s something to be said for not engaging bad faith parties in good faith arguments, but like… That guy already had a platform of his arguments—he was standing on the roof of a tall building! The author gave him several pages to make his pitch; the argument’s already out there in the readers’ minds! The only thing getting rid of him does is guarantee that the person the taciturn Shouji actually has to argue with is…Spinner. Who is not exactly a born orator at the best of times, and he’s very far from even that level here.

Now, #2 will get a few more lines next chapter, but they’re against one of the people on his own side. No heroic character has to argue #2 down; instead, they get to match wits with the literally drooling Spin-zilla. Which is a bit like stepping into the wrestling ring with someone who’s had a bag thrown over his head and his hands zip-tied behind his back.

This confrontation is, woefully, not the only place in the endgame where a heroic character gets all the time and freedom in the world to make their big pronunciations while their opponent gets shut down by some outside factor—interference from other villains, psychological decay, literal possession—but it’s in particularly stark relief here.

O Shouji contends that the crowd is letting their pain be exploited, which is a fair cop, but will become difficult to square with his praise of them next chapter.

O He says that these peoples’ children might be the next targets, presumably because of their actions here today. This is particularly maddening because it’s coming from someone who was, himself, already targeted as a child! Not because of anything his parents did, and certainly not because of anything bad he did, but simply because of the bigoted, backwards views of his town. Children already and still are being targeted! Shouji’s backstory is all wrong for this stand, and there’ll be another angle on that next chapter as well.

O Here we finally fulfill the promise of Shouji’s databook entry and see the Little Girl Crying Because His Face Was Scary. She wasn’t crying because she was just scared of his face in isolation, but rather because she sees his face being scary as her fault, directly correlating his wounds to her rescue.[27] Those wounds stand in marked contrast to what happens when other people save small helpless children from danger, and underlines the biggest problem with this whole resolution: the idea that simply Being An Hero will create change.

27: My big question is, “Given that him being in contact with her was so bad it got him scarred for life, how did she even sneak out to see him again to give him this tearful apology? Did young Shouji even want this apology, or would he have preferred she not risk the two of them being seen together again for both their sakes?

Now, it’s certainly likely in Horikoshi’s world that this little girl will, herself, grow up to be different from the people around her, that she won’t think heteromorphs are tainted. And like, that’s at least one less person being awful, right? And doesn’t every one count?

Sure, of course—but what happens when she runs up against that prejudice herself? Will she try to intervene the next time she sees a blood cleansing? Will she simply abstain from such action and teach equality in her own household without trying to change the village around her? Will she simply move away and leave her hometown worse for her absence? If she does stay in that town, will she herself become an outcast for her views—a form of silent, passive harassment that can be absolutely life-wrecking in those small Japanese villages? If she gets married and has children, will her husband have her back in trying to raise those kids free of hatred?

For that matter, isn’t there a chance that, being surrounded in people who think heteromorphs are tainted, that she’ll just internalize something like, “It was my carelessness that got that poor heteromorph boy beaten so badly. He was trying to help, and it only got us both hurt—him for the beatings, me for being in contact with his filth.” Like, she’s so young in that scene; she’s got a whole lotta years of having the anti-heteromorph narrative reaffirmed at her before she’s old enough to do anything different herself. It feels to me like the kind of thing that she could easily fall back into as she grows up, only to have a huge spiritual crisis about it once she hits her late teens to early twenties.

In any case, it's just a lot to put on a single child—on her and Shouji both!

O Spinner rallies enough to yell out a message of his own, but it’s just a quote of what he told his followers when he first sent out the call, not anything new to rally them, nor tailored to respond to what Shouji’s saying. This has been the danger of the plotline all along, and here it comes to fruition: in putting bad faith villains with ulterior motives[28] up against an underdeveloped character who’s hidden the evidence of his mistreatment from Day 1, someone with no apparent intention to ever speak up for others like himself, no one comes out looking good. Truly, heteromorphs deserve better rep.

28: #2 is the obvious one, but Spinner’s here in bad faith, too. While I’m sure he’s not totally indifferent to the matter of heteromorph rights, it’s self-admittedly not his current priority.

O That said, if what Spinner says is old hat to the crowd, it is new to the audience, and it serves to sharply up the ante on from what we knew previously about the persecution he faced in his hometown!

But it would have gotten better if he’d just put on a mask and dealt with it, amirite?

Recall that Spinner has previously only said that people in his town called him names—this is self-evidently many steps worse. Note, though, that it’s another example of the violence heteromorphs face not involving anyone using quirks—that is to say, nothing that’s a hero’s jurisdiction to deal with. That being the case, how much could Spinner get away with fighting back or running before the “it’s okay to use quirks in self-defense” stops holding? After all, is it still self-defense if biased cops[29] can accuse him of “escalating” the conflict? How far away can he get by climbing on walls before it becomes, to some small-town local Hero, unlicensed public quirk use?

29: If policing in HeroAca Japan still works basically the same as it does in IRL Japan, then in truly backwater areas, ones too small to afford the upkeep of a police department, an officer would be sent in from another area to live in a home attached to the police box. That being the case, it’s not a given that the officer would share the locals’ bigotry. That’s where we come back to the whole “what percentage of Villain-designated criminals are heteromorphs” statement and what it implies about bias in the law enforcement system. Also too, building a strong relationship with the community is absolutely essential to rural policing, and there are, oh, so many stories about what happens when someone new in a small Japanese town gets between the inhabitants and their “traditional spiritual practices.”

O Pig Nose Guy starts making an impression by noticing the doctors—most prominently Dr. Yoshi, standing shoulder-to-shoulder with a baseline nurse—forming a human chain in front of the hallway leading to the Inpatient Ward. This drama is undercut on both fronts by the fact that Spinner is not looking for the Inpatient Ward, and in fact barrels right on past that hallway without even glancing in its direction. So, the mob stops because they’re struck to hesitation by a group of people protecting a part of the hospital that the mob was not even intending to assault in the first place.

O As part of stopping, Pig Nose Guy seems to have some sort of flashback to a time he saw Dr. Toad caring for an elderly baseline man. This raises a lot of questions to my by-this-time hyper-critical eyes.

What past circumstance brought Pig Nose Guy—presumably fairly rural, as most of this crowd is implied to be—to Central Hospital, the most technologically advanced hospital in the entire country? • If Pig Nose Guy is not rural, but was still so fired up about heteromorphobia that he joined a terrorist-led mob to attack a hospital, wouldn’t that suggest that a lot of people in the story have been misleading us about the extent of anti-heteromorph sentiment in cities?

If the person in the bed is someone related to Pig Nose Guy—perhaps someone with a rare illness that requires specialized treatment?—why is the guy entirely baseline? If it’s just a friend, then they must be very close, given that PNG was willing to take a trip to the Tokyo metropolitan area to visit him. But if PNG is that close to a baseline guy, why did he ever believe that baseline folks are such a lost cause that he, again, joined a terrorist-led mob to attack a hospital?

Why is this important, impactful memory one of a heteromorph in a caretaker role instead of being taken care of? To elaborate on why that question matters, a common issue you’ll see minority groups raise when talking about representation in media is the role any given minority character performs in their narrative—the gay best friend there to give the straight female lead advice, the Black person there to help a white person self-actualize, that sort of thing. This is not so much a critique of any given, specific character as it is criticizing the restrictions on of what demographics are allowed to be portrayed as full, rounded individuals in popular media versus which are relegated to stock stereotypes or supporting cast. This isn’t something BNHA addresses explicitly, but I do think we have some precedent for suspecting heteromorphs in this world have similar problems—think of the image for Class B’s play in Chapter 173, Gang Orca playing the Villain at the license exam, and, most egregiously, the Hug Me Corporation and its all-baseline-all-the-time image of bystanders and victims. That being the case, it really gets to me that Pig Nose Guy’s memory here has the man in the hospital bed being baseline while it’s the doctor who’s the heteromorph. Like, what does that communicate about his mindset, exactly? “Oh, I remember this time I saw a heteromorph who’d managed to actually kind of Make It in society and he was nice to the baseline guy in his care. But the spider guy leading us, he didn’t sound like he wanted us to be very nice at all. Is that what I am? Not nice?” On the other hand, if the whole point of this memory is to remind PNG that there can be peace and support between heteromorphs and “people with human faces,” why in heaven’s name isn’t this a memory of a heteromorph being cared for and supported by a baseline person? Why does the person doing the labor in this picture have to be of the oppressed class?

I hate this panel so much.

Chapter 373:

O The last conversation plays out between Pig Nose Guy, #2, and Shouji, revealing #2 to be a bad faith idealogue who thinks of Shouji with microaggressions and his followers as meatshield patsies. It’s real bad.

O Shouji says that the feelings that led the mob to come today are neither useless nor wrong, and that their willingness to keep thinking about everything makes them look like a bright and shining light to his eyes. However, he carefully does not engage with the fact that those feelings, which were previously aimless and directionless, were only stirred up and stoked to the point of “coming today” by the villains. It’s the same sort of thing the villains always get told, really—you may have a point, you have suffered, but when you act on that point, that suffering, then you’ve gone too far. All you’re really supposed to do with that pain is—what, exactly? Thinka bout it and choose to Nobly Endure?

O The last little bit of insult to this chapter, to my eye, is #2 getting an apology from some anonymous hero we’ve never seen in our lives, who says, “We’ve heard your voices loud and clear today. Sorry for not realizing sooner.”

Remember the bit where the person who apologizes to Shouji for the octopus comment is Mineta, the gag character, instead of Sero, the serious character who brought it up in the first place? Remember the conspicuous absence of Bakugou and Todoroki, who have actually used that language with conscious demeaning intent? This apology is the systemic version of that absolute unwillingness on Horikoshi’s part to let his sympathetic/popular/important characters look bad. It’s the same thing that led to none of the heroes who retired after the war being heroes the readers know and care about, the same thing behind the total collapse of the series’ critique of All Might. Heroes are allowed to be ignorant, but they are not allowed to be complicit.

Notice, too, what this random hero does not say, what Shouji does not offer, the absence that damns this resolution: any promises of concrete change. We’ve finally gotten to the crux of Horikoshi’s point, as delivered by Shouji, and it really does all boil down to this:

And I can’t overstate enough what a terrible resolution this is, especially given how Shouji’s own experience puts the lie to it. Remember, Shouji saved a child from drowning, one of the absolute most prototypical actions someone can do and get called a Hero by the bystanders/victims/evening news. The only thing he could have done that would have been more stereotyped would have been saving her from a burning building! He saved that little girl from drowning and the townsfolk attacked him with farming tools for it.

How much more heroic would he have needed to be? How much more of a shining light could he possibly have been? In what universe could someone with that backstory possibly think that the answer to systemic bigotry—violence that goes wholly accepted by the community and wholly unpunished by the broader society—could be this Model Minority bullshit?

Ultimately, for Shouji’s backstory to realistically have given him the motivation he professes, his actions needed to have changed the people in his village for the better. If the reader is meant to believe that Shouji’s “answer”—the premise that selfless heroism can change the hearts of bigots—then we have to see it. And, you know, even if that had been what we got, there would still be grounds to criticize it! It would still be a perhaps-too-idealistic depiction of fighting oppression; it would still put too much responsibility on the victims! But at least it would justify Shouji’s own stance.

As it is, we have Shouji choosing to believe in the changeability of people who specifically shouted while throwing rocks at him that, no matter how much the times advanced, they would never accept him. His answer does not entail a single non-heteromorph working to bring heteromorphs living in the darkness a light; it entails them kindling their own. As with Pig Nose Guy shutting down in the face of a memory of a heteromorph doctor, this resolution asserts the life-changing power of…being told that heteromorphs have to do all the work to make baseline people feel better.

Conclusion

Do I think that this terrible resolution means heteromorphobia was poorly set up or retconned? No, I don’t. I just think it means that Horikoshi is a Japanese man writing a Japanese story from a position of demographic privilege in Japanese society. I think he’s fully capable of setting up a detailed, intelligent, thoughtful discrimination allegory, a logical, internally consistent extension of the discrimination in the world around him to the alternate future he’s created—and then coming to a completely different resolution than I would because his context led him to different answers than I wanted or found acceptable. Compared to the U.S., Japan as a culture is more communal, more collectivist; they have less history with successful protest movements, more history with protest movements turning violently extremist or just being ignored by those in power. The idea of “not making trouble for others” is an incredibly deeply engrained value.

I have a decent idea why this resolution is what it is. I can try to make myself view it through the more generous, forgiving lens of Cultural Differences; I can fail to do so and instead conclude that this is portrayal is much less about Cultural Differences than it is yet another in a long chain of Well-Meaning Majority-Culture Author Writes Discrimination Allegory, Fucks It All Up Because of His Well-Meaning Majority-Culture Centrism. That doesn’t mean I believe heteromorphobia came out of nowhere, and I hope this essay has at least demonstrated that much, whatever you might think of its resolution.

——————————

Thank you so much for taking this journey with me, all! At 42,000 words and 93 pages in Word, there's definitely more I'd like to do with this, chiefly taking a spin through the Vigilantes spinoff, which I've always found to be very good at grappling with practical questions and concerns BNHA Core largely ignores. The character of Kamayan is particularly relevant to this topic.

However, for now, I'm going to take a break on this subject and turn my attention to something else. I'm not sure what it'll be quite yet, but meta projects that have moved towards the top of my list concern the ridiculous series of nerfs Toga has been subjected to in this endgame, arc thoughts on everything I hate about the stupid, stupid All Mech fight, and an organized argument for the endgame being chock-full of retcons that are obvious if you look at them for more than the five minutes it takes to read a chapter each week.

You may notice that all of those are pretty negative-sounding, and you would be right. Given that the whole reason I stopped doing my chapter posts is that I was weary of the constant negativity, the actual next thing I do will probably be to get back to one of my neglected MLA fanfic projects.

'Til next time, all!

#bnha #bnha meta #bnha worldbuilding #heteromorph discrimination plot #octolad #plf advisors #my writing #preview for Vigilantes:#Kamayan is a crank and that distracts everyone #from realizing that Kamayan is also right

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lawbin-archive · 7 months

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Lawbin Dressrosa Analysis 1: Dating while handing over Caesar team

Finally, I finished re-reading dressrosa! It's probably one of my favorite arcs. Maybe top 3 haha The other two are probably Wano and Enies Lobby. The pacing in manga is definitely way better, so I actually enjoyed this arc more. I might missed something because I was too immersed into the story and sometimes I forgot to jot down notes lol But anyways, let's start!

As usual, things highlighted in purple are my delulus.

Warning: It's my personal blog so don't read it if you don't like lawbin, include lots of delulu :D

~LAWBIN ALLIANCE PHASE~ why can't I choose yellow on tumblr anymore?! :(

Chapter 700: Law hates bread

Robin weird thoughts always live in my head rent free. I also like how most of the crew are complaining or interrupting Law but Robin (and Zoro) just listen to his plan. Of course it's also because their personality is similar (they mostly won't say anything unless something it's wrong), and I think they just trust Luffy hence they trust Law.

I love the fact that Robin's favorite food is sandwich but Law hates bread!! It's gonna be a funny debate between them about bread!! >< I also find Robin and Zoro just follow their captain and ignore Law's plan are so funny. (Remember this, it's changing in the upcoming plot *wink*)

Chapter 701: Adventure in the land of love, passion and toys [This is the actual title of this chapter] That's kinda obvious is it? That's where all the love starts *smirk*

Every time they are together is such a beautiful panel, (maybe I shouldn't said that people will say I ship them just for their aesthetic haha it's like that's a problem) The *aggressive* *calm* *calm* *aggressive* combo is also really interesting and entertaining, I can understand why Oda will choose Robin and Usopp to be Law's companion. Or maybe Law chose Robin himself to spend more time with her?! It didn't say how they assign the team but in any way, I'm sure Robin and Law realize they have similar personality. Robin even found Law's plan fun haha. Their mind just sync a lot and I think Law will appreciate to have Robin here because she's the only one that follow his plan without a complain lol. And from this point, Law & Robin started become a "I want to scare Usopp just for fun" team. (and also Caeser but I don't think they give a fk about him lol)

Chapter 705 ~ 711: Let's go to Greenbit

Again, the aesthetic is just ~amazing~. I'm gonna compliment it regardless, they look good together and that's a part of why they have good chemistry to me. I'm not gonna deny it! And I like it so much that Robin and Law are sitting across each other, they can see each other clearly!

They really look like they are on a secret date together! >< (minus Usopp and Caesar I'm sorry) I saw a newspaper poster (made by a one piece theme park in Japan, but it's closed now) and this "news" was saying they found out Law and Robin secretly meeting? (I'm just guessing) Literally create my vision of them getting caught dating haha And I like how they share a lot of common knowledge - they know how dangerous CP0 is and recognize them is right away. At least I think most of the straw hats won't recognize and realize who they are.

The small bickering they have are so cute, Robin isn't scared and she's super calm but she has her little complain that she expected fish to look like a fish (maybe that's the only complaint she has haha) and Law was like "Looks like a fish to me". It’s like she hates gum because she expects food can be swallowed.

I'm always wondering who's Law talking to here haha because Robin & Usopp are the ones who fight the fish after but from where he's pointing, isn't look like he's talking to Caesar either. So maybe he's telling Robin don't need to worry? If that’s true, that means Law cared about her haha I feel like the whole time, he just want to talk to her and teasing Usopp only

~LAWBIN FRIENDS PHASE~

From this point, I think Law and Robin started to trust each other more and treated each other as friends. At least you can see their interactions are more friendlier. I will explain a little bit more later.

They even sit together on the Caesar hot air balloon!! In my mind, it's probably Usopp scared to sit in the middle because he might fall and Law being a gentleman so he volunteered to sit in the center (less safe). If you think about it, this could be their date lol Going to a cafe, fight some fishes and sitting on a hot air balloon. Law planned the whole thing and Robin was like *I have fun with this* the whole time haha. Robin likes to explore and Law's hobby is wandering around. They just seem to get along so well together!

I think I already explained a few times that how they both get so investigative once they arrived at Greenbit they are so similary in lots of ways!! They both will analyze the situation and environment they are in.

Robin can see through him so easily. She probably can figure out how he did it anyways And see how Robin changed her attitude so much?! From distrusting him and observing him a lot in Punk Hazard, and now she's teasing him. If she didn't get close with someone, she probably won't say anything and just observe. That's definitely a sign that she got closer with him and a friendly behavior.

I like how Law already knew what each Straw Hat specialized with and ask them for help. And again, only Robin listened to Law. She looks like she enjoyed the adventure so much and I'm actually surprised Robin just followed Law here. I guess after Punk Hazard, she found he isn't a bad person so she just followed his plan. But also mainly because Luffy trust Law.

The first thing Robin woke up is to think about how to contact with Law (and also care about Usopp of course) When I was reading the Greenbit part, I actually thought Robin is gonna tell Law where she is and he can use his ability to transfer him and Caesar to underground, so Doflamingo couldn't find them there haha. But my delulu didn't come true ;'(

I also saw a person said the reason why they ship lawbin it's because Law treat Robin differently than others. And here is one of the evidences, when he was talking to other straw hats, he usually just order them around lol and for Robin, he's like *help me using your intelligence skills* *ok I understand* it's just seems he is so much calmer in front of her, like they can actually communicate without arguing. I wouldn't say he cared about her but at least he is nice enough to say good luck to her too. Robin actually treat him differently than others too. She said "Good luck" to him, something I rarely seen Robin did to other people outside of straw hats and Robin worried about him a lot in this arc (again I'll elaborate later on, there is so much to talk in this arc omg ><!)

When the whole Greenbit shaking, Robin worried about Law's fighting. Their relationship really change drastically here. Robin seems to care about Law a lot more. To be fair, I think the whole crew started to care about Law's safety in this arc a lot and of course it's natural to care someone that's an ally of you. But also if I really compare, Robin seems like she cared the most about Law maybe after Luffy.

I actually think Law is so similar to Robin here. He really gave me the Enies Lobby Robin vibe here. In my perspective, I don't think he really meant to use straw hats at this point (definitely yes before tho), I think he told Doflamingo he is using them to try to protect them. So Doflamingo will think it's useless even he threaten Law he is going to kidnap the rest of the straw hats because Law said he won't care about them. (the mind games). Law and pre-time skip Robin are so alike, they always try to take all the responsibility to themselves or sacrifice themselves in order to protect others. Law didn't even bring heart pirates to here is just like when Robin pretend to be betray the straw hats in Enies Lobby sigh :(

If Law is really using the straw hats, he is gonna betray them once Doflamingo is defeated, but he kept his promise to defeat Kaido. That's one of the reasons why Law is one of my favorite characters, even he looks so unbothered and sometimes mean on the outside, his actions always tell the opposite >///<

And it’s cute that during Dressrosa, Robin is the one who cares about Law a lot and once they get into Wano the situation switched haha the feelings are mutual!!!!

That's it for today! Thank you for reading! <3 I think I have talked too much again lol I will probably start writing about the rest of the arc soon! Hopefully I can finish writing the whole arc under 2 parts! (probably not) I actually have something to write about my thoughts on other ships during dressrosa, uhm maybe I will briefly talk about it next one.

#lawbin #one piece #trafalgar law #nico robin #law #robin

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letstalkwhump · 1 year

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Welcome to Let’s Talk Whump, a series of interviews that spotlight the amazing people in our whump community! I’m Malice and I’ll be your host today.

Here today to talk all things whumpy is the brilliant @whumpcereal!

It’s great to have you here! Let’s start with a fact or two about yourself like your favorite color or favorite animal?

My name is Kay, and I’m a high school teacher in my 30’s. Besides whumping unsuspecting gentlemen, my hobbies include reading a lot, belting out showtunes, cooking for people I love, hitting up new bars and restaurants with friends, and traveling. And since you asked–and as a teacher, I hate unanswered questions–I’ve recently realized that orange might be my favorite color, and I love gorillas.

What does whump mean to you?

It’s the sort of pressing-on-a-bruise feeling that is wrapped up in watching someone suffer and then be comforted. It’s the need for vulnerability and human connection. It’s watching Prince Philip get chained to a wall and not understanding why you find it so magnetic, but you do, haha!

How did you find the whump community? What made you want to join?

I was writing for the Newsies fandom (I know) during the pandemic, and one of my favorite authors tagged her epic work with “whump.” I clicked the tag on tumblr, and I found @lonesome--hunter’s Ezra almost immediately; I fell down the rabbit hole and never came out. After Ezra, I spent a good long time with @ashintheairlikesnow’s Danny and then @galaxywhump’s Wren. I realized that a lot of what I was putting in my own writing could be classified as “whump,” but I wasn’t sure how to join in the fun. I lurked for a while and then beta-ed for @darkthingshappen before I got brave enough to post my own stuff. But part of what motivated me to start posting was just how supportive and welcoming the whole community is. On AO3, you can get tons of hits but almost no real engagement; with whump, that’s totally different. It makes my little dopamine receptors ping.

The whump community is amazingly supportive! Do you think your view on or the way you consume whump changed since you joined?

I am definitely a hurt/comfort gal. I can’t do the hurt without the comfort, and I need my whump to be strongly oriented in the characters’ feelings, whether we’re talking whumpers or whumpees. I struggle when a character is just getting the shit kicked out of them endlessly; I want them to have some relief, even if the relief is bittersweet or painful in its own way. I also find it easier to whump an OC than I do a fandom character, just because if they’re mine, I can build the kind of backstory that makes the whump reasonable.

And your favourite whump trope?

I do like noncon. Whump is a genre where I’ve really been able to explore scary things that have happened to me, and when a whumpee has an honest (and not needlessly gratuitous) nonconsensual experience, I gravitate toward it, especially if they’re allowed to explore the aftermath and how it makes them feel. I also love a mute whumpee–probably because I watched The Little Mermaid too many times growing up. Something about the helplessness of being trapped in your own body and at the mercy of others–hey, whumperflies! Captivity whump too, especially anything in the BBU. The BBU was one of my favorite discoveries when I found the community. It provides such rich opportunities!

Captivity whump is so good! Would you mind sharing a favourite piece you've written? (the following pieces may contain non-explicit nsfw references)

Ooooh. Well, I guess I’ll choose one from each of my series. For Jack, my first and forever whumpee in Behavior Modification, and his caretaker, my wish-fulfillment fake husband, Joe, it’s this piece with their little girl. It’s something that I wrote in basically a single stretch one afternoon last summer, and I’m proud of it because it shows both how far Jack has come in his recovery and how much everything he’s gone through is still affecting him. It also shows how fierce of a protector Joe is, even though Jack’s got strength of his own. Plus, Hallie, their little girl, was super fun to create. She’s a feisty little thing, and I liked the idea of looking at such a dark, violent system through a child’s eyes.

For The Kennel, it’s this piece which immediately follows my boy Will after his best friend Tommy is forced to assault him. It’s got the aftermath of noncon, plus it includes a lot of world building for my scary whumper, Doc, and his particular set-up. It really sets up the horror of the situation in which Will and Tommy have found themselves and also emphasizes the stories of other whumpees whose stories I’d love to explore (Justin and Tony, I’m looking at you). Plus, it gives Annie–who’s technically the caretaker in this story, even though she’s been abused herself–a chance to think about how she’s been raised and the way her father treats people. My favorite moment is when Will just breaks down completely, because we haven’t seen him do that yet. It’s a human moment, and he’s feeling so much less than human that it’s almost cathartic.

And then, honorable mention to this piece where I crossover my two stories and let Jack help Will as his post-rescue counselor. I had so much fun with that reveal!

Oh wow, I love the Kennel piece! You’ve broken my heart with Justin and Will! Would you like to share your writing routine with us?

I’ve actually been riding a bit of a block lately, but typically, I am an evening writer. No drinks or snacks, but usually movie scores that match the mood of what I’m writing. On good nights, it’s big blocks; on others, it’s just a sentence here and there (that’s been where I’m at lately). I try to write a little every day, but again, it’s been rough lately. Being a teacher at the end of the year is just as hard as being a student, haha.

I can only imagine! Are some things easier for you to write? Anything you struggle with writing?

I have an easier time writing recovery than I do straight whump, which is sometimes a bummer, because the whump community doesn’t seem to like recovery quite as much. So, I’ll pour myself into a recovery piece I have big feelings about, and then it won’t get quite as much traffic and engagement as when I’m roughing up the boys. I am very careful about how I write noncon. I think I do a decent job, but I try to approach it from a place of sensitivity to the person who is suffering versus engaging through violence alone. That can take a lot of time and thought and big feelings.

And is there anything you're working on at the moment?

I do have a fantasy crossover miniseries with Jack, Joe, and Ivan and @oddsconverts’ Josh and Felix that I’ve had a really fun time working on. I need to write a little intro before I post it. I need to go back to Jack and his intimacy consultations at WRU, and AU AU Joe and his reaction to the Drip. Poor Will and Tommy are in desperate need of attention; I need to get Will sold away so all the drama can increase. Maybe during summer vacation?

Do you have a joke or pun you would like to share to spread some smiles today? I am only funny on accident. Just ask my students. ;-)

Do you have any writing advice you’d like to share?

I’m great at giving advice to others, but absolute shit at following that advice myself. For instance, write for you. Don’t write for hits, likes, reblogs, etc. Just write what you want to read. Write as often as you can. During the pandemic, what got me back into writing after years of thinking about it was trying to write a little every day. Find you some writing friends who will get excited with you when there’s something you can’t wait to write about.

Finally, would you like to give a mention to some of the amazing people in the whump community?

I already mentioned some of my favorites, but shout outs to @hold-him-down (whom I was lucky enough to eat very expensive risotto with this spring and whose Leo is one of my very favorite whumpees), @peachy-panic (58 Days is one of my VERY favorites), @whump-for-all-and-all-for-whump (whose Wyatt has my whole heart), and @squishablesunbeam (I mean, Jesse? Come on!). My first friends in the whump community were @darkthingshappen (creator of my Benny baby), @oddsconvert (whose series are all so beautifully written that I can’t choose a favorite–she even made me like vampire whump–and who is my wonder twin forever), and @sparrowsage (go check out his new stuff!).

Thank you so much for joining us, @whumpcereal ! It was a pleasure to have you here!

And to all you lovely folks at home, have a whump-derful day!

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beelmons · 1 year

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How to make interactive stories on tumblr (for writers)

Okay so recently I made The downfall of Spencer Reid which is an interactive (18+) story, reader insert, for Criminal Minds. Making an interactive story is very fun, and I'd love to see more around so this is a probably not so small tutorial for other writers that might be interested in doing something similar.

First of all, what's an interactive story? It's a piece of writing where the choices of the reader affect the outcome of the story, it's also commonly known as "choose your own adventure" story. They are specially fun with reader inserts, since it adds to the fantasy of having control.

Trace your plot and plan for actions

Like any other story or fic, you have to trace your story. While you do that, it's important that you think carefully about what are the possible decisions that the reader might come to face, and the possible consequences they might have on the story. Some common decisions are:

Choosing a piece of clothing

Deciding what place to go/path to take

Staying in or leaving a place

Using a tool, a different tool, or not using tool at all

To say or not say something

A specific action that the reader takes that affects the outcome for either better or worse.

These choices are what you call a "path", the new direction in which the story will go. You can have as many choices as you want on a single story, but remember every choice leads to a different path, and you have to have compelling stories for all of them. I'd suggest start with two main choices, and then a max of 2 choices on each path, this will likely lead to 4 possible endings for the story.

Rammifications and linking between posts

As I mentioned, every choice "breaks" the story into possible outcomes. For this, the specific challenge is to make every piece work between the choices. For example, let's assume you're writing an angst story, and the choices are as follows:

>Say you never loved him

>Say that you love him, but you can't be together.

These two choices will earn completely different reactions from the character that hears them, so you have to write both scenarios. Chances are, that the relationship the character will have after every choice will change. So probably if you choose "I never loved you", the character might go away or stop talking to reader altogether, while if you choose "I love you, but we can't be together" there's a chance the character will remain as a tragic lover and act jealous around reader. Drastic difference in what you need to write, right?

Another advice, if you don't want to make your story as long or have to think too much about the endings and plots, try to make your choices similar to each other, or even in a way that can lead to the same ending.

To do this, you have to take into consideration the following concepts:

Time and place: both choices have to be linear towards the ending, and if they happen on different places, they have to be able to match the place where the ending takes place as well.

Ambiguity: the choices will have different dialogue most likely, so you can't reference only one of the choice's dialogue, otherwise the readers taking the other path won't be able to recognize it or make sense of it, it's better to keep an ambiguous situation that could allow the reader to make sense of what they read before.

Continuity: The ending of both choice's have to match with the next part's beginning, otherwise you might break the illusion of it being the same story.

Example, picking up from the original example we gave on the last section:

X "You said you loved me, and I waited for you because I love you, but I can't keep going on like this, clinging on to faux hope, I should have realized way sooner that your heart wasn't empty because no one would fill you, it's because you won't allow anyone to."

If you used a dialogue like this, people who didn't chose the "Tell him you love him, but can't be together" option would question in what part of the story the words "i love you" were said. An alterative would be.

O "I waited for you because I loved you, regardless of what you said back then, but I can't keep going on like this, clinging on to faux hope, I should have realized way sooner that your heart wasn't empty because no one would fill you, it's because you won't allow anyone to."

With this dialogue, saying "Regardless of what you said back then" opens the opportunity for both choices to work, and now the reader can picture the choice they made in the first place, and it makes sense with the rest of the dialogue. Continuity isn't lost thanks to the ambiguity of the words.

Something similar applies to time and place, don't reference a place if one of the options makes it impossible for the characters to be in said ambience.

Formatting and posting

Formatting can become a bit of a hassle. On tumblr, HTML doesn't allow for different pages on one same container on posts, so you have two options, you can program the story on a single tumblr custom page (if you're familiar with HTML, this could be very fun and more immersive for the reader), or do it through posts, like I did with my first story.

Every choice will lead to a different post, and you will have to post them all before publishing the beginning of the story so you can link them altogether.

Now, of course if you can do that on your main blog, but it might ruin the experience for people who already follow you if they see the choices first and with broken links. I fixed this by making a side blog specifically for posting the story paths. I just used my same username and added -interactive at the end, lols.

Formatting the choices is quite easy, you just add them at the end (it's important that they are at the end) of the story and add the link to the post that they should lead to to go to the new path. I personally like to add "intended" to it so it looks more like a button, but you can use anny styling you like.

Now, the linking is where things can get a bit messy, it's hard to remember which path leads to what post, so don't be embarrassed to use any visual aid or titling system to keep track on what is what and what goes where. For my part, I usually redact everything on Google Drive first and use titles similar to code titles to keep track of them. This is a snippet of my upcoming fic, where we have a very first choice which is a clothing selection, and then the second choice which is the place selection. In this case, the clothing affects what happens in both places, so I have to write 4 different scenarios with both combinations.

First choice

Text where you get a second choice, but both choices have two outcomes from the original first choice.

This way, I can label my scenarios differently to keep track which belong in which choice. Like this:

Sometimes I have to re-read all the paths so I make sure the connections make sense, and if they don't, I have to rewrite some parts, but it's okay! The important thing is that the readers don't lose the engagement. Try to keep the stories short, 1k tops per post, at least at the beginning, so readers also don't feel like they are getting interrupted.

Have fun with it and write without being scared to fail! You can also start with blurbs or shorter stories. For my part, I have played a lot of otome games and choice-based text games so I started with a 4k fic (the one linked at the beginning).

Additional tips and experiences i went through

Try, by all means, to get a beta reader (shout out to my sister wives @ihavemanyhusbands and @cassiemartzz that constantly give me feedback). Beta readers will help you with spelling, continuity, and the overall sense of your story. Bonus if they are your friends and can be honest with you, and double bonus if they are also writers who can give pointers!

Use a flow chart: if you have managed programming before, a flow chart can give you an specific idea of the timeline of the story and the paths that are formed by the decision-making. I will add a picture of my most recent flow chart that I drew (yes by hand) for my upcoming fic.

I posted and reposted a million times (hence, why i needed a blog no one followed) before I posted the original story (which was posted on my main writing blog). I only posted the main story until i was sure all links worked properly.

Don't allow anyone to reblog the path posts, otherwise the experience might be broken for other readers. People mean well when they reblog, but they can reblog the main story (the very first post), you should config the path posts so they can't be reblogged by anyone.

Remember all path posts should be posted on your -interactive blog (or any other side blog you make), and the main story (the start of it) goes on your main writing blog.

Use titles on your tumblr post as well, so you don't miss which post contains what part of the story, you can delete them later before posting the main story.

Hopefully, this will be of help and we can begin to push interactive stories a bit further, they are really fun to write, and really really fun to play. Have a great writing, everyone!

Picture of the flow chart i made for my fic (I suggest only use if you're familiar with programming or flow charting for other disciplines, otherwise it might be just doodles):

#long posts #writing #writers of tumblr #spencer reid #spencer reid x reader #spencer reid smut #criminal minds #fanfic #fanfic writers #prompts for writers #writers tips #writers block #creative writing #writing on tumblr

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spaceorphan18 · 6 months

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Hi, so I've been pretty removed from the glee fandom for some time - you're actually the only glee blog i still follow. So I wanted to ask, what's going on in fandom that makes you want to remove yourself?

Hi Nonny!

I'm so glad you're still here!

I think that a combination of things last week just kind of hit hard -- and it was on top of some real life things that were going on. Tumblr, Glee, this blog are a source of fun and relaxation. And when it descends into drama I just want to back out and not be here. And it's frustrating because this is what I want to do in my free time -- for the fun of it.

First there was the spamming of the episode tournament. In general, people are entitled to their own opinions, but it's kind of got me down that zero episodes in season 4-6 people are championing for. So it's hard enough to watch that -- but then people cheating for really no reason because those episodes were already winning -- just feels like... I don't know. Not fun.

I'm letting it continue, and will keep it going, but my enthusiasm for active participation has waned. It's weird when the shipping tournament had less drama around it.

Then there's the revival of Klaine vs Brittana, which is just so stupid. Ship what you want to ship. And even more, people can like both ships. One isn't actually better than the other. And while I think most Brittana people are fine - there's been a rise in things like --- people saying if you don't like Brittana you hate women? Are lesphobic? (despite Brittany being bi but whatever). Telling people to kill themselves if they don't prefer Brittana? Like -- what is going on? Why do people think that's okay?

Plus, the ramping up of Blaine hate is out of control. It's always been there - but good lord people are going out of their way to hate Blaine. It's too much. It used to be more balanced where you could find as much good as bad. But I'm seeing less Blaine fans (and Kurt fans) in general, which is a bummer.

This new group of watchers just don't connect to Klaine/Kurt/Blaine like the old crew did. And that's fine - people connect to what they connect to. But there's so few people left, it's just a bummer.

And I mean, there are some great people still around. I do appreciate the fic writers and the poll givers and the gif makers. They're good people. But I do miss more discourse around the show. I don't see a whole lot of chatter or discussion or commentary like I used to.

But also, tumblr is smaller and reaches less people. I'm sure there are a ton of people on TikTok. But I have no desire to go there. Not only am I old, but a lot of the TikTok takes I've come across have given me rage so I should probably not.

Sometimes, I'm like -- have you guys even watched the show? And then I get Nonny messages that state people have only watched the first three seasons. Why? Why only like half a show? I don't get it.

And that's fine.

Plus, the unfortunate mess of Kevin and Jenna's podcast. I think at some point, I'd like to listen to it to hear what they have to say, and hear the interviews (which I've always enjoyed). I just tire of fandom either grilling them for not understanding or using them as a piece of validation. They're two people just talking about their experiences. why do we need to make a war out of everything?

That all said (and it was nice to get out), I don't hate it here. I'm not really going anywhere -- I'm not one to skim on out because other people want me to not be here. Sometimes I just need a break.

And I've been thinking about ways to do fun things again -- I've been thinking about maybe doing an episode appreciate thing, where I talk about the good in every episode.

Idk. I suppose we'll see, but that's where I'm at.

#that's how s.o. sees it

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coralhoneyrose · 4 months

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Alrighty, ask meme! I'll have 4, 7, 14, and 38, if you please!

Ahhh, thank you so much for the ask! :D

4. How many fic ideas are you nurturing right now? Care to share one of them?

Not a *whole* lot, honestly! The only idea I am truly ‘nurturing’ (as in actively helping it to grow) is Half Orange. If you broaden that to also include stuff I have taken the time to make some sort of slapdash outline for, then there are four others. One I don’t think I’ve talked about on here before is a humorous, family fluff one-shot from the POV of Morgan when he is in his late teens and struggling to come to terms with how cringe and mushy and embarrassing his parents are about their love for each other once Robin returns post-sacrifice LOL

7. Share a snippet from one of your favorite pieces of prose you’ve written and explain why you’re proud of it.

A memory strikes him suddenly, illuminated as if by a stray sunbeam, of huddling midst the shelves with his sisters, Emmeryn reading him and Lissa some old Ylissean fairytale while a storm pounded down overhead and lightning flashes made a glowing tapestry of the colored glass.

He doubts that they were in this particular row of books back then, but the view is the same. Today, tiny dust particles swim in the late spring sunshine, but he can still hear how the thunder made the window shiver; Emmeryn’s bell-clear voice, serene and unafraid. Sometimes he wonders if grieving a person in the same space you lived with them isn’t more of a cruelty than a comfort…but he can’t imagine choosing to give it up either.

There’s this literary technique I have noticed some of my favorite writers use on occasion where a character’s wandering / idle thoughts while looking at something in the environment wind up being a means for insight into their characterization or mental state. I think it can be tricky to execute in a way that doesn’t feel disruptive, but I was reasonably happy with my attempt here. I also think grieving is a really complicated emotion, and it’s one I struggle a lot with capturing all the facets of while writing, but this was a rare instance where I felt like the words got across the feeling I wanted them to.

14. What’s the worst writing advice you’ve ever come across?

If we are excluding the infamous old tumblr posts that convinced all of us you are never supposed to use the word ‘said’ and that you should invent as many epithets as possible to refer to characters, I would probably say “don’t use adverbs”. Obviously it’s very possible to overdo it, and I will admit my writing has a tendency towards clutter and that adverbs probably contribute. But some people really act like adverbs are the devil, and the idea that an entire part of speech has next to no place in writing is kind of absurd to me. I have also read books where clever and intentional use of adverbs was extremely effective in contributing to humor or tone setting and if those authors had followed that advice, I would have enjoyed their books a lot less.

38. Talk about a review that made your day.

Oh man, very hard to choose just one when this is true of like…virtually every review I have ever been lucky enough to receive. One specific one that comes to mind, though, was a comment on the accidental engagement fic where the commenter compared Chrom to one of those tropical birds doing a mating dance, and Robin just Not Getting It despite his best efforts. It was such a hilarious and strikingly accurate description of their dynamic in that fic and I got such a kick out of it. I subsequently mentioned the comment to Bustle, and she wound up linking this video, and for the rest of the day, I would just periodically start smiling really big or burst out laughing every time I thought about Chrom and Robin as these two birds. The narration absolutely kills me too.

#asks #saccharine-azure #My fics

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superlustersnew52 · 1 month

Text

I feel like I should just outright say it and be done with it so here goes

I've only really not talked about this openly because I know people don't like people posting about drama but if I'm getting anon hate over it fine then I'll just say my piece and be done with it

back when I first started up superlusters (side note: the "new52" came later when I moved it from sideblog to main blog), another person made a blog called "powerlusters;" my blog was all dc characters at that point so they made theirs all marvel

I did not know this person before this, but I went along with it for a while until their true colours started to show

I believe it was on that powerlusters (which briefly rebranded to partylusters) account that they posted a smut starter that used m.illie b.obby b.rown as a fc (mind you, this was around 7 years ago, and she is 20 years old currently), which got them mass reported and had their account terminated when others found that starter, I did not personally see this starter but a callout post made the rounds

they came back not too long later as schooloflust, I admittedly was too lenient on them and should've blocked them then and there but gave them a second chance

then there was the incident where they hopped into my messages (and at least one other person, who would publically call them out on it), wanting to do an rp wherein a spell was cast on their muse so everybody saw them as a child and they could not change out of childlike clothes (mind you, they intended for this to go sexual somehow!), and, at least with me, they really pushed for it and went "well what if we just did the clothes part" and didn't want to take no for an answer

seeing the other person call them out on this was what made me decide to finally block them

fast forward to when they remade schooloflust later on, and they followed me from the new account, and I swiftly blocked them again

they would still wind up on my timeline sometimes though so I can tell you they added a.ngourice r.ice as a fc soon after she turned 18 but used gifs basically exclusively from s.pider-man h.omecoming (she would've been 15 at the time of filming that), and added i.sabela m.erced as a fc like the week of her 18th birthday and again used old resources

at the same time as they ran schooloflust, they followed me from another account (I believe this was ofcherrybombs, but maybe with a c or x replacing a vowel there), no part of this blog looked similar to their other ones so I followed back and was immediately messaged about wanting to rp and was tagged in a starter before I even replied, this starter made me go "hey wait that feels familiar" and sure enough upon checking schooloflust the exact same starter was posted on there as an open starter, so I blocked again

fast forward a bit again and I'm followed by an account called tornvoid which again I come to realize is the same person (I believe it might have been ofvoid at first)

at this point I have become paranoid that any account that follows me might be them so admittedly I probably blocked some people that weren't them and most certainly stopped following people back nearly as often

fast forward to relatively recently, they have new blogs yet again and literally have muse ages listed as under 18 on their smut blog and post smut starters saying their muse is 16, so of course I have them blocked and reported them for trying to write sexual content about minors (which is not allowed on tumblr!) and upon vague posting about it the other day I can tell you one person popped into my private messages to say they were trying to pressure them into writing smut about 16 year olds

I have had this person blocked for ages, and yet I keep seeing them on my timeline though others, I'm done, if I see you interacting with them, you are getting blocked, I can't have this hanging over me any longer

I understand they keep making new blogs so it may not be the easiest to recognize them but I can tell you they pretty much always have an oc named brooke redmund portrayed by v.alorie c.urry on their blog so that should help you recognize them (not to mention that they like to have muses listed as 16 or 15-18 on their smut blog so that should hopefully earn a block anyways)

#ooc #no more asks about this thanks #this is the final word #psa

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lioa7 · 9 months

Note

Oh? :D why ARE they here? gimme the explanation *takes out notebook* I'm Listening =] (AND AGGGGHHH I LOVE SERAPHIM! Their story is so interesting and I honestly wanted to see what they were gonna do after they were in the coding area with Gaster)

OH YEAHHHHH

HELL YEAHHHH

EAAAAAbhdhjkdjbk/vdsjbk/cascbjkbjkdv s/

BE aware CUZ THIS might… MIGHT… be a little long…

You asked 4 this, so I’m free of charge. And I tend to lose track of theeee uhhh… words when there is a lot of text…. so I’m going to TRY to keep it understandable... :D

Ok so FIRST!

(these are in no order, just how uh I’m writing about them) THE OG (UNDERTALE) [kinda also no]

SO I’m not going to go on about how great the game that Toby fox made is, because we all know it is! And I feel a bit nervous to try and explain what we all already know, plus I’m not too good with words or meanings… and I’m not sure I’d be able to write just how much I love this silly game.

Uhh… BUT BUT!!!

But I also LOVE LOVE!!!! The stuff people do with the “after” game. What I mean by that is those silly comics or artwork of life on the surface, like I feel like it can be taken to so many places!!! Like character studies or just a mundane routine that they adopt when they move.

AS ASSSS!!!! Like what do the characters think of the new change of scenery? What jobs do they get? DO they struggle with the change? Are people rude to them? Do they still carry a burden??? DO THEY GET PAST THEIR TRAUMA???? Or does it become worse? Do they ever get a happy ending? Are we seeing their journey to getting used to all of it? WHAT THE ABSOLUTE MOTHER FUCKING FUCK IS FLOWEY GOING TO DO?????? SO MANY POSSIBILITIEEES!!!!! One that I loved a few years back was Growth Spurt by potoo brigham (on Tumblr), where we follow Asriel trough what can be best described as an awkward phase. (tho I haven’t read it in a while)

Or other can be Unexpected guests by undertalethingems (on Tumblr), that APPART FROM THE MAIN STORYLINE BEING THAT THE GASTER BLASTERS NOW GOT A FULL BLOWN BODY it also explores some of the topics I put at the beginning… (mind you, I haven’t read it in a long time so I’m sorry) (I realized I’m kinda bad at keeping up with comics I like… L)

And I also talked about the art, in general Undertale fanart is just SO beautiful to look at, and that (unsurprisingly) also happens when people draw the monster in the surface, like I dunno… Toriel and Frisk taking a train home when the sun is setting and that stuff…

In general, I just love the ideas it can bring to the table, and how artists can like grab a piece of cannon (or fanon I dunno) and mold it to a story they want to tell with character that they love.

OK NEXT

The edge (Underfell)

Kinda short (doesn’t mean I don’t like it, it’s just more simple!)

I loved Underfell when I first came into contact with the fandom, it became my fave au of ALL time (probably because it was… well…edgy lol), and I loved pretty much everything it had to do with the au, if you had a thumbnail on Youtube with Underfell little me would have clicked that mf within the millisecond.

But of course, it was all mostly fanon, as I don’t really think in the 2016 or 2017 canon was too popular?

AT least not on Youtube…

little story.

I had a phase going on when I was… I dunno, 15? 16 maybe? That I thought everything Undertale related was cringe (As you can see that was just a phase), and I was repelled by it, not sure why but it was what it was.

But many months after (I don’t really remember the specifics) I came back to the fandom, because the 4 u page just kept showing me Undertale and I decided to watch a few videos for the sake of nostalgia… then few months later I created my personal tumblr to see sOME of the art… then I followed a few people… then twitter… and before I knew it I had already jumped into the UNDERTALE bandwagon again.

But one of the AUs that made me stay for sure was Underfell (shocking I know), because I had found Fella/Vic’s (twitter and tumblr) posts and drawings, and I loved all of it. The canon is just so fun to find out about, I love to just scroll down and just read the comics or the pictures.

I really love the characters, just the little differences with the OG cast makes them super COOL.

VERY COOL!!!

I really love sans! He’s actually very very ummm…. He’s unflusterable.

Like, how many pf you knew that Fell sans does own a spike collar, but it’s FOR the pet rock, and how when papyrus found it assumes it was sans’ and was confused but ready to support sans in whatever weird shit he was into.

Like I LOVE THAT… Or or or how papyrus HATES Asgore with all his might, but stands him BECUASE of Undyne.

I gained a full appreciation for canon stuff since then. (fanon is ok!)

Plus, the fact that the au even exist is because someone asked Vic to draw “evil Toriel” just makes it better.

(PLUS PLUS have you seen the designs????? oR THE ALT OUTFITS!! THE ART!!??! They are AH! Just… just… cheff’s kiss) THIRDah

WHAT IN THE ABSOLUTE FUCK (Horrortale + a little story)

Funny thing, I’m not a fan of any type of horror, ironic yeah?

But surprisingly enough, I enjoy Horrortale enough that I can just go about it with ALMOST no problems. The art is beautifully horrifying in the best ways, Sour Apple studious’ art style does everything right at the time of conveying just how horrifying Aliza’s journey is, like I remember that one animation they posted like a few years back where It’s just an animated screenshot of one of the pages from the comic. BUT MAN did I get scared. In general I think Horrortale conveys everything so well, from the sheer horror that the general story and topics bring, or maybe even the corruption of our favorite characters.

Like we have The Queen Undyne, she went from the hero of the story to a dictator who got corrupted because of gigantic amounts of pressure. Like the KING died, the Queen is nowhere to be seen, the human massacred a lot of monsters (the same human that Undyne considered a friend even), and all hope that the 6 human souls brought is gone, and to make matter worse the CORE has stopped working.

It’s a terrifying experience to go through, I don’t think I would have been able to handle that trauma. And the worst thing is, that Undyne being able to live through that trauma is what made her the person that she became in the present Horrortale.

Like you would NEVER see Undyne threaten to kill someone for a candy, of course it’s limited food down in the underground, but the Undertale Undyne would have done her best to help others.

Or Papyrus, who is pretty much the only monster who still holds a semblance of a moral, but that doesn’t mean he’s naïve in the context of Horrortale. Papyrus was tricked (in a way) to eat humans, for bad and good intentions. And that messes someone up, because I don’t think he doesn’t know.

And It’s not just that, every character that we see is just twisted in horrible ways that the situation has pushed them trough.

Horrortale takes a few years after Undertale, Aliza comes like 7 years after (8 now?) the player came and left everything to rot, and consider that monsters have been feeding of the little flesh that they can get, even the snow has become uneatable. Children are dying, magic is just not what it used to be (for fucks sake Grillby is the BEST fucking example of the undergrounds’ situation).

Now you might wonder that even after all that, why do I like Horrortale so much?… When I was a little lad (if I wanted berries and cream, mummy made me do the little lad dance), I was a FNAF fan, and one day I was watching “FNAF FUNNY AND CUTE” video (I distinctly remember one where the animatronics where in a sort of band that was playing a silly tune and the other was that the animatronics jumping into a box, and the foxy one couldn’t get through the box because it was metal) and I was enjoying myself.

Then in a moment of distraction Youtube auto played into another video, not FNAF tho, Undertale. And I DISTICTLY remember it (my memory is very weird, I don’t remember almost nothing but THAT I almost have a photographic memory of), it was a fan made video of the AU Horrortale. It was a fan’s interpretation of what could have happened to sans’ head, how did the situation play. And I believe it was before Sour apple studios released the “past arc” and we knew how exactly did Undyne break sans’ head.

I have researched a bit and it seems it’s called “Horrortale the law” I don’t remember the exact video, but I’m pretty sure it was a dub in my language… I think it was like 7 years ago?

Shortly after, I got into the fandom.

In any case, I was left pretty confused, as I didn’t know who the characters where or anything, but it’s left a bit mark on me. And that’s why my appreciation to Horrortale will always remain strong… even if I can’t really stand horror stories…

Angst, angst for everyone (Gztale) [the point where I can’t put my feelings into words]

Gztale, ah yes, little me’s roman empire. I kid you not, I CONSTANTLY thought of Gztale, I was OBSESSED with it. And sometimes I still do.

Gztale, tarts with our favorite non-cannon buddy, GASTAH. With our favorite non- cannon theory, DADSTAH. He takes some Determination from the already fallen human souls (I believe they were two at the beginning) and make some pills. And like ANY GOOD SCIENTIST he tests them on his kin. He’s like “take these son, they’ll make you STRONK, like vitamin… but with human essence in them… BUT THAT JUST MEANS IT’LL BE STRONGER!!!

NO DON’T CRY!!! TO SHOW YOU THEY WORK!!!

I YOUR FATHER, A GROWN ASS MAN, WILL FIGHT YOU (my who knows how old son… maybe 12?) TO SHOW YOU THEY REALLY WORK AND THAT I’M NOT BEING ABUSIVE!!!!”

Fatherly love y’know?

The comic mAINLY focuses on Sans going through, y’know… the usual stuff you feel after your dad experimented on you and physically abused you to see if his experiment worked.

PLUS!!! (I don’t think I saw this anywhere, so take it with a pinch of salt) I believe Gaster also gave pap some of those pills too? AND PAPYRUS WENT TROUGH AN ACCIDENT AND EVERYTHING JUST…. BWAAAAAA!!!!!!!

AND EVERYTHING went TO THE DEEPEST SHIT.

CUZ PAP’S IS ALREADY COOL AS FUCK, GIVE HIM DT!! AND HE’S COOLER!!!

And If you ARE FAMILIAR with Gztale, or at least saw some pics, you know that Papyrus is…kind of an antagonistic force!!! WHYYY?? People ask in the back. WELL You go and find the comic NOW, It’s very VERY COOL.

Ok so now, I will admit, I never got to finish the comic for reasons I forgot, but I’m sure one could have been that the guy who was dubbing the chapters stopped for who know what and the second could be because my brain was SRTUGGLING to grasp the plot accordingly.

But of course, I re-read the entire thing just now to do this because my 12 to 13-year-old self’s’ mind is not the best example of a sharp memory, and I tell you I would have loved it SO MUCH.

LIKE… SO MUCH!!! In any case I always loved the…. uhm… essence? I couldn’t really say, just every time I see Gztale I just… :D, y’know?

And I really REALLY wish I could explain why, like I did with the others, but it’s such a raw emotion that I can’t possibly put it into words… Or maybe better? I dunno.

In any case, the creator golzybladedee (tiktok, twitter and Instagram) deleted the comic because they created Gztale in a not to happy time of their life and it brought them distress… BUT NOW if you go to twitter you’ll see that golzyblade has handed over the “ownership” of the AU to Nixensibrat (twitter), so we MIGHT see some uhhh Gztale in the future…

YEA!!!

YEHI!!!! WOOO

YIPEEE

KILLER QUEEN!!! (killer! Sans) So this one’s a little obvious, cuz we all love Killer sans. HE’S SUCH a VERSITILE CHARACTER, like I’ve seen comics back to back, where in one killer is a little shit who’s going to do the thing he was SPECIFICALLY told NOT to do, and the other is JUST PAIN, PAIN COATED IN LAYERS OF PAIN.

And I love him for it. Like, he has so much potential in every spectrum!!!! I personally enjoy when people make him sympathetic. Like yes, he kills people, but not necessarily because he wants to kill people. Does he have a bloodthirst? Yes. Is he interested in giving into the bloodthirst? Not necessarily! like, Killer sans usually kills because Nightmare orders him to do so, if Nightmare hadn’t found him killer would probably stay in his AU rotting away. PLUS, if Dream had been the one to find Killer first, Killer would be as loyal to him as he is with Nightmare!

Killer is so out of it, that the moment a gooey version of him appeared and was like “Be my servant, the pay will be torture” he was like “sir I will now be by your side for no reason at all”. Witch also gives him a bit of (forgot the word I was thinking of, it’s like… SAD). Like ALL OF HIM could be better, HE COULD HAVE A BETTER OUTCOME!!! LIKE HE COULD HAVE ALREADY CAME BACK TO HIS AU????

Like it’s crazy to think about what happened to him, if it weren’t for Nightmare he would probably be in a better state now, probably not being in stage 0 (just sans) But like, better mentally at least. Like Core could have taken him to the OT, and he would have a better time there than alone rotting somewhere in an empty space, where his only company are the usual hallucinations and the NOT so usual people. also, his AU is still there, like it’s a sans-less AU, because once le left the world was left without its greatest source of DT, so naturally the next biggest DT person would have been Flowey. I believe that SOMEHERE in rahafwabas (tumblr) there is something explaining that. And that Flowey reset the world and that everything’s normal again, except Papyrus is looking for his missing brother.

In general Killer (with everything, including stages and all) IS SUPER INTRESTING. Like I could stay here writing how much I love each stage and all BUT… But…

I’m struggliN as it is with 11 faves.

…

Ok maybe a bit… In any case we all know the second stage, the “I’m sponsored by target” stage, it’s the most common, mainly because Nightmare keeps him in that stage as it is the most manageable while also being the most servant.

Like we’ve seen Nightmare change Killer from stage 1 (the target in heart form) to stage two, BeCAUSE that is the one he likes the most. Even then, stage two isn’t entirely serviceable (is that the word??? Like uh… he takes orders?), sometimes we can see that stage 2 has a little white pupil, that is a sign of “the sans we know”. Stage 1 Is (as I said) the target in shape of a heart (Dunno how to explain better),that is the most chill stage, like is ALMOST sans, but it’s also the more prone to hallucinating stuff. Stage 3 is KILLER GO APE SHIT (which is still great potential for angst, like Killer doesn’t remember when he goes ape shit, and even then, he is pretty tired after that and immediately goes back to two. And he can only tell he went ape shit because of the surroundings, it’s like he wakes up, sees mess and is like “aw shit”) Stage 4 we’ve never seen, but it’s probably APE SHIT multiplied by (imagine funny number). And I love them for that… BEFORE I pass onto the next(s) one(s)… A little smth smth… that liquid is his eye melting. Like you know the amalgamates right? Kinda like that.

NEZT

I messed up my painting (Error! Sans………… and Ink! Sans) [we talk a little about ships… JUST… a wee bit] Ok I’m putting these together… it will make sense in a bit… OK SO WHO ELSE SEARCHED FOR INK OR ERROR SANS AND GOT ERRORINK??? OR… LITTERALY ANY AU AND GOT (you guessed it) ERRORINK???? Well, it MIGHT not be a universal experience, but it was for me I suppose. SO for the longest time, I just assumed Error and Ink were just… Errorink (wow I deserve a noble price for that AWESOME WRITING).

In any case… Uh I never really cared for that ship, I mean people can do pretty cool stuff. But still, it was JUST there. But if you remember from the Underfell thingy, I found my appreciation for cannon stories. And this WORKS SO WELL WITH THESE TWO ESPECIFICALLY!!! Like I FUCKING WATCHED A 3 HOUR LONG VIDEO ON GENO’S AND ERROR’S uhm.. lives? Deaths? UHHH JUST PASTS???!!! And I love it so much, you should check it out… If… if you know spaniSH.

Español y esas cosas, con la ñ y todo eso.

[Todo detras de Error Sans y Geno Sans (+teoria) by Mat002] Now we complicate ourselves a bit

we now talk about Error: Error sans, much like Killer, Is SUCH a complex character. And he’s kinda doing it my accident??? As CrayonQueen (twitter and Tumblr) has said, Error is a mess, he’s a big man baby! As his name suggests he’s an error (wow), and everyone who has had an error on their computer will know that those fuckers are everything but easy. AAAND that’s what you need to understand Error, he’s unpredictable. In any given situation he’ll act completely different depending on… who knows what??? People usually portray him as this grumpy old man, which it’s not bad! But he’s more of a Grumpy baby, who is mad because you peeled his banana and HE WANTED IT WITH THE SKIN!!! AND IT WAS THE LAST FUCKING BANANA!!!!

SO NOW HIS DAY IS RUINED!!!! AND YOU DID THIS BECAUSE YOU HATE HIMMMM!!!! AAAAAGHAHGSCAHJCDGJVVDJVDB<VDOIP!!!!!!!!! Y’know?

And I love him for that. Like he’s a cutesy guy sometimes, and sometimes he’s an ass. …manbaby.

Plus, the whole Geno backstory just makes Error’s more (AGAIN THE WORD I FORGOR!!!! But it’s kinda like miserable??? Like LIKE um YOU GET ME???). Because CQ told us that Aftertale had 3 possible endings, Miserable, Bittersweet, Good. We can assume that the one we got in Aftertale was the happy one…

So that makes Error the miserable one, the worst ending.

And you know it’s just sad… Error is just the result of someone’s worst ending.

DW tho! Some Geno out there still got their happy ending!

And of course we also have Fatal! Error who IS A WHOLE ‘NOTHER THING!!!!

You from the future messed with a you from the past and made an even worse you, kind of scenario.

Now INK:

Ink is a little straight forward, but also no.

Like Ink is all about Creating, but not necessarily in parallel to Error, while also sorta yes. Ink’s backstory goes like this.

He’s from an AU that was never finished, the creator gave up on it. The only one who got any semblance of emotions was (ironically) Ink sans, but of course, he couldn’t bear to be alone. So he erased himself, it provided a HUGE problem for him, as he was emotionless, he had nothing to live for. But the creations, the creators, all of that was what gave him meaning. And this rings incredibly close to me…

I have it since I was probably 14 or so.

I have an AU… not the silly post-it sans OC with a cool bro OC. I have an AU that was based of of a LOT of stuff in you might see in this long ass post, it started as a sans solo AU (because of course it was), and It evolved with me as I also grew up.

I’ve been working on and off of it for years.

And you might not see it honestly, because I feel so wrong about it, like the story is just bits and pieces I saw in bed just before sleeping. I barely tied those together. And the designs are… WELL… designing clothes is pretty hard.

And I almost gave up on it…

But I really want to continue, I want to y’know…? And um… Ink’s story kind of put that into perspective for me… …

ANYWAYS! UM… it got gloomy… IN ANY CASE! Ink’s story hits very close to home for me, as I explained a few moments before. But also, I just feel it makes sense for a character like him, I mean… He LIVES for the creations, and not only because he “protects them” and more like… All we (as creators) do is what keeps him alive. Like Ink’s immortal right? Well kinda, he’s almost immortal. The moment the creations stop the paints that give him a perspective into life will also vanish. He might not die entirely, but he’ll just be an empty shell, alone in a white space. So It kinda rings hard for me that he’s literally feeding from our stuff, he’s here because of u and me. And well… APART from that he’s also just an interesting character. Ink is a shell that he himself fills with temporary feelings, this kinda makes him a bit dense in some situations and might act a little out of place. BUT he doesn’t mean wrong!!! I have seen a lot of like “evil” ink, and I feel that the idea can be interesting, but also, I think that a lot of people read “NEUTRAL ink” and assume that must mean he’s just a little mean?

Maybe unintentionally so, usually it’s portrayed as a thing that’s out of his control but that he’s also not bothered by it and does nothing to change. And I don’t really think he would act like that? Ink is a little forgetful, but he does write stuff to try and remember! Ink struggles to understand situations, but he is trying (I think)!

He likes to play pranks but I don’t think he intends them to be mean! And he’s just a cool character… Plus he’s as much of a fan of AU’s as we are. (in a way, kinda)

And all that good stuff.

And I feel like comyet (tumblr) really did make a memorable silly.

… thanks for making him…

…

UMMM NEXT IS AAAAA mirror (Anx! sans) [be aware… this gets a BIT personal]

So this one’s not too much like the others, I mean… I dunno… you get me.

SO this one might be shorter, cuz it goes into me a bit?

Ok…

So in 2022 (I THINK), I was ready for life! Until I wasn’t. so… y’know I went to get help!

I have severe social anxiety.

Yeih.

And it’s stopped me from doing a lot of stuff…

And it wasn’t too peppy. Until I found THIS GUY!!!! I was scrolling through Tumblr and I found hheisa’s account here, and would you look at that… they have a Sans (my personal favorite thing [kinda] since I was a child) with what I have! (kinda, almost!) So he helped me a lot! In a way, this might be cheesy, but I felt pretty alone but… then he’s there and I felt that maybe I wasn’t. and you know, that’s about it.

Hheisa hasn’t posted much of him, but I still love whenever he pops out in my FYP.

Um that’s it.

OH and because of a comic I found out that sucking on ice is pretty good for uh, not good times.

Hheisa I hope you never see this, cuz it’s embarrassing as FUCK. But thank you… your silly helped me get through some stuff.

…. AND NOW

A BIT OF A PROBLEM (bitty au) [self-indulgence] So if you’ve been a long time in the fandom you’ve probably seen at least ONE SOMETHING with bitties!!! It is very self-indulgent too, but it doesn’t need to be. Like m pretty sure some of you know Poetax right?

They have a string of comics about UT, UF and US sans’ and papyrus’ with their respective bitties, and as weird as it is to have a miniature version of yourself on your shoulder, they make it work yaknow??? Fucken-Crybaby left the Au for reasons I’m unaware of, but left it open for people to still use the bitties.

ok so! In any case! Bitty bones AU (or I don’t know the official name) is an AU where your favorite characters are miniature versions of themselves!

And these fuckers are tiny! Like stupid tiny. Like you do a “call me” sign and try to make it as big as you can, and that’s about as big as bitties get. this one!

But of course this isn’t a rule, you can make bitties as smol or as big as you want.

And you can adopt them!

With such an interesting prompt the AU got very popular, because you could: Give your favorite AU a mini version of whoever you wanted, you could be self-indulgent and draw yourself (or an OC) with a bitty! It was very cool! Y’know??? It was your tiny silly! There are uh, like BASE bitties, like for example a Sansy bitty is always hungry, seepy, is funny, and lazy. Or like a Fell who is like an angry cat. He will fucking destroy your stuff, is going to bite, is prone to fighting other bitties and stuff!

And there’s also Papyrus bitties and Grilbitties (love that name)!

And there was even a chart of how some bitties reacted to others! But you were allowed to make your own! Let’s say you had an OC of who knows what, and if you wanted to make it a bitty to just play with the idea, you can! Like if you wanted a Toriel bitty you could make yours! And that’s about it! I hold this AU very dearly, is very cute and even if bitties aren’t as popular as they once were, I still think they are neat.

And the stuff you could do with them! You can just do a homey story with bitties, just hanging out. Very cute story where you (or whoever you want) adopts a bitty and you now have to learn to live together with antics and all that good stuff! Or you can try and make all the stuff of: HOW MORALLY OK IS IT TO HAVE THAT THING??? ARE THEY OK BEING SMOL? HOW ARE THEY MADEE????

And if you are into bitties like I am you’ve probably seen some of these!

Even some mixed I believe?

Ok uhhh next!!!

OH HELL YES!!! I LOVE TOUCANS!!! (Seraphim! Sans) (GOF FUCKING DAMNIT WE’RE ALMOST AMOST DONE!!!)

Ok so Seraphim sans comes from this cool comic known as “the thought”.

It comes from sans’ thought. “What if one day, the human doesn’t reset? What is one day we just cease to exist?” So he acts, he attacks the human when they leave the ruins.

He takes the human’s soul, and takes it to Asgore. So they’re going to break the barrier to just have an ending. But Asgore, doesn’t really want to, he wants to wait, as he has killed so many humans… KIDS for that matter. And he’s afraid, humans were always stronger than monsters, and there are millions of more humans then monsters. But sans is like “Dude, I didn’t just break a promise to just sit around” so he makes a not so thought out decision. He’s going to do it himself.

And of course he turns into… TOUCAN.

And shenanigans happen…

I highly recommend looking for the comic made by tratserenoyreve (on tumblr). Or look for the comic dub by Starbot Dubs (yes, they are the ones from CPAU too).

I ABSOLUTELY love HOW the author brings this story. Like come ONNNNN!!!!!

Ok so, one of my favorite things is how the characters are portrayed! Like the human souls, they are faceless here, nameless, but they still have that little bit of personality and I love that even when they are literally faceless, they aren’t completely gone! And even so, the story has a bit of a bittersweet ending. BUT FIRST WE TALK ABOUT THE STORY! So after sans does the stupid, everyone’s just… confused and hurt on what to do? The human souls are permanently attached to sans, who didn’t really stop to think about the AFTER. And they want to extract the souls from him. But now here comes the interesting part, they are all there, like Sans can communicate with ALL 8 kids, and he’s not necessarily sure of how to feel? He’d just expected to have unlimited power and that’s it, but the human souls are here to stay. So, papyrus has to take sans home, the King, Undyne, Papyrus and the former Queen decide to keep the broken barrier a secret. Until they can safely get the human souls back, of course. So that means that they’ll have to wait until Alphys has messed with the DT extractor as it wasn’t BUILT for 7 human souls. The days go by, and Alphys has finished it.

Sans gets into the lab and kinda opens up about what he knows to Alphys, why he acted so rushed? Why of everything. And it seems it’s a good start to a new beginning, but things aren’t to well. The DT extractor begins to hurt Sans’ soul, and the kids are freaking out, so Integrity tries to help by teleporting. That of course leads to them getting lost in between the files, the space between. And they find the code to the game, and get exited! That means they can mess with it and make everyone live; they can make Frisk… well Frisk! Instead of a shell we use to play. But they encounter… (drum roll) OUR FAVORITE SILLY!!! GASTER!!!!! And of course, he tell them that this is bigger than they could ever imagine, and the fact that they stopped “it’s” game could mean the erasure of the world.

(As in, imagine you are playing Undertale, sans kills you JUST before the ruins and your game is a permanent GAME OVER)

SO shit goes down.

I’m not going to explain the WHOLE thing cuz you HAVE TO read it!

And then Sans and the kids are left with a choice, Reset or continue. Reset means everything goes back to the loop, continuing means the possible end to their world. And It ends in a tie 4 to 4. And it’s all left to Frisk to decide.

They choose both, they ask if they can copy the game and hide it somewhere where the OG copy is the one that’ll continue in the endless loop, the one that is hiding is just them continuing to live.

AND I AAAAARGGGGGGGG!!!jvdhkbjvdsbhdvsj’vds

I LOVE IT SO MUCH!!!!

I re-watched the comic dub to refresh my memory a bit, and to understand the parts that I didn’t when I was younger (because English bad).

And I cannot express HOW much I loved all of it! It’s a great story with great moments.

And I REALLY REALLY recommend it!

Just love the use of how they manage to at least save ONE COPY of themselves. Like somewhere there’s the other copy going through the loop again and again and again.

And I just can’t begin to explain the feeling that that gives me! Love it with all my heart. Now WHAT THE ABSOLUTE FUCK!!!! THIS IS EVEN WORSE?!?!?! (Underworld)

Simple enough. Not fan of horror, but I found underworld’s designs and fell INLOVE with them. Not much to say, just that it has the potential of a hundred suns and that is it. LIKE LOOK IT UP AND YOU’LL SEE???

Personal favorite is Undyne and Toriel.

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Ok so here’s the kicker, I said they were 11, right?

But I’ve put Error and Ink together… so they count as one, right? Because I forgot one. (I actually forgor two but let me have my moment) SURPRISE (YOU GUESS BEFORE I SAY THE NAME!) So I’m pretty sure this AU isn’t known as much, as the others.

Like I’m sure there ARE people who like it.

But it’s died down a HOLE lot, the fandom grew and from the AU’s that have managed to survive it, I feel this one’s been left behind. I mean there’s still fanart, but like it’s not popping up like others. The aesthetics are MY ABSOLUTE favorite, because there’s not too much of a change in story. I mean there IS, and it’s pretty cool. But what sells me is the aesthetics, just the whole vibe!!! And I’m sure that if you like dark fairy vibes, you’ll like this one.

Ya ready???

YA READYYYY?????? I don’t think you are ready!!!!

AAAAAHHHHHH

It’s Masktale.

Did you guess it?

(end of my thing) …

…

And there’s also Quantumtale because they are cute kids with stupidly strong powers, and Gaster is a cute guy and I love it.

But I haven't researched a ton of the last two sorry.

but im tired sO

(We’re officially done.)

and uh thanks for asking :,)

#JESUS FUCKING CHRIST #anyways #undertale #underfell #horrortale #gztale #killer sans #error sans #ink sans #anx sans #bittybones #seraphim sans #underworld #masktale #quantumtale #we're fucking done here.#with 20 pages and 5671 words. I think?#MAn I really feel stupid after posting this #imma try not to delete

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