#the embodiment of “perfect characterization” | Explore Tumblr Posts and Blogs

appleblueberry-pie · 6 months

Text

Explaining your First Love to the Yandere's

A/N: "The Yandere's", meaning as many yandere's i think I can characterize as yandere's as perfectly as possible without burning myself out. Also, are the pictures too much?????? Also, I couldn't find a good pic for Sugu without picking the one where he's literally going insane LMAOOO. Love how my semi-debut for my yandere characterization for him is shown w a not so pleasant picture of him(they're all perfect). Anyways, this is probably gonna be my most chaotic, yet organized, post about jjk ever. I have a solid plan and will go through with it. It's friday and this is me "letting loose" before the weekend. Also, the first love story will be pulled from my own experience. With multiple twists to it to make it sound as interesting as possible.

SCENARIO:

"Mmmm. I remember my first love." You hum in a pleasant tone as you start to reminisce events of who you first gave your heart to. "I loved him so much, it was insane. Because....we grew up with each other. We used to be like this." You twist your fingers together, smiling at him as you explain. "He was an embodiment of me, as I was of him. I don't remember a time we weren't friends. I think it helps to mention that our mom's were friends and they were neighbors. So....we've always known each other. He's a year older than me."

You two were out in the park on the grass. He suggested a little picnic together, hoping to bring you two closer so he could possibly make more moves to be more than a friend. But you were so oblivious to it, even going as far as talking of your first love as if you still missed this stupid asshole.

"I still miss him." You go silent for a few seconds and stare down at the checkered blanket, smiling. He gapes a little and resists the urge to scoff. "We both loved playing video games, we watched the same tv shows, went to the same elementary school....a lot of things happened between us. He didn't like me back, though. I confessed to him when I was 9 and he said no." You laugh. "But even then, I still loved him. I still feel it, too. For some reason, my love for others doesn't really go away. Just sits at the bottom of my heart to make more room for others."

You sigh and continue talking about the guy. "He just grew more and more....attractive as I grew up. I am pretty sure he's why I have my type that I have in men currently. He's very tall....a deep voice." You sigh, closing your eyes to remember. "Relaxed, closed off.....I heard him on the phone when our moms were talking a month ago. He sounds....so different. I don't even know what I'd do with myself if I saw him again." In real time, he watched you unravel slowly to show how.....inf*tuated you were with this guy. You were so focused on naming his qualities. As if you could picture him perfectly in your mind.

"I'm so glad we don't talk to each other anymore. I ruined our relationship. Said a few inappropriate things I shouldn't have said at the wrong time. I haven't spoken to him in....6 years. And I'd rather it stay that way, honestly. Because he's a rather boring person outside of his physical attributes. But I have attachment issues." You pick up one of the snacks laid out between the two of you. "Yeah. I'm done talking about him. I would rather not think of him anymore."

YANDERE REACTIONS:

Sukuna:

Sukuna was baffled. Anger, frustration, fear, and even jealousy kept his tongue from moving. He thought this moment wouldn't ever happen in his life. He thought this wasn't a possibility. Your extreme disloyalty to him was what made him clench his hands in anger. But if he rationally thought about this, you don't know. You don't know how much he loves you. How much the Ryomen Sukuna loves you. You were supposed to be his in all lifetimes. He felt like he absolutely knew you were pure. You smelled pure and your energy felt pure when he first met you. So why were you fixing your mouth to say such disgusting and unfaithful words to him as if he wasn't right there?

He wanted to ask you if you've been trying to give yourself to him like a whore, but he knew that was just him overreacting. He wouldn't ever say such things to you, anyways. He wanted to change for you and was trying, starting with these stupid little date settings he knew you loved. A fucking park. And here he was being stabbed in the chest multiple times without your knowledge of it. It was all your doing.

He might be human in this lifetime. He might be nothing but a mere human for you to toy with freely, and he would let you do it to him. But he would never allow a puny roach get in the way of getting what he deserves. He deserves you and he will have you, one way or another. And if that means cutting a small piece of your heart out just to keep the rest, then so be it. He can't have any piece of you in him. Just thinking about him makes another vessel pop in his body somewhere. He will kill this thing.

Kento:

Maybe he was overbearing. He really just couldn't help but feel insecure. There should be no real reason for you to bring up a man from the past. Someone that should clearly be out of your mind. Was he boring? What did that fool have that he didn't? And why did you mention it while you two were on this date??(It wasn't a date, but it felt like it to him) Maybe he was too plain. Men like him were just smokers and loners, of course you'd bring up someone else that can satiate your desire for real love. It's all because he couldn't. Not in the way you want to be loved.

But he knew, he knew that he was enough. He knew he was your type as well, so, what did you mean by he was the type you have in men?? What does that mean for him? Will you use him and throw him away? He doesn't want to be used and tossed out like trash. He wanted to be yours forever. He wanted to be your man. Your man. He wanted to be your lover, your obsesser and the one you obsess over, not that imbecile. He wanted to be skin to skin, he wanted to be under your skin, he wanted to make his mark on you and for you to do the same to him. He deserves your love. But here you are expressing it for another man you haven't even spoken to in over 6 years. He deserves that type of commitment, there's nothing he's done to deserve it this late.

"I love you." The words slip out like oil on water. And it makes his heart oh, so much lighter.

Suguru:

"Heavens. I'm glad you aren't talking with him now." Suguru chuckles and shakes his head, peeling off more strawberry leaves for you. "This is why." He points with the strawberry at the people walking past and then gives you the strawberry. "This is why I don't want you talking with them. They do this to hold you in their clutches, I've seen it." Suguru sighs as he recalls your story in his mind. Jesus, was it trying to hypnotize you? If so, it was working. No worries, it won't be around to mess with your mind much longer.

"They actively lie, they laze around, let their emotions control them, and then try to manipulate you to stay with them to be their stepping stool." He brushes your hair back neatly, and you scrunch your eyebrows at his words. "But I know you're better than him. Better than all of them." He calls out your name and stares into your eyes with a look that makes you flustered. What is his problem?

"You are the light. You are one of the most strongest and intelligent sorcerers I have seen of this time. You hold up your potential and continue to blow my mind with how beautiful your soul is. I am constantly drawn to you and your energy, I never get enough of it. I don't ever want to hinder you and I don't want anyone else to hinder your energy. That's why I will kill that filthy animal that tried to touch you." It's scary, the way he maintains eye contact with you and spits the nastiest insult about the man you once loved with your whole heart.

"I can't wait to get to know you better. You've been teaching me so much. Maybe you can tell me about your favorite nature spots and we can relax there whenever you're free. And sometime later, I could also take you to meet my family. You'll love my two daughters." He laughs lightly, knowing Nanako and Mimiko would adore finally having a real mother worth of raising them. Together, you and him would be unstoppable.

Choso:

Choso was finished with peeling the mandarin for you. You kind of were confused about how he went about doing this, though. Because all over his lap were the smallest bits of mandarin peels you've ever seen. But the mandarin looked perfect. He obviously took his time. He handed it to you softly, smiling. You accept it happily and begin peeling.

He was surprised he didn't rip the thing apart then and there. Maybe be should peel things more often. The way you so freely spoke about your love for another man when your soulmate was sitting right next to you, peeling fruit open for you was preposterous. He needed a hug. A lemonade, had to kill someone, something. But he stopped killing people for you(secretly), so he has to resort to acting like he's peeling off that devil's skin. Starting from where the shiny skin first shows. The first piece is always the hardest to pick off and it's hard to choose where to begin. But soon enough, the color underneath began to show. He slowly picked off every. Little. Piece. He heard a yelp of pain and cries of "sorry's" in his head for every piece.

Every single little piece made the air smell more and more sweet and tangy. The more you spoke, the faster he picked. The stronger the smell was. So citrus-y and delicious. It made him smile. He loved peeling this mandarin. Then picking off white strips connected to the mandarin itself, so that it was smoother and you had no access peel. Like veins, they came off one by one. He simply stared at it when he was done. Smooth, perfect. Scattered remains laying everywhere on his lap.

He's never felt this way before. What were you doing to him? What is this twisting feeling in his gut that makes him want to puke? Why can't he breathe? Why does he want to kill the kids and mothers at the playground not too far away? He needs you to calm him down.

He hates this park.

"Here you go, angel." He hands it to you, smiling. You looked a little confused at first, but then took it from him, opening it to take a slice. "Oh, this looks real nice, Cho. ......Why are you smiling like that?" He shrugs, picking up one of the strawberries you brought from your place. "Like what...?"

Toji:

Toji was silent. The awkward silence he was creating between the two of you made you nervous. He was sitting close to you, leaning over to you, his arm supporting his weight behind your back with your shoulder touching his chest. He was just staring down at the bowl of strawberries. ".....Toji?" Your soft voice made him sigh.

No, he couldn't do it. Killing you won't kill the pain and anger in his chest. This was probably the angriest he's ever been. He wanted to shout at you to apologize for how you were making him feel. But what he really wanted was to feel your lips on his and for you to shut the fuck up. For some reason, every time you open your mouth, it always ends with him degrading further and further off the side of sanity and just going completely ballistic.

You saw his hand on his hip. The hip that wasn't actually his hip, but was his gun he was resting his hand on. He would feel so much better if those shrieking rats would shut up. Fucking rodents running around you two freely like he wasn't about to ruin everyone's day.

He wouldn't say he was often traumatized, but he could've went his whole life without hearing that story. Now he has to find a random man and kill him for stealing your heart. I mean, the least the bastard could've done was reciprocate his feelings and not leave you feeling helpless. "I could treat you better than that dick." You flinch at his words before smiling, averting your gaze as well. "Oh....." He leans in closer to your face. "Where does he live, huh? Is it the prick with the glasses?" "No?" "The one you work with?" "I-I told you I haven't-" "Eh, whatever. I'll find him and kill him." He smiles at your bashfulness and grabs a few strawberries from the patch.

Sometimes he forgets you don't care much for how he says things. If the right message gets across, you usually don't mind how he says it. But he just blatantly threatened to kill him. You grab the leafless strawberries from his hands and begin eating. Nah. You were his, for sure. He sighs and lays down on the blanket, staring up at the blue sky.

Satoru:

Satoru nodded along with your words, his hands trembling. When you smiled, he did. When you sighed, he would, too. And when you finished your story, he had to swallow the thick bile in his throat. You were just....recalling old memories, that's all. Nothing else. He tried to focus on the grass blades he felt through the blanket. He tried to focus on the sounds of the kids running around squealing.

He watched you eat some of the cold grapes he brought you. They were big, and you praised him lightly for finding such a great batch. He nods quietly and stares down at his lap. Everything was fine. You were fine, and so was he. "Satoru...?" Honey dripping naturally in your voice makes his head turn automatically. The worry etched on your face made the strings holding his mind together break one by one. "Are you alright..? You're sweating."

Nothing was fine. He can't believe you just said that to him. Why would you..? Why did...? Why?.....wait, why?? Why??? Why why why why why why WHY would you do that? Why would you say that to him? He sacrificed so much for you. He killed all of the assassins that went after you when the higher ups found out about you and him getting closer. He paid off your parent's debt secretly. He paid your rent. He woke up early in the mornings to talk to you because he knows you like to wake up to see the sunset. He memorized all of your schedules when you have special weeks, special breaks, he memorized all days that you memorized, he knows what mattress you like to sleep on, he knows how you like certain foods to be seasoned, he knows your favorite weather and season, he didn't fucking learn all of this about you for nothing!! WHY don't you ever appreciate everything he's ever done for you? Why don't you notice him? Why don't you love him? He stalks you every day to understand the type of man you would want to live under your roof and be under your covers and that wasn't enough.

He's been so alone all of his fucking life. No one understood him like you do. He couldn't help but open his ribcage, breaking them off of his body to one by one to let you touch his hot beating heart with your cold fingers. He wants you inside of his heart forever and never let you go, can't you understand that? He hasn't slept in three days, predetermining what he was going to say to you during this picnic, and you tell him that?? Just fucking kill him. Kill him, kick his face, spit on him, ruin him like you're doing now. He clearly doesn't matter.

"Satoru??"

He's supposed to be the one you compare playing video games with, he is supposed to be the one you watch the same tv shows with, he was supposed to go to the same school as you!! His skin is on fire, he can't breathe, his mind hurts, the grass blades are irritating his skin and the children are making his migraine worse. Are you saying something? He can't hear you. His ears are ringing.

He wants to be him. He wants to rip open the skin and spine of the man who lived in your soul since the dawn of time and crawl into his body to experience what he experienced. He wants to do all of those things with you as kids and live with you, grow with you, let him be your infatuation. He wants to rewind time. He wants to die. He wants both of you to die and be reborn to be given a second chance he can never ever have.

"Satoru!"

Your face is twisted into heavy concern and slight fear. Satoru sat in front of you, staring at you. He hasn't moved in three entire minutes. His face was covered in bucket loads of sweat, his lips twisted into a tight smile that threatened to break into a million pieces. The corners of his lips wobbled as if he was going to cry, but his eyes were wide open and dry. His legs, arms, and back stiff as he sits in such an uncomfortable position, it had to hurt. You were scared for him.

Can he hear you? You slowly raise on of your hands to touch his cheek and he flinches under your touch, finally blinking. "Yes?" You purse your lips and bring out a cold water bottle from your basket. "Here, maybe you should drink some water." He takes the water bottle you dropped into his hand. "Thank you." He whispers and sighs, twisting open the cap. You watch him guzzle the whole thing in 5 seconds. "......maybe we should go indoors." He nods, closing the now empty water bottle. "Yeah. The sun is hurting my eyes."

No part 2's. Because I don't like continuing old plot and I love seeing people go crazy for me not continuing good content.

3K notes · View notes

velvees-archive · 5 days

Text

At 20 years old, Miles Edgeworth’s only mentor tells him never to step foot into his opponent’s territory lest he fail to crush them in court. 4 years later, Edgeworth enters Defendant Lobby No. 1 to warn opposing counsel Phoenix Wright about Redd White’s decisive testimony.

Some post-AAI1 reflections + how Phoenix unravels Miles from the very moment they meet again.

After playing through the original trilogy, up to 4-2 on Apollo Justice, and all of Ace Attorney Investigations 1, I couldn’t help but jot down my (admittedly incomplete) thoughts about Phoenix and Edgeworth’s relationship, especially as it pertains to Miles’ “unraveling,” or his departure from von Karma’s teachings.

We already know von Karma had no love for Edgeworth. Crushing the late Gregory Edgeworth’s legacy under the guise of mentoring his son (and eventually ruining his career at its peak) was von Karma’s last act of hatred towards the departed.

From Miles’ perspective, however, von Karma was an accomplished teacher to whom he owed his gratitude and career’s success. This is important because Edgeworth’s actions are fundamentally motivated by his desire to express his “gratitude,” repay debts, and honor legacies.

His debt to von Karma compels him to strive for the perfection his mentor obsesses over. Achieving perfection takes the form of absorbing von Karma’s teachings, among them the AAI1 screenshot from earlier: only face your opponent in court, and make sure you crush them when you do it.

We know for a fact that the “demon prosecutor” internalizes von Karma’s teachings. He follows them to a T.

So, following 15 years of indoctrination, 4 years of putting the von Karma creed into practice, and an entire childhood AND early adulthood’s worth of gratitude, you’d THINK Edgeworth wouldn’t dare dishonor him…

Until he does, by coming to the defendant lobby to speak to his “enemy.”

Prior to playing AAI1, I thought the impetus for Edgeworth’s character development was 1-3, wherein he reevaluated the facts of the case and helped Phoenix get Dee Vasquez a guilty verdict. I still think 1-3 was the first time he consciously acknowledged the possibility (keyword: possibility) that his prosecutorial upbringing wasn’t..sound…(lmao!)

But with this AAI1 von Karma and Bratworth interaction, I now believe it was 1-2—with Edgeworth subconsciously disregarding his mentor’s teachings and Phoenix acting as the catalyst—that shows us when he first strayed from the path of a Von Karma.

An aside: Do I think AAI1 Bratworth was perfectly characterized? Not at all; he’s much too noble for that era of his life, though I don’t think it affects my case.

Edgeworth is a man full of contradictions. He comes to the defendant lobby to tell Phoenix his case is hopeless, though he has no obligation to disclose—nor has he ever set a precedent of disclosing—decisive witnesses’ information to his opponents.

He tells Phoenix he’ll do anything to get a guilty verdict, yet he warns the defense that his witness’s testimony will be considered infallible, prompting the player (Phoenix) to dissect the following testimonies with more care.

He tells Phoenix not to expect any special treatment from him, yet his very presence in the defendant’s lobby is in direct opposition to his respected mentor’s wishes.

It takes just one appearance from Phoenix for the filaments of von Karma’s indoctrination to unravel. 4 years into his career, Edgeworth has met many attorneys—most notably, Mia Fey—who embody Phoenix’s faith in his clients, yet none could shake his foundations like Phoenix Wright.

Edgeworth may have not been ready to turn a new leaf upon his first encounter with Phoenix, but the fact that a loose thread from his childhood (that’s emblematic of his innocence, his dreams, and dare I say his father’s drive) ultimately leads to his unraveling is poetry if I’ve ever seen it.

TL;DR Phoenix deconstructs Edgeworth like he was born to do so. The moment Phoenix decided to chase after him, Edgeworth had already lost.

#ace attorney #vel talks ace attorney #narumitsu #but not really narumitsu in the ship sense #ace attorney investigations 1 #reflections #and they were soulmates #phoenix wright #miles edgeworth #cross posted on twitter

694 notes · View notes

linkspooky · 2 months

Text

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

#mha 428 #mha spoilers #mha 428 spoilers #mha meta #mha critical #uraraka ochako #uraraka #toga himiko #toga #togachako #faith #buffy summers #faith lehane #fuffy

360 notes · View notes

calware · 2 years

Text

why you should vote for vriska in the 2023 tumblrwoman election

@lutzlig is hosting a series of polls to determine who the ultimate tumblr woman is. love her or hate her, here is why she is objectively the most fitting candidate for this title:

1. she's canonically attracted to women all throughout the homestuck series as well as transfem in pesterquest. SHE HAS A GIRLFRIEND!! she is without a doubt an LGBTQ icon

2. THIS IS THE HOMESTUCK WEBSITE. homestuck ABSOLUTELY dominated tumblr during its peak. homestuck is an integral facet of tumblr's early culture, don't forget your heritage. homestuck was even ranked #6 in the top webseries of tumblr in 2022, surpassing other popular media such as MBMBAM, heartstopper, WTNV, hazbin hotel, HLVRAI, sanders sides, RWBY, and TMA. we were here from the beginning and we're here to STAY. and vriska has proven that she has stood the test of time.

3. she's instantly recognizable. practically everyone who's been online during the 2010s has heard of her one way or another due to just how prevalent she is. you could even argue that she's the most recognizable homestuck character out of the entire cast.

4. she invented an entirely new genre of discourse. we all know that she's infamous for frequently starting arguments on forums so drawn-out and aggressive that they had to be locked. people still argue about her TODAY. after THIRTEEN YEARS!!! she is perfect for tumblr

5. she's an incredibly interesting and unique character. she's somehow both a protagonist and an antagonist simultaneously. you want to hate her and you want to feel bad for her and you want to see her die and you want to see her come back to life. her characterization is so complex and nuanced, she's both a victim of abuse and an abuser. she breaks all rules and expectations. you never know what she'll do next and there is nobody else quite like her

6. her personality embodies tumblr's culture perfectly. she's a nerd. she's a gamer. SHE'S WEIRD. she's an outcast. she roleplays. everyone hates her. everyone loves her. she's bold and she's brash and she'll only go down kicking and screaming and fighting until the bitter end. they've tried to kill her so many times but she always sticks around, just like our near and dear website

#homestuck #🕸️#vriskasweep #tumblrwoman election 2023

3K notes · View notes

rafesapologist · 3 months

Text

the boy is mine ─ rafe cameron; chapter three

summary: you were an erudite kook with her life ahead of her, very highly sought after by almost every man from figure 8 all the way to the cut. but you only wanted rafe cameron, and just in the typical nature of getting everything you wanted, you were going to have him.

warnings: dr*g use, alcohol, suggestive themes

The following week at school was agonizing, brutal even. You were thrust back into the relentless rhythm of your usual routine: waking up at 6 AM, donning your stiff uniform, and enduring seven grueling hours of classes. You pushed through the school day only to return home and bury yourself in more studying. Normally, you approached this regimen with a resigned acceptance, but this week was different. This week, everything bothered you.

After the encounter at Sarah's house, you felt as though a fire had been ignited within you, a fervent flame that left you restless and craving more. The moment in the kitchen with Rafe had been electrifying, a tantalizing taste of something you had never experienced before. It was more than just a fleeting interaction; it was a revelation, a stark contrast to the monotony that had characterized your life until then. You realized you wanted more of that—more excitement, more unpredictability, more Rafe Cameron.

As you sat through each class, your mind drifted back to him, replaying every detail of your encounter. His touch, his gaze, the way he made you feel seen and alive. Each memory sent a thrill through you, making it harder to focus on the mundane tasks at hand. You found yourself staring out the window, daydreaming about what might happen next, how you could cross paths with him again, and what that might lead to.

This newfound desire clashed violently with your disciplined nature, creating an internal turmoil that you couldn't shake. The rigid structure of your life, once a source of comfort and stability, now felt suffocating. You longed for the excitement that Rafe embodied, a break from the relentless pursuit of academic excellence that your parents had drilled into you.

Every night, as you sat at your desk poring over textbooks, the thought of Rafe lingered at the edge of your consciousness, a tantalizing distraction that pulled you away from your studies. You wondered what he was doing, who he was with, and whether he ever thought about you. The questions spun through your mind, feeding the fire that had been lit within you.

By the time Friday rolled around, you were desperate for a change. The week had felt like an eternity, each day dragging on with excruciating slowness. You knew you couldn't keep going like this, caught between the expectations of your parents and your newfound yearning for something more. As you packed up your books and headed home, you resolved to find a way to see Rafe again. You needed to feel that spark, that electricity, just one more time at the least.

When you got home, you headed straight to your bedroom. Your parents, accustomed to your diligent study habits, didn't question your haste. The door clicked shut behind you, and you immediately grabbed your phone, dialing Sarah Cameron’s number. The seconds stretched painfully as it rang, your heart pounding faster with each passing moment. Finally, she answered, her voice bright and welcoming.

"Hey, Y/N!" Sarah’s chirpy tone filled the line, "What's up?"

"Sarah, hey," you responded, a smile spreading across your face. You began to pace the room, biting down on your lip, nervous but eager to ask her the question that had been burning inside you all week. "Are you doing anything tonight? We should get together and do something."

There was a brief pause on the other end, followed by a laugh. "Funny you ask! Actually, I was just thinking about calling you. There's a bonfire on the beach tonight. Some of the guys, and Rafe, are going to be there. You in?"

Your heart skipped a beat at the mention of Rafe’s name. "Yeah, that sounds perfect," you said, trying to keep your voice steady despite the excitement bubbling inside you. "What time?"

"Around eight," Sarah replied. "You can come over to my place first, and we can head there together."

"Great, see you then," you said, hanging up the phone. A sense of exhilaration washed over you as you looked at the clock, calculating the hours until you would see Rafe again.

You wasted no time getting ready, feeling a pressing need to outdo everyone else at the bonfire in hopes that Rafe’s attention would be solely on you. Each choice was careful and deliberate, your fingers lingering over fabrics and colors as you selected the perfect outfit. You settled on a simple sundress that hugged your figure in all the right places, its hem teasingly short, just grazing your thighs. The fabric accentuated your tan, making your skin glow with warmth.

You styled your hair into loose curls, aiming for an effortless beauty that suggested you hadn’t tried too hard, even though you had meticulously crafted every strand. Your makeup was a masterful blend of subtlety and allure, enhancing your natural features without appearing overdone. The delicate sweep of highlighter on your cheekbones caught the light just right, and the gentle curve of your eyeliner made your eyes pop, giving you an air of understated sophistication.

As you stood in front of the mirror, you felt a surge of confidence. You looked good, and you knew it. There was a thrill in the anticipation, in the possibility of what the night could bring. Your mind kept drifting back to the kitchen, to the way Rafe had looked at you, his gaze lingering, intense and unspoken. You wanted more of that, more of him, and tonight felt like the perfect opportunity.

Grabbing your bag, you took one last glance in the mirror, ensuring everything was perfect. The sun was setting, casting a golden glow through your window, a promise of the night to come. You took a deep breath, steadying your nerves, and headed out the door, your heart racing with excitement and the thrill of the unknown.

The drive to Sarah’s house felt like a blur, your mind occupied with thoughts of Rafe. When you arrived, the mansion stood grand and imposing, its windows reflecting the last rays of the setting sun. You hurried to the door, your steps quick and light, a smile already forming on your lips as you anticipated the evening ahead.

You knocked softly, your heart hammering in your chest as you waited for someone to open the door. With your arms crossed over your chest, you stood there, full of anticipation and nerves bubbling up in the pit of your stomach. Finally, the door swung open, and you were met with the face that had been preoccupying your mind for days—Rafe.

Your heart nearly stopped, breath hitching subtly at the sight of him. His tall, intimidating stature filled the doorway, his eyes meeting yours with an intensity that made you feel small and exposed. His smirk tugged at the corner of his mouth, and he drawled, "Princeton."

The casual nickname sent a shiver down your spine, a mix of irritation and intrigue swirling within you. "Come in," he said, stepping aside with a languid grace that only heightened your awareness of him. You stepped into the house, and as the door clicked shut behind you, the air seemed to thicken with a charged anticipation.

Rafe leaned against the doorframe, crossing his arms over his chest. His gaze swept over you with a deliberate slowness, his eyes taking in every detail of your sundress, your loose curls, and the way you tried to appear effortless. His scrutiny made your skin tingle, a warm flush creeping up your neck. "Sarah said you were coming to the bonfire tonight?" he asked, his voice low and smooth, each word deliberate and drawn out.

"Uh, yeah," you replied, trying to keep your voice steady. "She invited me, so I thought I'd come."

Rafe's eyes narrowed slightly, the smirk never leaving his face. "Well, we're glad to have you," he said, his tone carrying a hint of something you couldn't quite place. "Should be a fun night."

You nodded, trying to keep your composure. "Yeah, I'm looking forward to it."

Rafe replied with a breathy, half-hearted laugh as he pushed off the doorframe, taking a slow step closer to you. His presence was almost overwhelming, each movement measured and deliberate. "Yeah, me too," he said, his tongue grazing his teeth slowly, his eyes flickering from your eyes to your chest.

There was a brief moment of silence between you and Rafe as he eyed you, and all you could do was stand there, engulfed in his daunting demeanor that made you feel ten times smaller under him. Your cheeks felt hot as you stood under his gaze, unsure of what to say or if you should speak at all.

Rafe's smirk deepened as he watched you, clearly enjoying the effect he had on you. His eyes darkened, filled with an intent that made your breath hitch. He took another step closer, the space between you shrinking, his body heat radiating toward you. "Sarah's upstairs getting ready," he spoke up suddenly, his voice low and hushed, the proximity making it feel like a secret meant just for you. "I'll see you there."

You managed a nod, your throat dry. "Okay," you whispered, barely able to find your voice.

He lingered for a moment longer, his eyes lingering on yours with a look that was impossible to decipher. The silence stretched, heavy and charged with unspoken words and lingering glances. It felt as if time had slowed, every second stretching into eternity, filled with the sound of your heartbeat thundering in your ears.

Finally, Rafe turned and walked away, leaving you to collect your scattered thoughts. As you stood there, your heart still pounding from the encounter, you couldn't help but replay the scene in your mind. The way he looked at you, the warmth of his breath as he spoke, the intensity of his gaze—it was all too much, yet not enough. His presence lingered in the air, like a tangible force you could still feel on your skin.

Your breath came in shallow, uneven bursts as you tried to steady yourself. The realization of how deeply he affected you settled in, an exhilarating and terrifying thought all at once. Part of you wanted to run after him, to chase that feeling, while another part urged caution, knowing the danger that came with someone like Rafe Cameron.

You shook away your thoughts and headed up the stairs to Sarah's room, determined to shift your focus back to getting ready for the bonfire. The encounter with Rafe had left you rattled, but you couldn’t afford to let it dominate your mind.

As you approached Sarah’s door, you knocked softly before pushing it open, stepping inside with caution. The room was warm and inviting, the soft glow of fairy lights casting a gentle hue across the space. Sarah was seated at her vanity, her cheerful smile immediately putting you at ease. She was in the middle of her beauty routine, setting powder still dusted across her face.

"Hey!" she greeted, her enthusiasm infectious. "You can sit on my bed if you want, I'm almost ready."

You nodded, offering a small smile in return as you made your way to her neatly made bed. Sitting down, you watched as she meticulously applied her makeup, each movement precise and practiced. The scent of her perfume wafted through the air, a delicate floral fragrance that filled the room.

"Thanks for inviting me tonight," you said, settling onto Sarah's plush bed, trying to keep your voice steady. "I needed a break from all the studying."

Sarah glanced at you through the mirror, her eyes sparkling with warmth. "Of course. We're gonna have fun tonight, I promise."

You watched as she continued applying her makeup, each brushstroke precise and practiced. The scent of her perfume filled the room, a delicate floral fragrance that mingled with the soft glow of fairy lights draped around her vanity. Her vanity table was a treasure trove of beauty products, each item meticulously arranged, reflecting her attention to detail.

"How's everything been?" she asked, breaking the comfortable silence. "You seem a little stressed."

You sighed, running a hand through your hair, the strands slipping through your fingers. "It's just been a lot lately. School, parents, you know the drill."

Sarah nodded sympathetically, her gaze softening. "Yeah, I get it. But tonight, we're forgetting all that. Just a night to relax and have some fun."

You smiled, feeling a bit lighter at her words. "Sounds like exactly what I need."

Sarah turned back to her mirror, adding the finishing touches to her look with a steady hand. "Any particular reason you were so eager for a break? Or is it just the usual?"

You hesitated, your mind flashing back to Rafe and the way his gaze had lingered on you. The memory sent a shiver down your spine. "I guess... it's just been a while since I did something for myself. Needed to remind myself there's more to life than textbooks and exams."

Sarah chuckled softly, a knowing look in her eyes. "You're right about that. And who knows, maybe tonight will be more exciting than you think."

As she finished up, she turned to you with a radiant grin. "Ready to head out?"

You took a deep breath, feeling a mix of anticipation and nervousness. The prospect of the bonfire, and seeing Rafe again, was both thrilling and terrifying. "Yeah, let's do this."

Once you stepped onto the scene, the bonfire was already bustling and full of life, loud music pulsing through the night air. The flames danced high into the sky, casting flickering shadows across the crowd. Part of you felt anxious, a knot of unease twisting in your stomach. This wasn’t your first party, but the large crowd and loud noises, combined with the thought of running into Rafe, made you feel somewhat sick to your stomach.

Despite the nerves gnawing at you, you put on a facade of false confidence, walking with your head held high as you and Sarah approached the throng of people. The laughter and chatter were almost overwhelming, a cacophony of voices blending with the beat of the music. You scanned the crowd intently, searching for familiar faces and, perhaps, one face in particular.

The bonfire's light flickered on everyone’s faces, giving the scene an almost surreal glow. You could see groups of friends laughing together, some couples wrapped in each other’s arms, and others dancing with abandon to the rhythm of the night. Sarah gave you an encouraging smile, her hand brushing against your arm in a gesture of support.

“Let’s grab a drink,” she suggested, leading you towards a makeshift bar set up on a long wooden table. The sight of it was a welcome distraction, a chance to steady your nerves.

You nodded, following her lead. As you walked, you couldn’t help but let your eyes wander, hoping to catch a glimpse of Rafe. The anticipation of seeing him again sent a thrill through you, despite the anxiety it also brought. The memory of his intense gaze and the subtle way he toyed with the string of your bikini was still fresh in your mind, making your cheeks warm at the thought.

At the bar, Sarah handed you a cup filled with something fruity and strong. You took a sip, the cool liquid helping to calm your racing heart. The night was still young, and you were determined to enjoy yourself, to let go of the worries and just be in the moment.

Sarah nudged you playfully, her eyes twinkling with mischief. “Feeling better?”

You laughed softly, the sound almost drowned out by the music. “Yeah, a little. Thanks.”

She raised her cup in a mock toast. “To a night of fun and no stress.”

You clinked your cup against hers, smiling genuinely this time. “To fun and no stress.”

As you took a sip, a growing crowd caught your attention from the corner of your eye, a few feet away. Intrigued, you turned your head, squinting to get a better look at whatever had captivated them. Through a small gap in the throng, you peered in, your eyes adjusting to the dim, flickering light of the bonfire.

Your heart dropped. There he was, Rafe Cameron, sitting in a circle with his friends. The bonfire's flames cast an eerie glow, dancing shadows playing across their faces. You watched in stunned silence as Rafe leaned over, his eyes dark and intense. A line of powder lay across his lap, stark white against the fabric of his jeans. He sniffed it up quickly, then tilted his head back, a look of raw euphoria washing over his features. The sight was jarring, his usual composed demeanor replaced by something unsettling and raw.

Your jaw dropped, your body freezing as the realization hit you like a cold wave. The Rafe you had been daydreaming about, whose touch had lingered on your skin in your fantasies, was now someone else entirely in this moment. The crowd around him seemed oblivious to the impact of what you were witnessing, their laughter and conversation continuing as if nothing was out of the ordinary.

Your mind raced, a whirlwind of thoughts and emotions crashing together. Disbelief and disappointment mingled with a lingering sense of curiosity. Was this who Rafe truly was, or just another facet of his complex persona? You felt a mix of emotions—concern for him, a touch of anger, and an unsettling intrigue.

You felt minuscule, almost insignificant, as you bore witness to the scene unfolding before you. The sight of Rafe, so absorbed in his actions, made your cheeks flush with a tumultuous mix of embarrassment and confusion. The heat crept up your face as you observed his focused expression, his eyes dark and intense, holding a mysterious allure that was both unsettling and oddly captivating. The reality of what you saw clashed harshly with the fantasy you had built in your mind, an illusion of Rafe that didn’t involve such reckless indulgence.

Rafe was a Kook, after all. You should have known better than to expect any less from a boy who lived in that world. But the Rafe you had daydreamed about, the one whose touch had sent shivers down your spine and whose gaze had made your heart race, wasn’t supposed to be tangled up in this. The stark contrast left you feeling disoriented, as if the ground beneath you had shifted, leaving you unsure of your footing.

Sarah’s voice cut through the fog of your thoughts, snapping you back to the present. "Everything alright?" she asked, her tone filled with concern.

You blinked, shaking your head slightly to clear the haze. "Yeah," you replied, your voice tinged with uncertainty. "Just... thinking."

Sarah followed your gaze, her eyes narrowing as she took in the scene. "Don't mind them," she said, a hint of exasperation coloring her words. "They always get up to stupid stuff at these things."

You nodded, though your mind was still reeling from the unexpected turn the evening had taken. Sarah’s words were meant to reassure you, but the lingering image of Rafe’s dark, intense gaze and the undeniable reality of his world clung to you like a shadow, refusing to be dispelled.

You shook off your thoughts, forcing your focus back to your conversation with Sarah. The rhythmic exchange of words and laughter served as a distraction from the chaotic whirlwind of emotions within you. The topics drifted from school to fashion, from mutual acquaintances to harmless speculations about the future. The normalcy of it all was comforting, a temporary balm to the disquiet Rafe had stirred up.

Then, a familiar voice broke through the bubble of your conversation. "Hey guys," Topper greeted, a smirk playing on his lips as he leaned in to press a quick kiss to Sarah's cheek.

"What're you two gossiping about?" he asked, his tone teasing.

"None of your business, Topper," Sarah retorted with a playful roll of her eyes, nudging him gently.

You managed a hesitant, half-hearted laugh, feeling a bit like an outsider in their easy banter. You took a nervous sip from your cup, the cool liquid doing little to soothe the anxious flutter in your chest. Your eyes roamed the crowd, searching for Rafe almost involuntarily, expecting to see him nearby.

Topper’s presence, though friendly, only served to heighten your awareness of Rafe. Your gaze flitted across the sea of faces, scanning for any sign of him. The crowd seemed to ebb and flow around you, a moving tapestry of laughter, shouts, and music, but all you could think about was where Rafe might be and whether he was watching you.

Topper continued to chat with Sarah, his voice a steady background hum. You tried to engage, to laugh at the right moments and nod along, but your mind kept drifting back to the image of Rafe, his dark eyes and the way they seemed to pierce right through you.

As if sensing your distraction, Sarah glanced at you with a knowing look. "Y/N, you good?" she asked, her voice laced with genuine concern.

You blinked, forcing a smile. "Yeah, just a bit tired, I guess," you replied, trying to sound convincing.

"Well, we can always head back inside if you want," Sarah offered, her tone considerate.

Before you could respond, a loud burst of laughter erupted nearby, drawing your attention. Your heart skipped a beat as you saw Rafe among the group, his head thrown back in amusement, his presence commanding even in the midst of the lively crowd. He looked different, more relaxed, yet still exuding that magnetic aura that seemed to pull you in no matter how hard you tried to resist.

Your gaze met his for a fleeting moment, and he smirked, raising an eyebrow as if to challenge you. You quickly looked away, feeling the heat rise in your cheeks once more. The tension, the curiosity, the inexplicable draw towards him—it was all still there, simmering just beneath the surface.

Sarah's voice brought you back to the present. "So, what do you think? Head inside or stay out here?"

You hesitated, the decision feeling heavier than it should. "Let's stay a bit longer," you finally said, your voice firmer than before.

Sarah nodded in response, giving you a supportive smile. As the night continued, you found yourself more intoxicated than you had anticipated. You and Sarah took shot after shot over the next few hours, and before you knew it, you were definitely drunk. A liberating sensation washed over you, a freedom you hadn't felt in your entire life, like you were floating and everything else was background noise.

The bumping music thumped in your ears as you swayed alongside Sarah, the world around you a vibrant blur of lights and laughter. You giggled at her exaggerated dance moves, the infectious joy of the moment wrapping you in its embrace. For once, you were truly having fun, and it was a feeling you wanted to hold onto forever.

You excused yourself from Sarah, telling her you were getting another drink. She waved you off with a nod, her own laughter echoing in your ears as you stumbled towards the wooden bar across the sand. The bonfire’s glow illuminated the path, casting flickering shadows that danced along with you.

The bar was a rustic setup, a makeshift oasis of alcohol and camaraderie in the midst of the beach party. You leaned against the counter, your head buzzing with the pleasant fog of intoxication. The bartender, a friendly-faced guy with a scruffy beard, raised an eyebrow in recognition and poured you another drink without needing to ask.

You took the cup, the cool liquid sloshing inside as you turned to look back at the crowd. Your eyes instinctively searched for Rafe, a part of you hoping to catch another glimpse of him, to feel that rush of adrenaline once more. The firelight cast a warm glow over everything, making the night feel almost magical, like a scene from a dream.

As you took a sip, the world spun just a bit too quickly, and you lost your balance, stumbling backward. A pair of strong hands caught you from behind, steadying you gently. Before you could respond, you turned around to see who had caught you, only to be left speechless at the familiar figure towering over you. Rafe's piercing gaze met yours, his expression a mix of concern and amusement.

"Are you okay?" he asked, his voice soft yet firm, grounding you in the moment.

Your breath caught in your throat, the proximity of his presence overwhelming your senses. "Y-yeah, I think so," you managed to stammer, feeling the heat rush to your cheeks. You tried to regain your composure, but his intense gaze held you captive.

Rafe's hands lingered on your arms for a moment longer before he let go, a small, reassuring smile playing on his lips. "Good," he said, his eyes never leaving yours. "Wouldn't want you getting hurt."

The music and laughter from the bonfire seemed to fade into the background, the world narrowing down to just the two of you. The warmth of his touch still tingled on your skin, and you felt an inexplicable pull toward him, a magnetic attraction that you couldn't deny.

"Thanks," you said, your voice barely above a whisper. "I guess I should be more careful."

Rafe chuckled softly, the sound sending shivers down your spine. "Yeah, maybe," he replied, his tone light yet laced with something deeper. "But where's the fun in that?"

His words lingered in the air, a challenge wrapped in a tease, and you couldn't help but smile. The night was filled with possibilities, and standing there with Rafe, you felt a thrill of excitement and anticipation.

"You enjoying the party?" you asked, trying to keep the conversation going, your voice steadying as you spoke.

Rafe's smile widened, his eyes sparkling with a mix of mischief and something more. "I am now," he said, his voice low and intimate, making your heart race. "How about you?"

You nodded, feeling a rush of warmth at his words. "Yeah, it's been... interesting," you admitted, your gaze never leaving his.

He chuckled, his smirk growing as he nodded at your reply. "I see. It's a wonder you've been able to be around Sarah drunk this long," he shrugged, taking a sip of his beer. His eyes sparkled with amusement, the dim light of the bonfire casting shadows on his sharp features, accentuating the sharp lines of his jaw and the mischievous glint in his eyes.

"She's not so bad," you said, gazing up at him, trying to keep your tone confident. "Besides, I don't think I'm much better than her right now." You let out a small laugh, picking nervously at the rim of your cup. The alcohol had given you temporary courage, but under Rafe's scrutinizing gaze, you felt the familiar flutter of nerves, like butterflies trapped in your stomach.

Rafe tilted his head, his eyes roaming over your face with an intensity that made your breath catch. "Didn't think you'd be much of a drinker, Princeton," he remarked, cocking an eyebrow with an amused glint in his eye.

"Yeah, well," you shrugged, trying to play it cool. "There's a lot you don't know about me."

He took another step closer, the scent of his cologne mixing with the salty sea air and the faint smell of the bonfire. "Is that so?" His voice was low, almost a whisper, sending a shiver down your spine. You could feel the heat radiating off his body, the electric pull drawing you closer.

You nodded, your heart pounding in your chest as you attempted to keep your composure. "Yeah," you managed, gulping silently and biting down on your bottom lip, trying to steady yourself against the swirling emotions inside you.

Rafe's eyes darkened suddenly, the familiar smirk plastered on his face as he took a step closer. "Well," he spoke in a low tone, his voice a teasing mockery of your earlier confidence, "I'd love to find out." The space between you seemed to shrink, the air thick with unspoken tension. Rafe's presence was overwhelming, his proximity sending waves of heat through your body. The flickering light from the bonfire cast shadows on his face, highlighting the sharp angles of his jaw and the intensity in his eyes.

You felt a shiver run down your spine as he leaned in, his breath warm against your ear. "I bet there's probably a lot of things you hide under that 'good girl' act you do." His words sent a wave of heat through your body, igniting a fire that had been simmering since your first encounter. You tried to steady your breath, but the proximity of his body and the intensity in his voice made it nearly impossible.

You shook your head, feeling weaker by the minute as Rafe kept his burning gaze on you. "It's not an act..." you sheepishly tried to defend yourself, avoiding the intensity of Rafe's stare.

He chuckled lowly, shaking his head in disbelief. "I have a hard time believing that. See, I think you parade around here acting innocent and oblivious to everything, like you're only concerned with your precious scholarship and getting into some Ivy League school. But really, I bet you're begging just to be touched."

Your eyes widened at his accusation, taken aback by his statement. It was partially true; your entire personality wasn't just about school, but you surely weren't sleazy either, to be begging for attention in the way that Rafe made it sound. "No, I'm not," you protested, your voice trembling with a mix of indignation and uncertainty.

Rafe's eyes narrowed, his smirk growing more pronounced. "Oh, really?" he said, taking another step closer, his presence overwhelming. "Then why do I see you looking at me like that? Why are you trembling right now?" His fingers grazed your arm, sending a jolt of electricity through your body. "Admit it, Princeton. You want more than just good grades and a spotless reputation."

You swallowed hard, your heart racing as his words cut through your defenses. You tried to steady your breathing, to regain some semblance of control, but the intensity of the moment made it impossible. "You don't know anything about me," you said, your voice barely above a whisper.

Rafe's smile widened, a glint of triumph in his eyes. "Maybe not. But I'm willing to find out," he murmured, his fingers trailing up your arm to cup your chin, forcing you to meet his gaze. "And I think you want that too."

You felt a rush of emotions, a cocktail of fear, excitement, and desire swirling within you. The logical part of your mind screamed at you to pull away, to maintain the carefully constructed image you had built for yourself. But the pull of his presence was too strong, the allure of stepping outside the boundaries you had set for yourself too enticing.

"I..." you began, your voice faltering as you tried to form a coherent response. Rafe's eyes never left yours, his gaze unwavering and intense.

Rafe chuckled, his smirk widening as he leaned in closer, his gaze never leaving yours. "That's what I thought," he repeated, his voice low and teasing. He took another casual sip of his beer, the corner of his mouth quirking up as if he found your defiance amusing. Despite the heat rising to your cheeks, you refused to back down.

"Yeah, well, you aren't so innocent either, Rafe," you retorted, folding your arms defensively. You held his gaze, your brows furrowed in determination. "I saw what you were doing earlier with your friends."

Rafe's amusement only grew at your accusation. He cocked his head slightly, his eyes flickering with mischief. "And what about it?" he countered, taking another deliberate step closer, his presence almost overwhelming. "Do you think that's anything new?"

You hesitated, feeling a pang of embarrassment at his nonchalant response. "I… I don't know, you tell me," you admitted reluctantly, your voice softer now. The tension between you was intensified, each word and gesture charged with a strange, electric energy. Rafe's gaze bore into you, assessing, as if daring you to challenge him further.

"You must not know me that well either, Princeton," he remarked, his tone playful yet tinged with something deeper.

You felt a pang of vulnerability as Rafe's amusement at your embarrassment sank in, making you feel smaller than ever. Frustration and annoyance simmered within you, aggravated by his clear enjoyment of the upper hand. With furrowed brows, you frowned up at him, grappling with how to counter his taunt. His chuckle, mocking yet oddly enticing, echoed in the tense space between you.

"What's wrong, baby?" His voice was laced with a teasing edge. "Nobody ever proved you wrong before?"

You scoffed, rolling your eyes at his cockiness, the warmth from the bonfire casting flickering shadows across his face. "This is ridiculous," you protested, your words slightly slurred from the drinks swirling in your system. "I'm leaving." With unsteady steps, you turned to walk away, but his hand caught you, stopping you in your tracks. His grip on your wrist was firm yet oddly gentle, the touch sending a jolt through you.

"Wait," he said, his voice cutting through the noise of the party, his gaze locking onto yours.

Your heart raced as you turned back to face him, frustration evident in your expression. "What now, Rafe?" you snapped, trying unsuccessfully to free your hand from his grasp.

He held on, his eyes narrowing slightly as he regarded you with a mix of amusement and something else you couldn't quite place. "You can't just walk away like that," he stated firmly, the seriousness in his tone contrasting with the playful smirk that usually adorned his lips.

"Why not?" you challenged, meeting his intense gaze defiantly despite the butterflies fluttering wildly in your stomach.

Rafe's smirk softened, replaced by a more contemplative look. "Because," he began, his voice quieter now, "I don't want you to."

Confusion mingled with curiosity as you searched his eyes for any hint of deception. "Why?" you asked, your voice softer now, uncertain of where this conversation was headed.

Rafe's gaze held yours, his expression unreadable for a moment before a flicker of something vulnerable crossed his features. "Because," he began slowly, his voice tinged with an unexpected earnestness, "you're not so bad to talk to."

His words caught you off guard, the sincerity in his voice stirring a mix of emotions within you—surprise, uncertainty, and a hint of reluctant admiration. The usual facade of cockiness and charm seemed momentarily set aside, replaced by a genuine attempt to connect.

"I..." you started, searching for words as his gaze held yours steadily. His vulnerability felt almost disarming, a stark contrast to the confident persona he usually projected. You found yourself drawn in by the sincerity in his eyes, wondering what lay beneath his charismatic exterior.

Rafe's lips quirked in a faint, almost self-deprecating smile. "I don't know why," he continued, his tone quieter now, "you just seem so… innocent." His gaze softened as he studied your reaction, as if searching for something deeper in your response.

You blinked, surprised by the unexpected vulnerability in Rafe's words. His usual charm and playfulness were nowhere to be found, replaced by a raw honesty that tugged at something inside you. His admission left you feeling exposed, as if he had seen a part of you that you kept carefully hidden from the world.

"I'm not innocent," you protested softly, your voice barely above a whisper. But even as the words left your lips, you couldn't help but wonder if there was some truth to his perception of you. Maybe there was a side of you that longed for the simplicity and purity of innocence, untouched by the complexities of the world.

Rafe's gaze lingered on you, his eyes searching yours for a reaction. There was a flicker of something unreadable in his expression before he spoke again, his voice low and almost hesitant.

"I didn't mean it as an insult," he said, his tone earnest. "It's... refreshing, in a way. To see someone who still believes in the goodness of the world, despite everything." He shifted slightly, his eyes never leaving yours. "I envy that innocence," he confessed quietly, a vulnerability shining through that you had never seen before.

A rush of empathy washed over you as you listened to him speak, realizing that perhaps Rafe's carefully crafted facade was not as impenetrable as it seemed. It was a moment of unexpected intimacy between the two of you, a shared understanding that transcended words.

"I think there's more to you than meets the eye too, Rafe," you said softly, surprised by your own admission. It was a risky gamble, laying bare your thoughts and feelings in such a way, but somehow it felt right in that moment, as if honesty was the only currency that mattered between you and Rafe. He seemed taken aback by your words, a hint of vulnerability flashing across his features before his usual mask slipped back into place.

"You're perceptive," he murmured, his voice tinged with something you couldn't quite place.

A small smile played on your lips as you watched the subtle shift in Rafe's demeanor, a crack forming in the armor he usually wore so effortlessly. It was a rare sight to witness him letting down his guard, and you found yourself inexplicably drawn to this glimpse of the real Rafe hidden beneath the facade.

Suddenly, a distant sound broke the spell that had enveloped the two of you, causing Rafe to straighten up and glance around warily. The moment had passed, but its impact lingered in the air like a promise of things yet to come.

"We should go," Rafe said abruptly, his voice brisk as he turned away from you.

You followed Rafe through the bustling crowd, your thoughts a whirlwind of the unexpected conversation. As you neared the bonfire, the familiar sound of Sarah’s laughter reached your ears. She spotted you and waved, making her way over with an excited grin.

“There you are!” Sarah exclaimed, her eyes twinkling with curiosity. “Where have you been? I was starting to think you’d ditched me for someone more interesting.”

You forced a smile, trying to brush off the intensity of your recent interaction with Rafe. “Oh, just wandering around,” you replied nonchalantly. “Actually, I’m feeling a bit tired. Do you mind if we head out?”

Sarah’s smile faltered for a moment, replaced by a look of concern. “Are you okay? You look a little out of it.”

“I’m fine,” you assured her, your voice steady. “Just had a bit too much excitement for one night.”

Sarah studied you for a moment before nodding. “Alright, let’s go. I’ll get Topper to drive us.” She glanced around, spotting her boyfriend nearby and motioning for him to join you.

As you waited for Topper, you stole a glance back at the bonfire. Rafe was still there, his figure illuminated by the flickering flames. For a brief second, his eyes met yours across the distance, and a silent understanding passed between you. There was more to uncover, more to understand about each other, but tonight wasn’t the night for it.

Topper pulled up in his car, and you climbed into the backseat with Sarah, who gave you a reassuring smile. “You’ll have to tell me all about it tomorrow,” she said, squeezing your hand. “But for now, let’s get you home.

── ࣪˖ ࣪ ⊹ ࣪ ˖ ──

taglist: @yawnzshit, @saintchxx4, @hotch-meeeeeuppppp, @maybankslover

#rafe cameron #drew starkey #rafe cameron x reader #obx #outer banks #rafe cameron fanfiction #rafe angst #rafe cameron imagine #the outer banks #rafe x y/n #rafe x you #rafe x reader #rafe fic #rafe #rafe obx #rafe outer banks #rafe cameron x you #rafe cameron x y/n

195 notes · View notes

graysoncritic · 5 months

Text

A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Barbara Gordon

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

Out of this entire essay, this was the section that I considered cutting entirely. After all, in the past there have been instances when Barbara Gordon and her romance with Dick Grayson have been weaponized by Taylor and his fans against his critics.

The example that comes to mind was when Taylor and Redondo were criticized for not including Duke in a Nightwing cover that parodied The Brady Bunch.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022)

Personally, I believe that, while discussions of how Duke’s positioning in the Bat Family is warranted, the matter was blown out of proportion, and many of the attempts to cancel Taylor crossed the line into harassment (make no mistake, while I believe him to be a terrible writer, I do not wish him any ill-will). That being said, Taylor also escalated the matters when attempting to pin said negative comments onto DickKory shippers who did not like that he wrote DickBabs.

(While the original Tweet has since been deleted, the screenshot used is available in this tweet

Neb | 🏳️‍🌈 [@NebsGoodTakes]. Twitter, 20 June 2022, https://twitter.com/NebsGoodTakes/status/1538939571789934593)

For this reason and this reason alone, I considered removing this part of the essay. While I have no idea if anyone will read this monstrosity, I did not want my arguments to be invalidated simply because I did not have a favorable opinion on the DickBabs.

However, after much consideration and numerous discussions with other Dick Grayson fans, I found that the subject of Barbara Gordon’s portrayal in this run (as well as in many recent DC media), and her romance with Dick perfectly embodies many of ideas I wish to explore in this essay — mainly, how shallow approaches to progress ideals create deeply problematic narratives that not only undermines the themes of a story, but they also destroy characterization.

I will start by once again stating that I do not believe this is a problem unique to Taylor’s writing. As I alluded to above, I believe DC’s modern portrayal of Babs does a great disservice to her wonderful, empowering, complex character. This is but the analysis of one of the stories she appears in. It is my hope to prove that in Taylor’s Nightwing, Barbara Gordon is not written as a woman with a strong sense of self and an internal life, but rather idealized girl whose existence revolves around the men in her life, and whose perfect yet shimmering depiction serves only to make her into the reader’s proxy-girlriend.

Barbara Gordon in the late 90s and early 2000s was a mature and confident woman in her late-20s to early-30s. She had her own job, her own friends, team, villains, and the type of confidence that can only come with age and experience. She was serious while still having a sense of humor, pragmatic, and she knew exactly what she wanted for herself.

(Gail, Simone, writer. Bennett, Joe; Barrows, Eddy, illustrator. Perfect Pitch: Part One. Birds of Prey. 87, e-book ed. DC Comics, 2005. pp. 22)

She was also flawed. She could get angry at people for little reason, she could be too cold or too straightforward without considering the other person’s feelings, she could be purposefully petty and selfish, she could get unreasonably jealous, she was impatient, she could be too proud to admit when she was wrong. It was all of these factors which allowed Barbara Gordon to be her own person — to be a fleshed out, well-rounded woman.

(Dixon, Chuck, writer. Leonardi, Rick, illustrator. The Gun. Birds of Prey. 39, e-book ed. DC Comics, 2002. pp. 16)

Babs’ life did not revolve around Dick. Yes, she loved him, but she still had some interiority. She had a life outside of Dick Grayson, outside of Bludhaven, outside of Batman, and outside of Oracle. She had her own goals, her own dreams, her own likes and dislikes that worked independently of the men around her. She had her own history that informed her decisions, she had both positive and negative relationships with other women and those relationships were not dependent on her connections with Dick or Bruce.

(Gail, Simone, writer. Timm, Bruce; Lopez, David; Melo, Adriana, illustrators. A Wakeful Time. Birds of Prey. 86, e-book ed. DC Comics, 2005. pp. 02)

By comparison, Taylor’s Barbara is not a woman, but a girl. She is very young and very immature. If Dick is written like a young man who just left home and is experiencing adulthood for the first time, then Babs is written as his girlfriend who is still in college and does not have concrete plans for her future.

Note that when referring to Taylor’s Babs, I mainly characterize her through her relationship with Dick. That was intentional. While writing this essay, I struggled to think of Barbara having any meaningful interactions with characters who were not Dick or Dick’s friends, the Titans. I also struggled to think of her doing something for herself rather than for Dick and the Titans. I struggled to define her goals independent of Dick, I struggled to describe the plans she has for her future that do not revolve around her relationship with Dick, and I struggled to give an account of what she does in her spare time when she is not helping Dick, Nightwing, the Titans, or Batman. That is because everything in Barbara Gordon’s life, as written by Taylor, is constructed around Dick (As many may know, it is really hard to prove a negative. How can I get supporting evidence from the comics that Babs does not have a life outside of Dick Grayson when my argument comes from those factors not existing? For this, though I hate to do so, I’m afraid I’ll have to rely on the reader’s familiarity with the run being discussed).

Barbara is a constant presence in Taylor’s Nightwing run. She is a secondary protagonist, and she is often portraying helping Dick Grayson behind the scenes,

(Taylor, Tom, illustrator. Redondo, Bruno The Battle for Bludhaven’s Heart Part Two. Nightwing: Rebirth. 93, e-book ed. DC Comics, 2022 pp)

Helping Nightwing as Oracle,

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 19)

Or fighting by Nightwing’s side as Batgirl.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. You are Nightwing. Nightwing: Rebirth. 105, e-book ed. DC Comics, 2023. pp. 05)

She is always present, she is always doing something… But all of that is in the service of the men around her rather than for herself.

As Dick Grayson Fan A pointed out during a discussion, “Modern Babsgirl is forced to be perfect at everything. She's never allowed postcrisis Babs' edges, her flaws and intrinsic motivations. Taylor's Babsgirl is designed to be the perfect girlfriend for his blank self insert Nightwing. There's no meat to her bones, she's just shimmer and gloss.” (The subject of Babs came up when DC announced the lineup for Birds of Prey (2023) and Babs was not included on the roster.)

In other words, Babs as portrayed in Taylor’s run lacks any bite, edge, and maturity that would make her feel like a woman with her own sense of self and with a life that is not dependent on her boyfriend. Babs’ portrayal is a shallow girlboss-type of feminism, where though Babs is powerful and intelligent, she is not allowed to be a real person for she serves no purpose other than to be the perfect, understanding, badass girlfriend.

As a result, Dick and Barbara’s relationship becomes hollow. Because Babs lacks interiority, individuality, and agency, she becomes a flat character. This, in turn, makes it so it is hard to understand why Dick and Barbara are together other than for the fact that DC mandates it. The over reliance on the childhood friends-to-lovers trope only increases this hollowness rather than fleshing out their relationship. While Taylor includes flashbacks of Dick and Babs as friends when children, growing up together as teenagers, and fighting together as Robin and Batgirl, those instances feel removed from their individual histories. These moments exist in isolation, removed from the context of the rest of their lives, be it together or separately.

(Taylor, Tom, writer. Redondo, Bruno, illustrator The Battle for Bludhaven’s Heart. Nightwing: Rebirth. 92, e-book ed. DC Comics, 2022. pp 06 - 07)

DC currently treats Dick and Babs as a foregone conclusion. As a result, Taylor does not make an effort to get his readers on board with the relationship because he assumes that they should already support it. Dick and Babs are portrayed as getting along great, never having had any conflict, tension, or disagreements. This idealized romance would not necessarily be a problem if it didn’t come at the expense of developing Dick and Barbara as individuals outside of their relationship. They are not one being, but two separate people coming together. They should be written as such, but in trying to create the perfect relationship, Taylor robs Dick and Babs of their identity outside of their romance.

Not only does this inseparability that Taylor attempts to portray as “charming” destroy Dick and Babs’ individuality, it can also be downright insulting. In #106 Taylor infantilizes Dick when making it so Babs needs to be the one to wake him up so he can start his work as Nightwing.

As I mentioned previously, Dick is known for his toxic perfectionism, his obsessive tendencies that often come at the cost of his health. Making Dick laze around in bed while people need his help and having his girlfriend tell him to get ready for the day, as if she was his mother and he was a teenager who did not want to go to school in the morning, is not only out of character, it also diminishes Dick’s competence. It makes it seem like he cannot function as a responsible adult without Babs being there to hold his hand through everyday difficulties.

Not only that, the scene also plays into incredibly sexist dynamics where women are expected to carry the domestic labor in a relationship — the man cannot keep track of his own schedule, and so it becomes the woman’s responsibility to attend to his needs. What was intended to be a “cute” scene portrays Dick as being immature and irresponsible, and portrays Babs spend her time keeping track of an adult man’s responsibilities.

(Taylor, Tom, writer. Byrne, Stephen, illustrator. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 08)

This unhealthy codependency further insults Dick when, in #107, Babs demands Dick come back home as he is about to help his ex, Bea. Rather than believing Dick’s capability as a vigilante who has been operating in the field for far longer than she has, Babs shows her complete lack of faith in Dick’s ability to get anything done by himself by telling him that she “wants him home now.”

(Taylor, Tom; Byrne, Stephen The Crew of the Crossed Part Two. Nightwing: Rebirth. 107 e-book ed. DC Comics, 2023. pp. 19)

This is a great contrast to Nightwing (1996) #66, where Babs encouraged Dick’s independence and had full trust in his abilities to take on such difficult challenges on his own. When Lockhaven goes up in flames, Babs trusts Dick to be able to handle the situation by himself, even though she also knows that Dick’s mind is greatly preoccupied with Bruce and the murder of Vesper Fairchild. Indeed, in the next issue (not part of Murderer/Fugitive, but happening simultaneously to it), Dick does handle the Lockhaven fire by himself, without requiring any assistance, before returning to Gotham to help with the investigation that should clear Bruce’s name.

(Dixon, Chuck, writer. Burchett, Rick, illustrator. The Unusual Suspects. Nightwing. 66, e-book ed. DC Comics, 2002. pp 18 - 19)

This healthy separation and this unconditional trust not only portrayed Dick and Babs as both trusting each other’s abilities as heroes — Dick did not worry about Babs’ capability of taking care of herself, and Babs knew Dick could handle his own — it also portrayed them as being more secure in their relationship. They were individuals first. They had their own independent lives and personalities outside of their romance. They trusted the other’s ability to win on their own and handle their own cases without help. And that, in turn, made it so that they could stand on their own, and so that their relationship did not feel so vulnerable.

That being said, it wasn’t as if previous depictions of Dick and Babs didn’t present them with hardships, or demonstrated how, at times, they could bring out the worst in each other. As much as they could compliment one another, Dick and Babs could also disagree, get into arguments, and even fights. That is because they were individuals first, with their own opinions, preferred way of doing things, and their own background that would sometimes come in conflict.

Taylor avoids having meaningful conflicts in his story. While this negatively affects his narrative in a myriad of ways, the lack of the conflict in the plot also affects the relationship between Dick and Babs. It is fine to have a wholesome, sweet romance, so long as it is balanced with a plot containing other forms of tension. This way, the relationship can be a safe harbor for the main characters, the one space in their lives where they can be safe, and the one source of strength they can draw upon when facing the challenges ahead. By balancing a conflict-filled plot with a wholesome romance, the stakes of the plot feel higher while the romance feels sweeter. They foil one another to create a cohesive and unified story.

In Taylor’s Nightwing, all major plot beats take a backseat to the sitcom-like relationship between Dick and Babs. The lack of conflict in the plot and the lack of conflict in the romance makes it so everything is stagnant.

I do believe that Taylor thought he was writing a “Will-they-won’t-they” style romance in the beginning of his run. In Nightwing #95, for example, Batwoman implies that the reason Dick and Babs aren’t together is because Dick and Babs are scared of crossing that line.

(Taylor, Tom, writer. Redondo, Bruno The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 17)

Wally also played into that idea when, in #91, he pointed out that Dick and Babs were already together and just needed to make it official.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 91, e-book ed. DC Comics, 2022. pp 19)

More than that, I believe Taylor attempted to make a commentary on comics imposing needless conflicts in relationships to keep two characters apart. In Taylor’s view, Dick and Babs were always in love, always meant to be together, and never had a complicated history that prevented them from rekindling their romance when Dick is trying to regain some control over his life after recovering his memories. This shows a lack of understanding as to why Dick and Babs often break up and does a disservice to both their characters.

Now, to explain this, I’ll borrow heavily from a private discussion I had with a Dick Grayson Fan A once distinguishing the difference between external and internal conflicts in a romantic plot. While we were not talking Dick and Barbara then, much of what we said still applies to their relationship.

External conflicts, as the name suggests, involve external forces that keep the couple from being able to develop their relationship despite their mutual feelings for each other. This is the case with a romance like Clark and Lois. Given Babs’ laugh at Dick’s condescendingly sexist claim that Babs shouldn’t be with him because it is too dangerous (as if he doesn’t know very well that Babs can easily take care of herself), it seemed that Taylor believed that this was the conflict that has been keeping Dick and Babs apart. And so, with one panel, he dismissed the idea that external forces could keep Dick and Babs apart because they are able to face their enemies together.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022. pp. 17 - 18)

But in the past, what broke Dick and Babs up were not external conflicts, but internal ones. If external conflicts are created due to external forces, internal conflicts preventing a couple from being together come from the characters not yet being who they need to be in order to be happy together. This can be due to a clash of personalities, worldviews, needs, wants, or goals. To prove my point, I want to look at Dick and Bab’s break up in Nightwing (1996) #87 and the Nightwing Annual #02. (I’ll be honest in saying that it pains me to cite Nightwing Annual #02 in this essay, for I absolutely detest it. I believe Dick is written incredibly out of character and it, quite frankly, captures one of my major problems with how some writers choose to depict DickBabs. In trying to prop Babs up, Dick gets knocked down and ridiculed, and often burdened with the full responsibility as to why Dick and Babs haven’t been able to get together due to timing and Dick’s immaturity. As such, writers make it so Dick and Dick alone must change in order to become a partner worthy of Babs. They greatly mischaracterize him, fault the failures of Dick and Babs’ relationships on those mischaracterizations, and then portray Babs as the patient woman waiting for her immature soulmate to grow up. This is both an insult to Dick’s character and a propagation of sexist tropes where a woman must put her life on hold in order for the man to “catch up” to her maturely. Not only that, it unfairly requires that only one party makes changes for another. It is not Dick and Babs that must change for each other, but Dick who must change for Babs.)

Just as Taylor uses Dick and Babs’ shared history to bring them together, their breakup explores how shared history can make being together so difficult.

In Devin Grayson’s run, their shared history can be painful to Babs. Not because she doesn’t look back on their time growing up together fondly, but because it was such a happy time in her life that it makes her feel bitter about what she lost. While she is incredible as Oracle, she is still frustrated that she can't be Batgirl anymore. The past, no matter how good, is a reminder of what she can no longer be, and Babs wants to move forward. So Dick bringing up their time as Robin and Batgirl, however fondly, is painful for it makes her feel like they are stuck in the past they shared rather than moving forward together.

(Grayson, Devin, writer. Zitcher, Path, illustrator The Calm Before. Nightwing. 86, e-book ed. DC Comics, 2003. pp 21 - 22)

But to Dick, the past you share with someone is what makes your relationship in the present special. The past informs the present and the future. Dick, much like Bruce, doesn’t move forward by disconnecting himself from the past. His parents are part of his past. So is Robin. His childhood with Bruce. The past is something good to Dick, even when it's also so filled with pain. Dick is not shackled by his past the way Bruce is because he does not see it as something that needs to hold him back. You can move forward while still embracing who you once were and honoring the legacy you carry on your shoulders. The past informed who Dick is now, the relationships he has, and the person he wants to be. The past is where much of what he loves exists. So when he brings up their shared history when talking to Babs, he is not doing it because he loved Batgirl but cannot love Oracle, and he is not doing so because he is just focused on who they were then and not who they are now; he does it it's because to Dick, there's no such distinction between Batgirl and Oracle. They are both Babs, and he loves both of them.

(Grayson, Devin, writer. Zitcher, Patch, illustrator. Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 16)

The way Babs copes with trauma is by divorcing herself from the hurt, by letting go of who she was and embracing who she wants to be. Dick, on the other hand, merges who he was then with who he is now. He doesn't see those people as separate entities, but rather as extensions of him. And that makes sense when you consider that Babs' main trauma relates to something that was taken away from her, and for Dick, the only way he can remain connected to his parents is through the past. It's a great example of incompatibility. Neither one is "at fault" for how they view this issue, neither of them is more correct than the other. They are just different. They care for each other, but the way they understand and interact with the world prevents them from being happy together at this moment. For that to work, internal change is needed.

In portraying Dick and Barbara as complex individuals first, who have different attitudes towards looking back at the past and looking forward to the future, Grayson managed to make their relationship feel real. There’s a weight to their breakup, you can see why they care for each other and why this decision is painful and not taken lightly. They love each other, but they are not in a place where they can be themselves and be happy together yet. It is not danger that keeps them apart — it is the very same differences which they admire most about each other which pushes them away.

In Nightwing Annual #02, we see other reasons why Dick and Babs failed to come together so often. These included Babs being scared of Dick eventually leaving her due to tensions between Dick and Bruce

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 22 - 23)

Timing,

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 25)

And, perhaps most importantly, the way in which Dick devalues his own life.

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 37 - 38)

This is something Grayson also alludes to during her run, when she often portrays Babs being both worried and frustrated at Dick’s tendencies to push himself too far.

(Grayson, Devin, writer. Zitcher, Patch, illustrator Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 13)

In both Grayson’s run and the aftermath of Infinite Crisis, the toxic perfectionism referred to many times during this essay led Babs to break off their relationship despite their mutual love.

Having lost the mobility of her legs due to the Joker, Babs sees her life as Oracle as a second chance, and one which she will use to its fullest by putting herself first. It makes sense, then, that she sees Dick’s self-sacrificing tendencies and his desire for approval as both concerning and irritating. As Dick constantly puts himself in near-death scenarios for even the smallest of things, Babs decides that she would rather wait for a time when Dick learns to value himself more rather than to continue in a relationship where she is the only one who cares about whether Dick lives or dies.

Whether this is the right solution to their relationship is up for debate. Personally, it irks me that stories will often frame this as Dick having to mature to be with Babs and not place an equal burden on Babs having to learn to accept that this is just who Dick is. But that is irrelevant to this discussion, for what matters is that there have been plenty of reasons why Dick and Babs did not work out in the past, and those are almost always rooted in who they are as individuals struggling to perfectly fit together as a unit. Dick and Babs have a messy history, both as individual characters with their own stories, and together as friends and romantic interests. They are two different people who, although their morals align, approach life differently. The development in their romance, then, comes with how willing they are to change for the other, and how willing they are to accept the things that cannot — and should not — be changed. It is about a balance of give and take, and when Babs and Dick broke up in the past, it was because they were not able to find that balance. It is because they, as individuals, clashed. As Fernando Gabriel Pagnoni Berns and Cesar Alfonso Marino put in their essay analyzing Dick’s portrayal in the Batman Family (1975-1978) series, Dick and Babs will often find themselves in “point[s] of inflection which marks that both heroes must go their separate ways to avoid further tensions (developed by sexual attraction and/or problems about leadership).” (Pagnoni Berns, Fernando Gabriel and Marino, Cesar Alfonso “Outlining the Future Robin: The Seventies in the Batman Family.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 32)

In other words, it was about interior conflicts, not exterior ones.

When taking this into consideration, one can see how Taylor’s portrayal of Dick and Babs’ relationship is not only incredibly hollow, but incredibly cynical. Because Taylor removed Dick’s self-destructive, toxic perfectionism, that is no longer a point of friction in their relationship. Because Babs is no longer the pragmatic woman who doses out tough love, that is also no longer a point of friction in their relationship. But as a result, Dick and Babs are no longer themselves, and their relationship is no longer representative of their shared history. Instead, we are left with an insulting and purposeful misrepresentation of their past relationship, with Taylor displaying a blatant disrespect and disregard for anything his predecessors contributed to these characters. Dick and Babs were never apart because of danger. Dick would never condescend to Barbara in this manner, and Barbara would never let something so trivial go unchallenged or get in the way of what she wants. What got in their way was a matter of compatibility. They may compliment each other in the field, be great friends, get along well, but in previous attempts to make their relationship work, they found that they were simply too different to share a life together, their goals did not align, and their approaches to life did not work together. Getting and staying together was not a matter of external factors, but rather whether they could do the difficult internal work necessary to make their romance last.

I want to make it clear that I actually love the childhood-friends-to-lovers trope. But what makes friends-to-lovers interesting is the fact that it creates inherently messy romances. If you two characters who have loved each other for so long, then they naturally have a history. They have seen each other at their best and at their worst. Yet, insecurities, timing, and compatibility keep them from being able to get their happily-ever-after. That creates a messiness that adds weight and meaning to the relationship. Seeing them overcome these challenges, become better individuals, and then finally come together is what makes the narrative so effective.

Dick’s and Babs’ romance, as currently portrayed, lacks that weight. Taylor and DC want that history, that “true love” aspect of their relationship without acknowledging the complications that come from having lived so many years in close proximity. In other words, they want the appearance of a long shared history without acknowledging the contents of said history. This robs both Dick and Babs of their individual personalities and backstories, for it is there where the source of their conflicts lie. All of the things that make them interesting individuals are sacrificed for the heteronormative DickBabs amalgamation. There is no Dick Grayson. There is no Barbara Gordon. There is only a happy, wholesome, smiling couple of nothingness — as it was put earlier it is all “shimmer, gloss, and no substance.”

And this does not affect only them.

In making Dick and Babs inseparable, Babs has become heavily involved with the Titans. This leads to the majority of Babs’s interactions in the current canon to be with Dick’s friends. And because, once more, Taylor skirts away from conflict, that means that all of Dick’s friends have become Babs’ friends. However, by making Babs friends with all of Dick’s female friends, Taylor created a shallow girlboss feminist narrative where all of these women’s individual personhoods are reduced their relationship to one man. He does not take into account who they are, only their gender and their mutual connection to Dick. In trying to do a girl-boss feminist empowerment, Taylor instead creates a deeply misogynistic narrative.

Kory and Babs, for example, should be allowed to dislike each other despite being on the same team. They are, after all, supposedly fully realized women with their own personalities, values, and goals. Their existence is not dependent on Dick Grayson or their romance with him. Real world women dislike one another for various reasons that are unrelated to men. Male characters often hate each other without it being because of a woman. So why can’t the same be true for female characters?

To attempt to make Kory and Babs friends simply to undermine expectations because one of them is Dick’s ex and the other one is Dick’s girlfriend is not empowering. It sacrifices characterization for the purposes of subversion.To think of the dynamic between these two characters in terms of their relationship with Dick reduces their existence to a man by implying that the only possible reason they could dislike one another is because of said man. It is not due to different value systems (which would be incredibly reasonable given their different background and cultures), it is not because their personalities clash (as they are two different people), it is not because their likes and dislikes may contradict (once more, because they are two different people). All the things that would make them realized individuals with agency are ignored in favor of focusing on their relationship with Dick.

Babs is a cisgender, straight, middle-class white woman from New Jersey. Kory is a warrior Princess from a different galaxy. It would not be unreasonable to expect their opinions to conflict when their backgrounds, upbringings, and experiences also differ. After all, those are things that shape our value system, dictating our perspectives.

Having different values or different ways to express your opinion does not mean that one is right and the other is wrong. It does not mean one is superior to the other. It only means they are different. Diverse. To believe one must be correct and the other must be wrong is to fall into the traps of ethnocentrism. By making Kory and Babs values indistinguishable, the story implies that there is only one correct way to interact with the world. This eliminates diverse perspectives in favor of a monolithic one. The fact that Kory's culture is the one that is ignored so that they are compatible with Babs implies that Babs – the cisgender, straight, middle-class white woman from New Jersey – is the one whose culture and world views are correct and, therefore, superior.

Dick’s relationship platonic relationship with Donna is also devalued and watered down in favor of Dick and Barbara’s romance. Because Dick and Barbara are depicted as having been each other’s best friends since childhood — when, in reality, Dick was closer to Donna during his preteen and teenage years, and Donna is often portrayed as his best friend — Donna’s place in Dick’s life is replaced by Babs. Babs must be everything to Dick — his true love, his longest childhood friend, his one female best friend.

This creates a narrative in which Dick cannot have a significant interaction with another woman without it being a threat to his relationship with Babs. Needless to say, this is an incredibly heteronormative worldview which implies that men and women who are not related cannot share deep and significant platonic intimacy without some underlying romantic tension. So naturally, Donna cannot he Dick’s longest friend, his best friend, because in the heteronormative world portrayed in Taylor’s run, that would mean that she is a rival to Babs.

Perhaps it is for this reason that Melinda was revealed to be Dick’s sister so soon into her introduction. If Melinda and Dick were not related but were still meant to interact with each other, that would create a bond that some might see as romantic or sexual. So by presenting Melinda as Dick’s biological sibling within moments of the two first interacting, Taylor strips Melinda of any romantic or sexual appeal. In this heteronormative world, only by being related can Dick and Melinda share intimacy without threatening Babs’ position in Dick’s life.

Needless to say, this heteronormative worldview which only allows for the relationship between non-biologically related men and women to be seen through lenses of romance and sex is also a misogynistic, male-centric worldview. In this story, women are not treated as people and are instead perceived solely through their relationship to Dick Grayson.

#nightwing #anti tom taylor #anti dickbabs

151 notes · View notes

distort-opia · 4 months

Note

What kind of non lethal crimes do you think Joker would pivot to in a relationship with Bruce? I'm thinking about your REMS characterization. Also thinking about a line from Joker in the last chapter, about not throwing his career down the shitter and killing to defend himself. What would a career look like for him being with Bruce? Surely he would still be incredibly silly about them, with varying levels of violence that *just* teeters the edge. Love your work!

Glad you like my work, thank you! Hmm, what I had in mind when writing that in REMS (or for a sequel) was Joker's penchant for... well, breaking people and exposing hypocrisy, but minus the murder. With his love of drama and performance sprinkled on top, of course; as you say, he'd never stop being silly.

He usually kills indiscriminately, yes, because he considers himself as just playing into the cruel meaninglessness of the world. But the reason why Joker fixated on Batman, and why his M.O. includes using a gas that basically forces people to see the world like he does right before they die, is Joker's need to prove a point. He wants people to admit that there's no order to life and that tragedy can strike at any time; he wants Gotham to realize how arbitrary rules are, and Batman happens to be the perfect embodiment of that.

So I think that a Joker who won't murder anymore would basically create situations in which people's darkest sides are exposed, to various degrees of seriousness and violence. And not only that-- he would do things that would expose the ridiculousness and heinousness of the world people live in. Capitalism and its self-cannibalizing focus on profit, the skewed interests of the government, the suffering of the poor... Joker's already done this sort of thing, it's not much of a stretch. For example, seeing how many people we're being hurt as a result of superhero fights, one time Joker promised to pay the medical bills of each Gothamite that posted a video on the DC equivalent of Facebook... but only if they shouted the word "Balyushka" and then did something ridiculous to make him laugh:

Batman: Gotham Nights #6 ("Balyushka!")

And he keeps his word! But of course, this creates utter chaos, because people are doing fucking crazy shit to get that money. And the thing is, he doesn't do this just for funsies. He has a point, and Bruce can't help but admit it:

Batman: Gotham Nights #6 ("Balyushka!")

Joker exposed the problems that Batman could not tackle with fists, and then Bruce listened. He actually used his money and influence to help.

Ironically, again, it's not the first time Joker did something that made Bruce go "Hmm, maybe I should look into the systemic corruption":

Batman: Gotham Nights #4 ("The Dragnet")

I won't go into too much detail, but Joker paid Harleen Quinzell's tuition without much prompting, he went and helped (in his own way) a child who wrote to him and was clearly being abused... it's about the cases he can empathize with. And they're all connected to his own life-ruining trauma. Red Hood fell into the vat most of all because of poverty. Because he had no choice except to turn to crime-- otherwise him and his family would not have had food to put on the table. So of course he hates the society he lives in, one that had no safety nets or mercy for people like him who were drowning.

This is a very long-winded way to say that I imagine a non-lethal Joker being a mix of this and... stupid ass pranks on a massive scale, because let's be honest, he wouldn't give them up. He just wouldn't kill people at the end (because it'd make his boyfriend sad).

fanfic writer ask game - director's commentary

#asks #ask game #repetitio est mater studiorum #joker

145 notes · View notes

beauty-and-passion · 8 months

Text

Lore Olympus: a golden mine of bad writing

As I said, one post wasn’t enough.

There is still a lot to say about this webcomic and in this post I would like to talk about how Zeus, Apollo and Kronos have been treated. Here I will focus on the first two acts only, because the third act is not over, as well as the story. And yes, that means I will write another post when this whole thing is over.

I wanted to focus on these three gods in particular because are treated in a way that baffles me and makes me question what did they ever do to Mrs. Smythe. Tell me, Rachel: was it something personal? Did they do something to your family? What happened?

But maybe you don’t understand my point, especially if you haven’t read the Greek myths at all and you think that these three are just “Unfaithful Guy”, “Rapist” and “Evil Villain Har Har Who Also Wants To Rape”. Seriously, what’s with this weird obsession with raping everyone and with sex? Did Mrs. Smythe ever see anything else in myths, besides sex?

So please, allow me to explain why their characterizations are wrong and boring - and no, not just from a mythological point of view.

_______________________________

Zeus: the walking clichè

Making Zeus an asshole is understandable, even if utterly boring and clichè. Oh wow, he's an unfaithful husband and he's vain. Very original. Groundbreaking, I'd say. I’ve never read about him being unfaithful to his wife, not even once in all the 200 million retellings made during the history of mankind.

It's a shame because Zeus is much more than that. He's a mighty ruler with a strong sense of justice: in several myths, he punished the assholes for their wrongdoings. He's very clever and strong. He's also associated with xenia, the custom of offering protection to strangers, which means Zeus is also a protector of foreigners.

I mean, this information alone offers so many new perspectives about him! Just imagine if, instead of hanging around and doing nothing useful aside from being everyone’s favorite punching bag, Zeus fought against every corrupt system of the mortal realm, in order to protect the foreigners and the innocents. It would’ve been so cool to see a different side of him, instead of the same thing over and over again!

But nope, Zeus = unfaithful husband only. Let’s ignore all the other aspects of him, to focus on the one everyone focuses on. Let’s make him the umpteenth version of the same guy, instead of offering a new vision. This will surely make the story worth everyone’s time!

Rachel, this could’ve worked if I was 12 and had never read a retelling in my entire life. But since I’m more than twice that age, seeing Zeus as an unfaithful husband again doesn’t get my interest. And I’m sure this doesn’t only apply to me, but to everyone who already saw at least two retellings of him. Isn’t this story supposed to be new and original? Then why are we still picking from the same old clichè visions of these gods? Where is the writer’s personality and ability?

_______________________________

Apollo: king of wasted potentials

I am absolutely, completely, 100% baffled at how Apollo has been treated in this story.

It's insulting to see the most beloved Greek god treated as a bidimensional piece of shit. Not only because he doesn't make any sense in the story (why is he here in the first place? Did Persephone and Apollo even interact in any myth?), but also because there are so many different possibilities for him, that seeing him being this is the biggest waste of potential I’ve ever seen.

A brief recap of who Apollo really is: Apollo is the embodiment of the sun. He is the god of arts and crafts. He's the most beautiful god, he embodies the concept of perfect Greek beauty. And he is associated with a lot of cool stuff, like medicine, truth and oracles. Also, like most of the other Greek gods, Apollo had many male and female lovers.

Now, look me in the eye and tell me that, with all of this, your first idea about him is "yeah, let's make him a stupid rapist, so stupid to not realize that hey, maybe forcing a girl to sleep with you will not make her fall in love with you". Oh and let's not forget he randomly decided he wanted Zeus' throne just after the fertility plot point had been introduced Because Yes. And he’s running for president of Whatever-Land Because Yes. Also, he’s currently involved again in another evil plot Because… yeah, you got it.

It’s just so frustrating to see him being the biggest loser of all time, considering how much cooler he could’ve been. Just think about it: we could've had a bisexual musician, who does concerts with his band (the Muses) and has a shit ton of lovers. We could’ve had a heartbroken doctor, who does his best to save everyone because he has not been able to save his own son from death (Asclepius). We could've had a mysterious advisor who can see the future because of his foresight powers.

What did we get instead? A fucking rapist.

Apollo is nothing but wasted potential. He’s an insult to himself, the story, common sense, and the Greek culture. Of all the incredible things he could've been, he became the most insulting of them all. I really cannot bear to see this fucking idiot and his punching-bag face, pretending to be Apollo. He’s not Apollo.

But if there is a guy I can see less than him, then let me introduce you to…

_______________________________

Kronos: Supreme Master of Wasted Potential

First of all: why is Kronos here? Why does this love story need Persephone to defeat a big bad guy? Just to show how cool and badass she is? Considering that their fight was a joke, it didn't work very well.

But okay, let's say we need a villain Because Yes. Kronos is still a huge waste of potential, probably the biggest waste of potential of the whole series until now. He could’ve been an interesting, multifaceted character, but he became a cartoonish supervillain har-har I want power.

Sigh.

But let’s take a step back and talk about the real, mythological Kronos. His story starts with his parents, Uranus and Gaia. The two had a lot of sons, including Titans (like Kronos) and Hecatonchires (monsters with fifty heads and one hundred arms). Disgusted by their monstrous nature or maybe just out of fear of being overthrown, Uranus chained his sons away into Gaia's womb (aka the Tartarus) so that they could never come out again.

Gaia suffered from this decision, so she devised a plan: she made a stone sickle, gathered her sons and tried to persuade them to castrate Uranus.

All of her sons were afraid of Uranus, Kronos was the only one brave enough to do it. And he was successful: he overthrew his father and became the new ruler of the universe, along with his wife/sister Rhea.

However, after becoming king, he didn't free all of his brothers as his mother wanted, but locked Hecatonchires and Cyclopes away once again. And so, Gaia told him that, one day, he would meet his father’s same fate and be overthrown by one of his own children.

Scared by these words, Kronos devised a plan: every time he had a new child, he took the baby from Rhea and swallowed them. Rhea was desperate and, in order to save her last son Zeus, she sought Gaia's help.

So Rhea gave birth to Zeus in a secret place, then handed Kronos a stone wrapped in clothes: he swallowed it, thinking that it was his son. This way, Zeus managed to escape the same fate as his siblings and was raised in secret, away from his father, until he was old enough to come back and fulfill his destiny.

And now, you may think Zeus overthrew his father with a sword and killed him and nah nah nah, myths are not that stupid and predictable. Zeus didn’t use violence to overthrow his father, but intelligence. He disguised himself to reach Kronos' court and, at the right time, he gave him a drink. That drink was an emetic (given by Gaia), that forced Kronos to throw up everything he swallowed, in reverse order: first the stone he thought was his last son, then Zeus' brothers and sisters.

After freeing his siblings, Zeus did what his father would've never done: he released the Hecatoncheires and the Cyclops to help him in the following battle against Kronos and the other Titans, a battle known as Titanomachy.

The war ended with the victory of the Olympians (i.e. Zeus and his siblings). Many Titans were confined in Tartarus, under the Hecatonchires' control, others were not imprisoned and kept appearing in other myths.

And Kronos? His fate differs depending on the myths. In some versions, he was imprisoned in Tartarus. But according to other, more interesting versions, Zeus forgave him after years, freed him and Kronos became king of the Elysian Fields: the famous earthly paradise reserved for the greatest Greek heroes.

Now. Just look at all of this beautiful, beautiful potential.

We have Gaia, a powerful goddess who overthrew two rulers of the universe, without moving a finger. A goddess strong and clever, but also a mother who wanted all of her children to be free - even the most hideous ones. She could’ve been a tragic figure, a master manipulator, or an evil schemer. Or all these things!

We have the Hecatonchires: fighters so powerful, to turn the tide of any battle. They could’ve been scary and intimidating, but also tragic monsters who just wanted to be accepted. They could’ve taught a beautiful lesson about the importance of accepting the ugly and giving everyone a chance to prove themselves.

Then we have Kronos. And Kronos had everything to be the greatest character.

Think about this concept: Kronos has always been afraid of Uranus, just like his brothers. He was just better at hiding his feelings. And that visceral fear is still inside him, it still haunts him after centuries, just like the memory of how he overthrew his father. And that fear takes the shape of paranoid thoughts about his father coming back to take the throne.

Kronos could’ve seen his father haunting him, but he could’ve also dissociated and seen himself as his father. In his altered state of mind, he could’ve been both the king and the one who overthrows him.

That could’ve made him a truly dangerous, unhinged character. A god who can’t see what’s real anymore, obsessed with the ghosts of his past. A god with nothing to lose and everything to gain. After all, if he kills his children again, the throne would be his once more. And, since he sees himself as himself and as his father at the same time, he would think that he is the "true king" coming back to take his throne.

That could’ve been awesome. Kronos could've been complex, desperate and multifaceted, a villain to pity and to be afraid of. A truly new, interesting version to know and love.

And do you have any idea how incredible Zeus could’ve been in this version? We could see him facing Kronos again, still as strong and determined as when he was young. And while everyone would expect him to kill Kronos, he would use his intelligence once again. He would prove to Kronos (and to everyone else) how intelligence is always superior to violence and how he's a good leader, despite his thousands of flaws.

Also, we could've seen Zeus talking to the defeated Kronos and making him the ruler of the Elysian Fields. We could've had a meaningful ending, in which Zeus understands Kronos' fears and shares his own.

I would’ve adored this, because according to the myth, Zeus was also supposed to be overthrown by a son! Hence why he swallowed Metis (his first wife) while she was pregnant.

The myth never truly clarifies who this supposed "son" is, but according to the different versions, Metis was pregnant not with a son, but with a daughter. A daughter who, one day, would be born, full grown, from Zeus' head. A daughter who would become Zeus' favorite child: Athena.

Honestly? I ADORE the idea that there was never a son to overthrow Zeus, but a daughter. And she would not overthrow his father by violence like her grandfather or by intelligence like her father, but by love. Athena doesn't need to take the throne from her father physically, she doesn't even need to sit on that throne: not when her father loves her more than anything else.

And I love the idea that Zeus is aware of that. He knows his daughter is his weakness. He knows that, if she asks, he will willingly give her that throne, because he loves her too much. And I would've loved to see him sharing these thoughts with the defeated Kronos. It could've been a beautiful moment, to see Zeus talking with the fatherly figure he always missed from his life. It could've led to a beautiful, meaningful ending for a dramatic story.

But can you see the problem here? This concept works for a story about Zeus, not about Hades and Persephone! These two have nothing to do with Kronos! Heck, even Rachel Smythe knows it, considering she had to pull a stupid plot point out of thin air, to explain why Kronos would give a damn about Persephone!

In case you were wondering: yes, the fertility-magical-power-battery-thing is bullshit. Gods don’t need a magical battery to be powerful. And no, fertility goddesses are not rare either: Aphrodite, Demeter, Hera, even Artemis are just a few of the fertility goddesses in Greek mythology. Kronos could’ve picked his favorite from a large pool, instead of becoming an absolute creep with Persephone in the stupidest fight of all time.

And speaking of that, two words on the supposed “fight”. First of all, apologies to all fights for being associated with this thing, because this was anything but a fight: it was a cartoonish conversation accompanied by the umpteenth sexualization of Persephone, who first appeared fully naked, then with a dress so stupid to defy the laws of physics and perspective.

And if you don’t believe me, please see it by yourself: this is how the dress was supposed to be, according to episode 75

This is how it ended up. Apparently, the Fates didn’t predict how huge Persephone’s boobs would be and the neckline didn’t grow accordingly: I feared to see one of them slipping out from it anytime during the “fight”

Also, please appreciate how Persephone is turned to the side, but the dress’ stupidly huge neckline is shown from the front, otherwise we would’ve seen her full naked boobs.

And that stupid neckline kept bothering me throughout the whole “fight”, because it kept changing size. Check the episodes and see it by yourself: sometimes it’s smaller, other times it’s wider and it keeps moving in impossible ways. It drove me insane.

But since we’re talking about drawings, please allow me a very brief parenthesis about them too.

_______________________________

The drawings are a joke

I am not an artist. I can barely draw a straight line by hand. But I studied art history, perspective, proportions and colors, so I’m not completely clueless.

But you don’t need to be clueless, to notice how bad the drawings became. If you have two eyes and saw another human being in your life before, then you can notice by yourself how bad they are.

It’s not a secret that Lore Olympus’ art style changed over time. In the beginning, this comic was characterized by a lot of straight lines and geometric shapes, alternating and mixing with gentle curves. There were blur effects, colored outlines, a lot of details that gave an overall dreamy, ethereal vibe to every chapter (like the soft glow that accompanied the gods).

But as the story progressed, these elements disappeared. The geometric shapes gave way to an overall “softness” and roundness. The dreamy vibes and blur effects were replaced by sharper, clearer drawings. A distinct black outline now marks every character.

And speaking of characters, they were the ones who changed more. Lore Olympus always had funny, silly faces but the characters were also able to be serious and look natural. Now all we have are grotesque faces: the characters are a collection of caricatures and no one has a normal expression anymore. Check by yourself, by confronting a random episode of the third act with the first one: they’re two different worlds.

The disproportions were common too, since episode one. But at least they were somehow plausible, while now they’re completely absurd. It’s as if Mrs Smythe completely forgot what a human being looks like.

And this is pretty evident in how all characters became a rough draft of the two protagonists: all women got Persephone’s face, all men become buff and huge, with wide-ass shoulders and teeny tiny heads. This is particularly obvious at the end of season 2 / start of season 3, when we see some of the funniest images ever, like Hades with a tiny head and shoulders as wide as the entire USA

Or this hilariously bad image of Zeus with clown shoes and a head as big as his deformed hand.

No excuse can justify these drawings: no one is running after Mrs Smythe, nor forcing her to draw, and people are paying her real money to work on this webcomic. The least she can do is draw something that doesn’t look like a bad distortion of a human being.

Unless this isn’t her drawing, but her staff’s work. In that case, they are still paid to do their job, right? Or do they think this story is a joke and decide to show how much of a joke it is, by turning everyone into a grotesque caricature?

_______________________________

In conclusion

Lore Olympus is hilarious because of how bad the writing is. It’s a manual example of how not to write a climax for your story. It’s a perfect demonstration of how you can still fail, even with great characters with endless possibilities. It’s a list of all the mistakes you can make as an artist.

If you’re a writer or an artist in general, please check Lore Olympus and study it. Here you will find everything you should never do and all the mistakes you should never make.

As a writer myself, I appreciate Lore Olympus, because I need works that teach me what I shouldn’t do. Good teachers are useful, but bad ones are even more useful, because it’s thanks to them that I can learn and grow and make better stories. Lore Olympus might be a failure from an artistic and writing point of view, but it might also serve as a foundation, from which other people can develop better ideas.

Actually, it already did it! Do you want to read a better story, rose from the disappointing ashes of Lore Olympus? Then check Lore Rekindled and @genericpuff: you will find their work here on Tumblr. They planned everything ahead and it’s pretty clear by reading it. The characters make more sense, the events have a more logical explanation. And the art style is much, much better than the last Lore Olympus.

We will meet again for the third and (for now) final post about this series, a much-needed post about the protagonists of this story: Hades, Persephone and Demeter.

<- Previous post - Next post ->

(How about a coffee? ☕)

_______________________________

TAGLIST:

@royalprinceroman @mudpuddlenl @allmycrushesaredead @aquatedia @whatishappeningrightnow @effortiswhatmatters @bella-in-a-bag @doydoune @forever-third-wheeling @payte @hypnossanders @idontreallyknow24 @imcrushedbyarainbowoffical @patton-cake @hereissananxiousmess @purplebronzeandblue @cynicalandsarcastic @lost-in-thought-20 @andtheyreonfire

@riseofthewerewolf @rosesandlove44 @chewy-rubies @groaaaaan @arya-skywalker @csi-baker-street-babes @queen-of-all-things-snuggly @reesiereads

@dracayd-universe @starlightnyx @stubbornness-and-spite @averykedavra @joyrose-fandomer @mihaela-tbg @igonnatalknothing

@thatoneloudowl @grayson-22 @softangryfuckingdepressed @theotherella @boopypastaissalty @nevenastark @varthandiveturinn @roses-bubbles @cuter-on-the-inside @coldbookworm @snixxxsmythe @charmingcritter @analogical-mess @emphasis-on-the-oopsie @selfdestructivecat @yangwalkerao3 @the3rddenialist

#lore olympus #lore olympus criticism #lore olympus critical #anti lore olympus #lo criticism #lo critical #anti lo #greek gods #greek myth #zeus #apollo #kronos #lo zeus #lo apollo #lo kronos

258 notes · View notes