#there are some...reoccurring sources

[iironwreath]

oc source inspo

whether it be individual characters or a series for vibes! a lot of inspo I sort of pull from along the creation process rather than deciding beforehand

ada: undyne (undertale), pirates of the caribbean, assassin's creed black flag

azul: heather (silent hill 3)

cadiana: the iron lords (destiny)

cihro: kal'reegar (mass effect), miguel (the road to el dorado), nick wilde (zootopia, minus becoming a cop)

crow: odysseus (greek mythology), loki (norse mythology), crowley (good omens), the nazgûl (lord of the rings), phantom of the opera

genevieve: castlevania, devilman, eskel (the witcher), huntara (she-ra), eivor (assassin's creed valhalla)

iona: little women, li shang (mulan), mr. darcy (pride & prejudice), haldir of lothlórien (movie version, lord of the rings), ead (priory of the orange tree), artemis (greek mythology)

koda: kermit the frog (the muppets), po (kung fu panda), steven (steven universe), samwise gamgee (lord of the rings)

nepenthe: gomez (the addams family), striga (castlevania), breakdown (transformers prime), sevika (arcane), httyd (for the many hosts of igrathad)

orla: rose (downton abbey), georgina darcey (pride & prejudice), hercules (disney version), madoka kaname (madoka magica)

surina: kratos (god of war), geralt of rivia (the witcher), game of thrones

vierna: silent hill 2, lady evelyn (yellow jessamine by caitlin sterling), morticia (the addams family), the night sisters (star wars), moira (overwatch), silco (arcane)

union: emiel regis (the witcher), pearl (steven universe), aziraphale (good omens)

vesuria: tai lung (kung fu panda), jobu tupaki/joy wang (everything everywhere all at once), amara (borderlands 3), whirl (transformers mtmte), violet (arcane)

[arcaneyouth]

WAAA WEIRD VENTING IN THE TAGS RAAAUGHGAH WATCH OUT

[fuzziemutt]

It's kinda sad to me how much the second a character gets autism blasted, the fandom changes everything about the character

Like now this character can't drive or cook and is always silly goofy never serious/professional with like no regard to actual canon (we see this character cook multiple times and well, is a professional driver/is an action hero type, holds very important positions of power/typically is in neutral external emotional standing)

I know this is the tism website but every time I see it I wonder where it's coming from and I def don't want to just pin the tail on the ableism because I feel there's more factors at work maybe... Hopefully....

[helen-with-an-a]

I Am An Adult pt 7

Hiiiii. I hope you enjoyed part 6. As I mentioned, this was originally one long-ass story, so please imagine you're reading it as a continuation if that makes sense. Once again, a massive shout out to @lyak12 for helping me out so much and hyping me up - forehead smooches for you. I think technically the final part of the official series, but I do have an epilogue idea that I want to write too, so it's not quite the end of the story (again inspired by @lyak12). This was tough to write emotionally, so just a little heads up.

I just want to say thank you so much for the love and support you guys have given me. It means a lot. Please let me know what you thought of it <3

Part 1 : Part 2 : Part 3 : Part 3.5 : Part 4 : Part 5 : Part 6 : Part 7 : Epilogue

Barça Femeni x Reader / Lena Oberdorf x Reader

Description: R faces the consequences of her actions

TW: This was emotional to write, so it might be a little emotional to read.

Word Count: 6k

The next few days were … interesting. It was clear to everyone that you and Alexia had spoken in some capacity. You were still avoiding conversation with most people, but the hostility between you and the captain had eased somewhat. You still partnered with the trainers and remained silent during breaks, but the ice was clearly thawing. It made people approach you more. Not outright, but you weren’t blocked from conversations. The side eyes and cold shoulders were no longer a signature part of training. The olive branches were slowly being offered out; a small praising smile or a water bottle passed your way. No one was brave enough to be your partner just yet, but that was fine. The only ones that weren’t fine were Lucy … and, by extension, Ona. You longed to talk to your best friend … if you were still allowed to call her that. But she remained solidly by Lucy’s side. You couldn’t blame her, though. You had made your bed, and now you had to lie in it.

It all came to a head during the final training session before you travelled to Zaragoza for the Cope de la Reina final. Jona had instructed everyone to work hard but to be aware of their own limits. Everyone had nodded solemnly; the last thing anyone wanted was an injury before a big match like that. Well … everyone, bar Lucy. It didn’t help that you played opposite positions; she was a right back and you a left winger. But so far, Jona had recognised the animosity between you, too, so you had been on the same team to avoid any confrontation … until now, anyway. To his defence, you seemed to both be over it. But, oh, how he was wrong.

Lucy’s anger had shifted from surface-level, emotional, visible rage to that deep, raw, pure wrath. She was aghast at how easily everyone was seemingly forgiving you. To her, you had disappeared on them, leaving chaos and devastation in your wake, returned and with a bat of your eyelids, everyone had forgotten the torment you had caused. Not her, though. Hell would freeze over before she could forget Ona’s heartbreak. Ona’s sobs were frequent in the reoccurring nightmare she had been having the past few days. She was getting little to no sleep, and with that, her ire towards you increased. You were the source of all her issues.

You had become accustomed to Lucy’s hard tackles and unnecessary shoves during training. It was inevitable, even with Jona and the other staff's interference, that you had faced Lucy a little. During rondos, she always managed to step on your feet a little or kick the back of your heel. If you were on the ground at some point during a training session, Lucy’s back was likely the first thing you saw when you looked up. It was starting to get to you a little. But what could you do? You had brought this upon yourself. Your heart sank when Jona called out the names. You were preparing to do a 15-minute 11 vs 11. Jona had pressed the notion that this was a chance to practice the skills and technical formations you had been practising all week. As you stood in your designated place, you inadvertently caught Lucy’s eye. She glowered at you, cracking her knuckles and rolling her shoulders. You were about to die. You knew it. The whistle went, and your team began your press forward. You could see your team's reluctance to pass you the ball; Lucy’s behaviour had not gone unnoticed. But eventually, you had to be included. It happened just outside the makeshift box. You had received a ball from Patri to make a cross for Mariona … or at least that was the plan.

Two sets of sharp studs crashed into your ankle, wiping your feet out from under you. The team watched in horror as you dropped. You landed heavily on your hip before your head hit the floor. You wanted to scream, but you wouldn’t give Lucy that satisfaction. You whacked the grass, biting back the pain. It wasn’t broken. You had snapped your collarbone once when you were still in youth age groups, and this wasn’t like that. But you had a feeling you wouldn’t play in the final. Everyone around you was frozen. Cata and Pina seemed locked in place, half wanting to help but the other, louder half telling them to stay exactly where they were. Marta and Caro looked shocked. Shocked that Lucy would do such a dangerous thing so close to two major finals. Alexia looked a mix of anger and sadness. Anger at Lucy for her behaviour; anger at you for not talking to her about it; sadness that once such good friends seemed to be enemies.

“Lucy. Ya terminaste por hoy. Vete a casa.” Jona’s voice was curt – sounding like the true manager he was. “Todos los demás, tomen un descanso para tomar agua.” No one moved. It was Ona who eventually stepped up.

“Amor, ir a ducharse,” she said softly, like you would to an angry child or wild animal.

“Why? So you can go check on her?” She said it with such contempt and disgust you reeled back, as much as you could, still on the ground anyway.

“I-” Ona began.

“No, I don’t want to hear it.” Lucy stuck her hand up, stopping Ona from talking. “I don’t understand how you can forgive her so easily. What she did was vile. And you’re letting her off the hook like that.” She was shouting now. You couldn’t let Lucy’s anger be misplaced. You couldn’t be the cause of a rift … or potential end … of their relationship. You clambered to your feet, hopping slightly on your uninjured ankle.

“Stop it, Lucy.” Your voice was surprisingly firm. She turned on you. “Don’t shout at Ona when you want to scream at me.”

“You want me to scream at you?” she asked rhetorically. You lifted your gaze to meet hers. “Fine, I’ll scream at you,” she took a deep breath. “What you did was inexcusable. Sure, you got some shitty news. But you don’t get to disappear like that. You are childish and immature. You hurt the people around you, people you are supposed to be your best friends. You can't just run away every time things get tough. Do you think you're the only one with problems? We all have our issues, but we talk to our friends. We don’t leave them behind like they are dirt. What if something had happened to you? Did you even consider how we would feel? No, you didn’t. You were too wrapped up in your own self-pity to think about anyone else. That’s not what friends do. I didn’t sit up every night watching Ona cry herself to sleep because you were missing for everyone to forgive you in an instant. I didn’t watch Cata and Bruna and Jana go crazy driving around Barcelona trying to find you to let everyone forget about what you did. I didn’t watch Alexia phone around hospitals in the area with a description of you to excuse your behaviours as soon as you return. You were selfish and reckless, and you showed us exactly how little we mean to you. We worried ourselves sick, we tore ourselves apart trying to find you, and you didn’t give a damn. Don’t think for a second that you can waltz back into my life and everything will be fine. Actions have consequences, and you need to face yours.” You could tell she had more to say.

You blinked. You felt like you wanted to cry, but no tears were forthcoming. Each accusation struck like a hammer blow, chipping away at your defences. Your heart pounded in your chest, and your stomach churned with a sickening blend of regret and fear. You tried to hold her gaze, but the intensity of her anger made it feel like your very soul was being seared. Her words echoed in your mind, each one a painful reminder of the hurt you had caused. The mention of Ona crying herself to sleep, the frantic search efforts by Cata, Bruna, and Jana, and Alexia's desperate calls to hospitals—all painted a vivid picture of the chaos and suffering you had unleashed. If you hadn’t felt horrific before, you certainly did now. Your throat tightened, and your eyes stung with the threat of tears. You wanted to speak, apologise, and somehow make things right, but you just ... couldn’t. You felt small and insignificant, dwarfed by the level of your mistakes. The raw pain and disappointment in her voice cut through you, leaving you feeling exposed and vulnerable.

“Got nothing to say?” She asked, chuckling slightly. “You know what … I’m glad Barça isn’t offering you a renewal. You don’t deserve it.” The words cut like a knife, burnt like fire and stung like a thousand wasp stings.

“Enough, Lucia.” Alexia’s loud voice cut across.

“Whatever” Lucy scoffed turning on her heels and walking back towards the building.

No one moved, no one blinked, no one dared breathe.

“Did anyone else see that vein in her forehead? It was massive!” Vicky asked jovially, the tension breaking in an instant.

“I don’t think I’ve ever seen Lucy that angry,” Mariona commented during the enforced water break. She had watched as you hobbled off to the medical room. You had refused help from anyone, and it was painful to watch you slowly trudge inside.

“I remember when we were at City and the doctors were telling her how truly fucked her knee was …” Keira reminisced sadly. “I had thought that was the angriest I would ever see her. She punched a wall in the gym; she was lucky she didn’t break her hand.” She shook her head at the memory. “But this … when Lucy sees the people she loves in pain … she’d burn the world down for them.”

“This is her burning the world down?” Patri asked.

“She’s definitely got the lighter ready, that’s for sure.”

“What happened after Lucy punched the wall?” Salma asked carefully. Keira chuckled, laughing at the memory.

“Gee put a frame around it and added a little label like they do in art galleries.” The whole group let out a tense laugh. Of course, Georgia would do that. “Alex says it’s still there too.”

Your initial assessment was right; you were ruled out from playing in the Copa final. You sighed but accepted the physio’s words with little fuss. You winced a little as they strapped it, grimacing at the movements. Lucy’s words echoed around your head, bouncing across your awareness as they played like a video in your mind’s eye. She had looked so angry … her eyes were filled with so much hurt. Hurt that you had caused. Of course, she thought you didn’t deserve a renewal. You didn’t deserve one. That was a fact of which you were sure.

“Tómatelo con calma durante unos días. Lo reevaluaremos después del partido.," the physio advised, giving your shoulder a final pat before standing up. You nodded absentmindedly, your thoughts far from the clinical room. You weren’t too upset about missing out on the final, to be honest. With all the extra … drama, issues, problems … everything, you didn’t think you should be playing anyway. You rolled your shoulders, hoping to ease some of the tension. Everything ached … not physically, although you were sure the extra time you had spent being sent to the floor was helping, but in a soul-weary, deep, painful way. A way that you weren’t quite sure how to fix. A way that you didn’t know if it could be fixed. You are childish and immature. You were childish. You were immature. God, you had spent so long wishing, wanting, demanding the team look at you like an adult, and this is what you do in return. This is how you repay them? Maybe they are better off without you next season. Your mind drifted back to that conversation with Lucy. Her voice, usually so warm and encouraging, had been cold and harsh. You felt a knot tightening in your chest, the weight of the past weeks pressing down hard. You knew she had every right to feel betrayed, to doubt you. The anger in Lucy’s green eyes haunted you. It was a mirror reflecting your own failures, not just as a player but as a person. You replayed every moment in your head, wishing you could go back and change things and make different choices. But you couldn’t. All you could do now was face the consequences.

And Ona, what about her? Your best friend. You tried not to imagine her face. Her warm brown eyes and wide smile were replaced by devastated, tear-filled expressions and anxious looks. God, what had you done? The guilt gnawed at you, a relentless ache that seemed to have no end. You could almost hear Ona’s voice; her playful teasing turned into something sharper, something pained. You had let her down. She had always been there for you, through the highs and lows, and now… now you had pushed her away too. The one time you truly, desperately, urgently needed her to help navigate this … you had disappeared. Like a ghost.

You weren’t sure how long you sat on the edge of the physio bed. Long enough for the team to have cleared out of the changing rooms, you think. You really should go shower. But you couldn’t move. Everything felt heavy. You were too tired to push yourself off the padded table, too weary to make the short walk back to the changing room, too fatigued to get into the car and drive home. A knock on the door pulled you from your spiral.

“Can I come in?” Ona. You looked up, reminding Ona of a meerkat on patrol. You smiled weakly, nodding and gesturing to the bed opposite. She didn’t take it, just shifting to stand on the other side of the door, ready to run if she needed to.

“Lo siento,” she murmured eventually. Why was she apologising? You were the one that needed to fix everything.

“You’re not the one who should be apologising,” you muttered dejectedly.

“I know, but Lucia is –”

“No, no, no, no,” you rushed out, cutting her off. “It’s me. I’m the one who should be apologising,” you corrected yourself. “I’m a horrible person. I am a truly awful person. I mean, who does that to their friends? Who disappears for days without telling them what was wrong?” You swallowed, taking a deep breath before surging on. “I need to apologise to you, Oni, uh, Ona … um,” you chuckled awkwardly. You cleared your throat. “I am so, truly, deeply, honestly sorry for what I did to you. I hate myself for it. God, now I’m crying again.” you said humorously, the joke falling flat as you wiped tears away. “I’m just so sorry. I don’t know how I can ever make it up to you, to Lucy, to Alexia, to the team. I don’t even know if you want me to make it up to you or if I should just let you live your life without me. You’d probably be better off,” you rambled. “I hurt everyone around me, and I have no explanation for it. Nothing beyond that; I genuinely didn’t mean to. I wasn’t thinking; I was just so overwhelmed with it all, and being here in Barcelona made it so much worse, so I just left, and I didn’t look at my phone because it was easier not to. It wasn’t happening if I wasn’t looking at my phone. It’s no excuse, and I’m not trying to make one up, I promise. It was wrong, and I know that. I know I fucked up so badly, and I’ve probably ruined the best things to ever happen to me, and now you all hate me, and I’m so, so sorry,” you sobbed. You hadn’t even noticed Ona had moved closer to you, her own tears streaming down her face, until her arms wrapped around you. “No, no,” you pushed her off or attempted to at least. “I don’t deserve your comfort. I am a horrible person, I don’t deserve…” you couldn’t finish as another wave of sobs broke through.

“Shhhh,” she whispered softly, her arms tightening around you despite your weak protests. You tried to move away, but the softness of her shirt, the warmth of her body, and the kindness in her voice were too inviting. “What you did … disappearing like that,” she began, her words spoken into your sweaty hair. “Realmente dolió,” her voice cracked slightly; you tightened your arms around her waist in response. “Your actions were bad, yes. But you are not bad,” she said emphatically.

You took a shuddering breath, the truth in her words piercing through the haze of your self-loathing. “I’ve made such a mess of everything,” you murmured, your voice muffled against her shoulder. “I don’t know how to fix it.” Ona pulled back slightly, just enough to look into your eyes.

“You start by forgiving yourself,” she said gently. “Because …” she paused momentarily, “I forgive you. Te perdono. Et perdono.” This set a new wave of tears bubbling up. It was painful and raw but cathartic, too.

You didn’t want to, but you couldn’t help it as you felt a glimmer of hope. It was fragile and tentative, but it was there, a tiny spark in the darkness. You clung to it, feeling Ona’s warmth and forgiveness surround you. The heaviness in your chest lightened just a fraction, enough to allow a breath of relief. Ona’s embrace tightened, and you let yourself sink into it, missing how her hugs had felt, the comfort she brought you just by being close. She pressed a gentle kiss to the back of your head. “I’m sorry,” you whispered into the fabric covering her stomach.

“I know you are,” she replied just as quietly.

Every moment of the next few days seemed to blend into the next with dizzying speed, and you found yourself caught between triumph and confusion. Winning the Copa de la Reina, preparing for the Champions League, and waiting for the international announcements - it was a lot of everyone to process. Yet amidst the frenzy, you were quietly trying to mend the fractures in your relationships. Conversations, laden with heartfelt apologies, unfolded with each member of the team. More tears were shed, but you slowly began the painstaking process of stitching what was broken. Even as you sat beside Mapí during the Copa final, her silence spoke volumes, a tangible reminder of the distance still to be bridged. The sparse conversation, a mere trickle compared to her usual torrent of words, served as a reminder of the work yet to be done but also of the hope that lingered in the spaces between.

Then came the chaos of the Champions League final, a rollercoaster of emotions that whisked you from uncertainty to jubilation in the span of ninety minutes. Initially resigned to the sidelines, your ankle injury deemed worthy of rest by Jona, fate intervened as Ona fell. In an instant, the plans shifted, and you found yourself thrust onto the pitch, the weight of the final moments heavy on your shoulders. Yet as the final whistle blew and the roar of triumph echoed around the stadium, any lingering doubts were drowned out by the sheer joy of victory. Despite the bittersweet knowledge that this might mark the end of your journey with the team, at that moment, you refused to let anything dim the radiance of your victory.

The only issue that remained was Lucy. Ona had been careful to keep you two apart, but with the Olympics fast approaching, you knew a conversation was in desperate need. You had booked it ages ago, just after the Nation League finals, when you found out Germany and Spain would be heading off to fill the European spots in the Olympics. At the time, you hadn’t questioned it when you booked a singular hotel room with two beds for the entire two weeks of the competition. At the time, the logistics seemed simple enough – a singular hotel room with two beds, a pragmatic arrangement for two good friends united at WAGs in supporting their respective partners. But now … now everything was different.

And then you were waiting for Lucy in the middle of the Barcelona airport. What should you say? What would she say? Was she still angry at you? Judging by Ona’s actions, she probably was, but you didn’t quite know how bad these two weeks would be. You had decided that if worse came to worse, you would fork out for a new hotel room. It would probably be eye-wateringly expensive and damn near impossible to do, but you would do it. You knew a few of the partners of the German national team fairly; maybe you could crash on their floor? No. You needed to fix this. If not for your sake, then for Ona’s. You could see how hard this was for her, keeping her girlfriend and her best friend away from each other whilst balancing the international commitments.

You needed a plan. Ask her how she is when she first arrives. Let her start the conversation. Buy her a coffee. Let her choose the window seat if she wants it. Pay for the taxi from the airport to the hotel. Ask her if you could talk properly. If she says yes, apologise again. Answer all her questions honestly and truthfully. Try not to cry. If she says no … find another hotel.

You had been so wrapped up in her thinking that you had missed her arrival. She looked tired, but not angry. At least you don’t think she looked angry.

“Oh,” you said, surprised. “Hi.” You smiled at her. She nodded once, silently gesturing to the check-in desk behind you.

It was the most painfully awkward 3 hours of your life. Every attempt at conversation felt stilted and forced. You were often met with nods and grunts instead of actual answers. She granted you a small half-smile as you presented her with a coffee from the nicer-but-more-expensive stand near the gates. All you could do was keep reminding yourself that you were doing this for Ona. You were here to support Ona, your best friend. And Lena. Sweet, kind, perfect Lena … Ona and Lena, Ona and Lena, Ona and Lena

The room was rather large, you were grateful to realise. The beds positioned far enough apart to provide some privacy for you both, as well as a small seating area. The small balcony outside offered a great view, the hum of the bustling city audible, even from high up in the hotel. You waited for her to choose a bed, hoovering anxiously by the door, your grip tight on your suitcase. Ok … show time.

“Um … Lucy?" you began, the butterflies in your chest increasing when she didn’t look up. “Can we talk? I need … I want to apologise to you properly and talk a little.” Nothing. No reaction. Not even a flicker. This was not a part of the plan. She was supposed to say yes or no. Not nothing.  “Right, um …” you wracked your brains, trying to think of what to do now. “Ok, um, if you don’t want to talk, that’s ok too. I’ll… um … I’ll just … I’ll just get out of your hair, then. Uhh, yeh.” Maybe you had come on too strong. Perhaps she needed to settle in for a bit first. You turned to go, your hand struggling to find the doorknob in your haste.

“Wait.” You froze. Every muscle locked as you waited for her to continue. “You’re right; we need to talk.” Turning back to face her, you looked at her properly for the first time in weeks. She looked so tired. The weight of everything was clearly etched into the lines of her face. Her green eyes were darker than normal, the set of her shoulders hunched slightly.

“Here? Or we could go get a coffee? My treat.” You managed a small, tentative smile, hoping it would ease some of the tension between you.

“A coffee sounds nice,” she gave a slow nod, picking up her purse and moving across the room.

The café was very typically French, no doubt redecorated somewhat for the influx of tourists, but the smell of freshly brewed coffees and warm croissants was too inviting to pass on.

“Bonjour,” Lucy smiled at the barista, her order flowing with ease in a torrent of French.

She stepped to the side, allowing you to add in your abysmal French, “un petit chocolat chaud, s'il vous plait,” handing over your card to pay for the drinks.

The seats were wide and comfortable, offering a quiet space for you to talk openly.

“I forgot you spoke French,” you fiddled with the napkin on the side of your saucer.

“Yeh, I didn’t want to lose it when I left Lyon. And it’s been helpful for learning Catalan too.” Lucy smiled weakly.

“How’s that going, by the way? Learning Catalan, I mean,” you started, attempting to break the ice a little

“Don’t. Don’t do that, Y/N. You wanted to talk, so talk.” She cut you off bluntly. Ok, she was still a little angry. That was fine, you could manage that, you think.

“Ok, um, well. I wanted to apologise.” You spoke slowly, thinking of exactly what to say before you said it. “Properly.” You took a steading breath. “I have no excuse, no explanation really, of why I did what I did. Why I disappeared. But … I am truly sorry. I know I hurt you, and Ona, and Alexia, the whole team, really. I can’t imagine how hard that must have been for you to watch Ona in that state.” You took a sip of your drink to help steady yourself. “I was selfish, and I didn’t think about the consequences of my actions. I was childish and immature; you were right.” You looked up to see Lucy’s eyes fixed on you, her expression unreadable but attentive. You took it as a sign to continue. “What I did was inexcusable, but I didn’t do it consciously. Lena said either I go to her, or she would come to me, and with the Pokal final coming, I couldn’t let her leave Germany, so I went to her. It all happened so fast, and when I got to Germany, everything was clearer, easier a little, I’m not really sure. But Barça and everything to do with Barcelona was just too much. I know that it might not make a difference, but I didn’t purposefully think about shutting everyone out and disappearing.” You took another sip. “I really am sorry for how I behaved. I completely understand if you don’t want to spend the next 2 weeks in a hotel room with me. I can find somewhere else if-”

“Stop it.” Her voice was quiet but commanding. Your mouth snapped shut, your nervous eyes drifting up to meet her gaze. “I appreciate your apology.” It wasn’t forgiveness, but she had at least acknowledged it.

“I really am sorry,” you cut in.

“Stop saying sorry.” You could tell it was an attempt at humour.

“Sorry,” you smiled sheepishly. She raised an eyebrow in response, trying to come off unamused but failing. Your heart lightened a little at the small sliver of the normal Lucy returning.

“I’m not angry at you,” she began. “No, wait, that’s not quite true. I was incredibly angry at you,” she corrected herself. “When I see people I love and care about upset, I get angry, and you really hurt Ona. But … I was also annoyed at the team, including Ona ...” You looked up, confused. “They all forgave you so easily, so quickly. It was like they had forgotten how hard it was for all of us when we didn’t know where you were, if you were safe … if you were still alive. And then I got angry at myself for being angry with everyone and ...” She stopped, looking around at the café you were sitting in.

“Um … they didn’t.” you breathed. It was her turn to look confused. “They didn’t forgive me. I spoke to Alexia after the first training session … I was back for. She explicitly said she hadn’t forgiven me. I still don’t think she fully has,” you licked your lips. “Not that she has to,” you added quickly. “No one has to forgive me if they don’t want to. Um, I guess the others picked up on her changes in behaviour and were following her lead.” It sounded like a question. Truthfully, you weren’t sure why everyone had eased off on you so fast, but you weren’t going to look a gift horse in the mouth.

“I … I didn’t know that.” Lucy muttered, either to you or to herself you weren’t sure.

“And Ona didn’t speak to me until after … that training session. God, I was a total mess. I am an ugly crier, and, bloody hell, was I sobbing,” you tried to lighten the mood.

“I didn’t know that either …” she trailed off. The silence wasn’t awkward, not anymore. But there were definitely things still unsaid that lingered in the space between you. “That makes me look like a total arse,”

“No, it doesn’t,” you said gently. “You were hurt and angry. You had every right to react in that way. I was a total bitch.”

“So was I,” she said wryly. Lucy sighed deeply, rubbing her temples. “It’s just … I didn’t realise how much I was holding onto. I'm sorry if I ... we ... made you feel like you couldn't come to us.”

“Thank you,” you said softly. “But disappearing was wrong. And I don’t expect immediate forgiveness. I want to make that clear. I just want a chance to make things right, to show you that I’m here to stay. Well, not literally, anyway, but … I’m working on it. I’ve started making enquiries for a therapist. I’m really trying to get better at communication and stuff.” You nodded, pushing some hair behind your ear.

“Where are you going anyway? I haven’t seen an announcement or anything.” She took another sip of her coffee, a clear attempt at normalcy.

“Um … Bayern,” you bit your lip. “I think if Barça were to offer me an extension I would have taken it, but I’m excited to move. It’s a new challenge and stuff,”

“Hey, hey, I don’t need the media spiel. I get it. It also helps that a certain someone is also moving to Bayern?” she guessed.

“Well, that’s definitely a perk that other teams didn’t have.” You both let out a soft laugh.

“I really am sorry, Luce,” you said when the laughter died down.

"I know you are. And I am too. None of us were acting very grown up." She smiled at you. You grinned back at her. “Now then, have you got the schedule for Lena’s matches?” She asked, taking another sip and shuffling her chair closer to you, a clear change of subject, yet also a tentative step towards what your relationship used to be like.

Over the next 2 weeks. You truly rediscovered how much you loved football. With good food and good friends, it was easy to fall in love with the sport. The Olympics was special. The energy was electric, and it showed on the pitch. You watched as Lena dominated the field. You were fairly sure you had dribbled a little when she made her appearance with the Captain’s armband on. You were very grateful that the Spain match was later in the day, so you had attended this particular game alone.

“Schatz,” Lena shouted when friends and family were finally allowed over to see the players. “Come here,” she waved you over, holding a hand out for you and helping you over the barrier.

“You played so well, Liebe.” You congratulated her, a hand resting on her bicep as you kissed the corner of her mouth.

“Danke, Schatz. I have some people I want you to meet,” she said as she tucked you into her side, an arm thrown across your shoulders. “This is my mama,” she said proudly, presenting you to the woman in front of you.

“Um …” you blinked and swallowed. “Hallo?” you settled on, a shocked smile on your face.

And then the summer was over. The long, sun-drenched days had given way to cooler evenings, the warmth slowly seeping out of the air as autumn crept in. The vibrant hues of green began to fade, replaced by the rich, earthy tones of autumn. The laughter and chatter of tourists that had filled the streets grew quieter, the city settling back into its regular rhythm. Slowly, forgiveness was shown on all sides. After long talks well into the cool summer nights, an understanding was reached. The scars would probably always be there, but they were not just a faint white line, not raw and open.

“Look after her,” Ona whispered in Lena’s ear as they hugged. The pair stepped back to look at you in a tight embrace with Alexia.

“I will.” Lena promised.

As you held Alexia, you could feel the strength of her emotions mirrored in the tightness of her grip. “Mantenerte fuerte, cariño,” she murmured into your shoulder, her voice muffled. “We’ll see each other soon.”

You pulled back slightly to look into her eyes. “I’ll miss you,” you said, your voice cracking a little. “But I’ll be back before you know it.”

Alexia nodded, blinking back tears. “Just promise me you’ll take care of yourself.

“Prometo,” you assured her, giving her one last squeeze before letting go.

“Bye, kid.” Lucy said, stepping forward for her own hug.

“Bye, Luce,” you replied. “Look after Ona,” you whispered to her.

“Of course.” Her arms tightened fractionally before you let go. "Look after yourself too, yeh?" You nodded into her neck, laughing as she tried to ruffle your hair.

All three of them separated themselves slightly as you and Ona came face to face.

“I’m not going to cry,” you said defiantly, your voice already wavering.

“Me neither,” Ona echoed the sadness in your own. You pulled her forward, arms wrapping around her shoulders as you pressed a kiss to her hair. The embrace was long and tight, both of you reluctant to let go. You could feel the slight tremble in her body. You were sure you were shaking, too.

“I’m going to miss you so much,” you whispered, your voice breaking despite your best efforts to stay composed. Ona pulled back just enough to look into your eyes.

“I’ll miss you too,” she said, her eyes glistening with unshed tears. “But we’ll stay in touch ... every day.”

“Every day,” you promised her, pulling her into another tight hug. You held on for a few more precious moments before finally, reluctantly, letting go.

Lena approached you then, her expression soft but determined. “Ready?” she asked, holding a hand out for you to take.

You nodded, taking a deep breath. “Yeah, I’m ready.” You placed your hand in hers, cementing the notion that you were doing this together.

“I’ll be back before you know it,” you said, trying to inject some lightness into your voice. “And when I am, it’ll be for the Champions League, and we’re going to crush you,” you jested.

Ona smiled, a tear finally escaping down her cheek. “Oh, please. We’re Barcelona,” she said.

“Yeh, we’ll we’re Bayern. Feel our wrath.” You stuck your tongue out, a similar tear rolling down your face. You paused, reluctant to turn away.

“Look at you.” Alexia smiled proudly. “Getting a new job. Moving to a new city. Moving in with your girlfriend. A proper adult now.”

“Not too adult, though. I still need you.”

I hope you enjoyed the story and the series as a whole. Please let me know what you though <3<3<3<3

[linkspooky]

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?

[bloodofakashainme]

FOR THE NEW FANS OF IWTV JOINING US FROM NETFLIX, PLEASE KEEP THIS IN MIND:

-

This is an adaptation. This is Rolin Jones’s interpretation of IWTV. Some things are from the genius of Rolin, other things are direct parallels to the source material.

Nothing is black & white. The show is complex in its entirety.

A reoccurring theme is “Memory is a Monster”. Contradictions, delusions, lack of recollection, and discrepancies in each character are applicable. It is solely up to you, the viewer, the consumer, to determine who/what is reliable and who/what is not.

Another reoccurring theme is “Evil is a Point of View”, a direct quote from the 1st book.

S1 is Louis’s point of view. S2 is Louis’s point of view, with other pov’s included.

THE ENTIRE PREMISE OF THE CHRONICLES IS AS FOLLOWS: Humanity vs. Vampirism, Good vs. Evil. MEANING — 2 things can be true at the same time. We humans have our way of life just as vampires have their way of life. What we deem as good vs. evil is based on our nature. What vampires deem as good vs. evil is based on their nature.

Most importantly — IT IS OKAY TO ROOT FOR A VILLAIN. EVERY CHARACTER IS FLAWED. IT IS OKAY TO LOVE A CHARACTER AND HATE THEIR ACTIONS AT THE SAME TIME!

-

There is no right or wrong answer. It is all subjective. Everything is based on perception so contrasting opinions are inevitable. That is literally the point. But let us not forget that at the end of the day, this IS still in fact fiction.

[velisle]

The Meaning Of Villains' Names (ft Vogel)

Inspired by the post @.cherryisagamer made for Ikemen Prince here

Take most of these with a grain of salt, because of Cybird's weird naming tendancy as well as how names are in most cases are perceived in various ways by everyone. Also included extra information because I'm a silly little nerd.

Name: William Rex

Meaning:

“William” meaning “resolute protection/protector”

“Rex” meaning “king”

William is actually German in origin. It derives from the Germanic Wilhelm, whose roots wil (“will, desire”) and helm (“helmet, protection”) combine to mean “resolute protector”

Name: Liam Evans

Meaning:

“Liam” is the Irish short form of “William”, therefore same meaning as him

“Evans” meaning “the Lord is gracious”

Evans is a boy’s name of Welsh origin. An Anglicized form of Ifan, which stems from the Hebrew John, it translates to “graced by Yahweh” or “God is gracious.”

Name: Harrison Gray (I had to go check if his last name was with an e or a)

Meaning:

"Harrison" meaning “son of Harry”

“Gray” meaning... it's literally for the colour. Funny how game uses the US spelling for it

Name: Elbert Greetia

Meaning:

“Elbert”, a variation of Albert, meaning “noble; bright”

“Greetia”... I couldn't find any info about it. It's made up I presume.

This masculine name has Old English and German roots, coming from the name Albert. Translating to “bright,” “noble,” or “famous.”

Name: Alfons Sylvatica

Meaning:

“Alfons” (there are many variants btw) meaning “noble; ready; brave”

“Sylvatica” comes from the scientific name for forget-me-nots, “Myosotis sylvatica”

Alphons is a masculine name of German origin. Composed of apalaz and funsaz, it means “ready for battle,” “noble,” and “brave.” This sweet moniker is thought to be ultimately derived from the Latin Alphonsus and boasts a wide variety of variants, such as Alfonso, Alfonzo, and Alphonso.

Name: Roger Barel

Meaning:

“Roger” meaning “famous warrior”

“Barel”... I couldn't find reliable sources. Or maybe it does have an obscure meaning.

This name is forged from the German elements hrod and ger, imbuing it with the striking translation of "famous spearman."

Name: Jude Jazza

Meaning:

“Jude” meaning “praised” and praised is he in the jp server

“Jazza”... I think saw a post here saying how it's a form of Jeremy? But I can't find it now. There's something similar in Arabic I found however, “Jaza” (pronounced differently, there's not much emphasis on the Z afaik) meaning “reward; recompense; good return” which I find fitting his themes of retribution for those not keeping promises and debts, how he keeps all his promises etc.

Name: Ellis Twilight

Meaning:

“Ellis” meaning “kind; benevolent”

“Twilight” in its literal sense, “dusk”. His eyes contains a similar colour palette + I believe it is a reoccurring theme with him

Name: Victoria

Meaning: “Victor” meaning “conqueror”

Victor is one of the earliest Christian names, borne (as Vittorio) by several saints and popes, symbolizing Christ's victory over death. Victor made it big in the English-speaking world during the reign of Queen Victoria, one of the few boys’ names popularized by a female version.

Name: Darius Vogel

Meaning:

“Darius” meaning “possessing goodness; maintains possessions well”

“Vogel”... German for “bird”.

Name: Nica Schwarz/Schwartz (I tried to do some research and it seems like both spellings are used. Please correct me if I'm wrong.)

Before we go in, I'd like to tell you that there's no single general meaning for his name. It could be the short form of something or entirely new. Both variations, i.e Nika and Nica yield separate results. And many sources claim differently. I've put together what sounds believable to some extent.

Meaning:

“Nica/Nika” meaning “true image; victory; very good; pure crystal water”

“Schwarz/Schwartz” meaning “black”

Name: Ring Schwarz/Schwartz

...Cybird has made questionable choices. So I went with what sounded nearest to his name: Lynn (it's so so much cuter for him)

Meaning:

“Ring” meaning “a small circular band, typically of valuable metal”

“Lynn” meaning “lake, waterfall, pool below a waterfall”

“Schwarz/Schwartz”... German for “black”

[pianokantzart]

I am very hyped for BrotherShip, and you seem like someone who is also hyped. Please vent about everything we know so far, so I can live vicariously through your rant.

Uuuh jeeze where do I begin.

Love how hard they're going with the "brotherly bonds" angle. I don't think I've seen a game synopsis that focused this hard on the bond they have. Then there's fact that their physical touch seems to literally generate some sort of interdimensional power!?

How? Why? What's going on? I want to know. I want to know so bad. The world they get teleported to is called "Concordia," which means harmony/agreement. There's also the fact that the aesthetic theme of the game is centered around electricity, so maybe all powers revolve around flow/connection, which would be in line with introducing a mystical power generated by the brothers' emotional bond.

Speaking of electricity! I've seen these goons for five seconds and I am intrigued:

It looks like they're going to be reoccurring foes. And while the allies are plug/socket themed, these three enemies are wire/plug themed. The purple guy at the front has a stereo plug for his hair piece and a jack for his hand, and their hands are designed based off of fork spade wire connector.

So I'm going with a theory that the friendly residents are generators/guardians of a strong source of magical energy, while the Extension Corps and their affiliates are out to harness/steal that energy.

Then there's who I'm presuming to be the big bad in this game:

He was in the trailer for half a second, so I assume Nintendo is trying to keep him mysterious for now, but from the little I saw of his design two things stuck out to me: He's equipped with what looks to be a stylized pair of electrician pliers, and his hat has a green and red wire sticking out of the top.

So THAT doesn't bode well

Bowser's going to be there too, but I'm not yet sure if he's going to be a hesitant ally, a small-scale villain, or a final boss who takes advantage of the new villain's failures like in Mario & Luigi Dream Team. At this point it could be anything.

I DO like that Princess Peach is having more of an active role! In the past few Mario & Luigi games she's either been captured to move the plot forward (as is tradition), or has been quietly pulling strings from the sidelines to help out, but it'll be fun seeing her running around and exploring with her own group of misfits.

Also!!! The Luigi "L!"!

My main theory is that, every so often, Luigi is going to come up with a new mechanic depending on what we've encountered over the course of the story, and these new mechanics will be used to overcome obstacles and get into secret areas.

Then there's the central hub world!!! Of all the Mario RPGs I've played (two of them) that's usually my favorite aspect: having a main area where you can hoard all the random nonsense you've stumbled across and get a few extra perks. Looks like we're going to have that same thing here, and they aren't going slouch on the "exploration" angle of this game

I'll stop now, but I've got one last quick theory I'm gonna scream about: Apparently "electrical bonding" is the process of connecting multiple conductive components that are not intended to carry a current to a grounding system, so that if something goes wrong (like an electrical surge or a lightning strike) there's a lower risk of someone getting electrocuted.

So maybe Mario and Luigi are NOT meant to be conduits of this sort of bond-power, but they're unwittingly connected to it in order to prevent tragedy and create stability? (I may be looking into it too closely. I am not an electrician, but that's my theory until I see evidence suggesting otherwise.)

[aroacesafeplaceforall]

every time i see aphobes try to say aphobia isn’t a thing and we’re just being dramatic i remember the time someone said i’m “clinically depressed” because i said i headcanon a character as aroace??? 😐

(the character is dan heng from honkai: star rail if you’re curious)

also out of spite toward that person he’s even more aroace now (source: me)

Omg some people 🤦 we’ve had a reoccurring anon in the box rn who’s been blocked like 4 times calling us disgusting lmao… some people have no life and just shit on the joy of others

[she-is-ovarit]

"Approximately 80% of all patients diagnosed with autoimmune diseases are women."

For those of you who might wonder why this is the case, to shock nobody, we can add this to the list of mysterious medical conditions women experience that still remain elusive to the medical field.

However, there's some speculation:

Female sex hormones

The X chromosome

Microchimerism

Environmental factors

The microbiome

Antibodies

Interesting, considering female human beings actually have stronger immune systems than males.

To briefly talk about maybe the most overlooked and dismissed cause of high rates of autoimmune diseases in women, chronic stress (which presumably falls under "environmental factors") has been found to be strongly correlated with autoimmune diseases across multiple studies ("...up to 80% of patients reported uncommon emotional stress before disease onset), which can be triggered by even just one traumatic event, and anxiety disorders such as generalized anxiety disorder, panic disorder, PTSD, etc. are extremely high for women in comparison to men.

Women experience PTSD two to three times the rate as men do (source), panic disorder is 2.5 times more common in women and girls than in men and boys (source), and generalized anxiety disorder (which is often treated as trivial and grossly overlooked) is again 2-3 times higher for women and girls than it is for men and boys (source). Behaviorally chronic stress and trauma also often presents differently between the sexes - "fight or flight" for men and "tend and befriend" (fawn and freeze) for women.

Men are more likely to commit physical, psychological, and sexual violence and women are more likely to respond to this violence by continuously be on the receiving end of their behavior and never leaving, even when their children are caught in the middle.

Chronic stress means persistent high levels of cortisol in women's bodies. There is sexual dimorphism in our immune systems. High cortisol leads to Hypothalamic–Pituitary–Adrenal (HPA) axis dysregulation (please, learn more about this).

This leads to heart issues, susceptibility to infectious diseases and auto-immune disorders, an unexplainable debilitating chronic fatigue that can lead to a bedridden life, multiple sclerosis, the progression and reoccurance of cancers, earlier HIV disease progression, and dementia. There's also the bidirectional problem in which HPA axis dysregulation, created from high levels of cortisol from chronic stress in the first place, also in turn biologically causes increased anxiety.

So...

Approximately 80% of all patients diagnosed with auto-immune diseases are women.

And auto-immune diseases are found to be strongly, strongly linked with stress disorders.

And women are several more times likely to experience trauma and stress disorders than males across the board.

And when stress is triggered, men are more likely to throw punches or leave and women are more likely to freeze and people please.

And men are vastly less likely to seek out a therapist to fix their issues or even demonstrate empathy for other men, instead using women as emotional crutches and punching bags.

And freezing and fawning for women often means staying in those same conditions even when there's a risk of death.

And staying in those same conditions when a woman has children and the means those children learn those behaviors and likely develop chronic stress themselves, and the cycle of trauma continues.

And even when women leave those conditions, we're far more likely to end up in re-traumatizing situations as we seek out familiar dynamics.

And even when we're able to break free from this dynamic, because we're far more likely to seek out and stay in therapy, we're still left with trying to resolve chronic, disabling, sometimes life-threatening health issues caused by HPA-axis dysregulation from chronic stress.

While HPA-axis dysregulation in turn generates anxiety, which then creates high cortisol, which results in a feedback loop.

This was supposed to be a short post, but I want to leave off with solutions. Please don't give up on your mental health. Religiously go to therapy. Have extremely high standards for yourself in your relationships. Practice diaphragmatic breathing, meditation, exercise. It's been found that moving your body through exercise, Thai-chi, sports, short walks, dance, whatever (to the best of your ability, if you're able) can really help - just know your limits. If you're not there yet take liquid vitamins as needed (vitamin deficiencies such as low B-vitamins, low magnesium, low good fats, and D3 also cause chronic stress, immunity issues, and chronic fatigue). Make those medical appointments. Eat well, socialize, rest (especially during a PEM or immunity crash), aim for 64 ounces of water a day. Leave miserable situations when you find your chance to. Learn the language of your body and listen to it, and have patience. I've had periods of being bedridden and unable to work. I'm getting better, but it hasn't just been one thing that has been a "fix". If this list overwhelms you, just pick one thing that's most doable. We matter.

[kozachenko]

So last night I got the idea to do my own design of Doremy Sweet and I am so happy with how it turned out omg.

Artists note below:

My main sources of inspiration were dreamcore aesthetics, Rayman (never played the game but I like the design of the main character), the ENA series on Youtube (tbh IDK how much that influence did show in the design, it's more of the general vibes of that series) and by proxy a lot of Oliver Bucklands music which I listened to while drawing this. As I was doing the hands, I was also reminded of Welcome Home, mainly cuz they were soft round muppet hands and I kinda liked that. Much like what I did when doing my own design of Hisami, I made Doremys features very simplified, giving her a simple line for her nose and blacking out the eyes. I think it gives a really neat inhuman/alien like quality to a characters face. I wanted to lean into rounder and softer shapes with Doremys design. I would definitely say that this is a mix between her LoLK design and her AoCF design, as I really like the shapes present in her AoCF design so thats the one I took the most inspiration from (also the comically large hat), but I also like some of the details in her LoLK design. I noticed that a reoccurring motif in dreamcore aesthetics are eyes, eyes everywhere, heck even in the beginning stages of the design I knew I wanted to make the little pom poms on her dress eyes. It adds a little bit of irony to the design where the character associated with dreams and sleeping has a bunch of open eyes on her dress (lol). Also, I wanted her tail to sort of extend out and wrap around the bottom half of her hat cuz I thought that was cute. I wanted to detach the hands and feet to once again bring in an etherial feeling into the design. I also found a really nice colour pallete that I wanted to use, but the red of her hat was an addition by me to bring back an element from her original design. I also did two versions of the drawing where one of them has shading and the other doesn't.

Fun fact, when I introduced a friend to Touhou, they wanted to play the hardest game first (which was LoLK) and now they are terrified of Doremy :D

Also this is in complete contrast to the last drawing I did of Doremy Sweet lmaoooo

[orange-demons-deactivated2024]

Ed boy,,, eddy boy, he needs some tender softness in his life he's been through so much rough stuff and the thought of him having a moment to rest for a bit while reader goes "if something comes for you, I'm here to protect you" just jajfjakshdk this poor boy needs a warm hug and some proper sleep

speaking about warm hugs and proper sleep...

"1800810" you mumbled, tracing the raised ink on his shoulder.

You lay tangled in the sheets, with the moon being the only source of light in the cheap motel room.

"Does it mean anything?" you asked, snaking your arms around his.

"Yeah, it means mind your business and go back to sleep." he said pushing his hair back with his free hand, which gave you the perfect view of his sunken eyes and dark bags.

"Liar. You're just waiting til I fall asleep so you can leave." you mused, leaning closer to him. "Wanna try that again?"

Ed knew you wouldn't settle on anything less than the truth, but he'd still run circles around you until you dropped it. It worked in the past, and he would continue to use it against you.

But you were oddly persistent today.

You're calling his bluff on every excuse he gave you, and you weren't taking his half-ass lies with a grain of salt anymore.

You're becoming restless. "Then you should be used to this, already. It’s not like we were ever official, or anything.”

“You wound me, Eddie." you said pulling a fake frown. "I care about you, you know.”

“Right.” He muttered, burrowing his eyes into you. You should've been nothing more than a fling to help him get his mind off his reoccurring night terrors.

And of course, like an idiot, he got close to you too.

Damn this arrangement.

Ed sat up, his muscles tensing as he shifted away from your embrace, but you only tightened your grip around him. And you pulled yourself up with the sheets pooling around your waist.

"Hey, why are you in such a hurry to leave? I missed you." You said resting your cheek against his arm. "We barely even talked last time you were here and you don't pick up my phone calls when you're away."

Shit. This is exactly why he wanted to avoid you when coming back to Metro City because he knew you would start asking questions.

His plan was to wait until you fell asleep to make his escape, but it doesn't seem like you'll be letting up on him anytime soon.

“Is something after you?”

“Stop.” He tensed at your question.

“Stop what?” You asked confused.

“Doing that...acting like you care and shit.” Ed muttered under his breath, frustration evident in his voice.

“But I do.” You said, unraveling yourself from him.

"And why would you? It's not like I'll stick around long enough to put you in any type of danger." He entertained the idea of staying, of succumbing to the intoxicating pull of your presence. But the looming danger of what's to come occupied his mind.

"Because if something does come for you, I'll be here to protect you." You intertwined your fingers with his.

“You? Protecting me? What a joke.” Ed scoffed, snatching his hand away from yours.

“I’m serious, I don’t know what you're so afraid of tha-"

“I’m not afraid of anything." He cut you off. "and I don’t need you whining in my ear all the time and all that other crap.”

His words hit you like a punch to the gut. He’s still trying to push you away despite all that you’ve been through.

“Look," he said. "I can’t promise your safety in the future.” His reluctance to involve you in his troubles probably stems from a desire to protect you. In his mind, keeping you at arm's length is another way of shielding you from danger.

“You don’t need to, I can handle myself.”

"Yeah, I know you can." Ed huffed, closing his eyes. He leaned into the bedframe, feeling the oncoming headache. Your insistence on being involved with him despite the risks, challenges his perception of you.

Forcing him to confront that maybe you're stronger than he gave you credit for.

You wanted to keep the conversation going, but it doesn’t seem like he’s willing to talk to you anymore. Months of getting to know the man you met at the Metro Station and countless dates, went down the drain. You try to shake off the disappointment, though the ache in your chest refuses to fade.

You hoped for something more to come out of this, but now it feels like it was all just a cruel illusion, with him disappearing in the masses.

“Fine, then go. You don’t need me holding you back.” your voice rumbled in the room's silence. If he didn't want to stay, why should you force him? "But I really hope you know, no matter what. I'll always want to be here with you."

You turned away from him, pulling the covers over your bare body.

Maybe in another life, he would’ve cared about you as much as you did. One where he’s honest with the way he feels, instead of throwing it in your face. And one where he sees you more than someone who can warm his bed on lonely nights.

When you woke up to the morning rays hitting your face, Ed was nowhere in sight. You reached out expecting to feel his warmth, only to meet nothing. The sheets were crumpled and his side of the bed was empty.

So he did leave after all.

You sighed, turning to the nightstand to check the time. You felt something odd graze your finger, so you pushed yourself up, finding a sticky note on your phone.

"If you're serious about what you said, meet me at the subway station by 12pm. Hurry up, and don't keep me waiting."

Smiling to yourself, you threw on your clothes and gathered the rest of your scattered items around the room.

You gave one last look at the bed you and Ed shared, before closing this chapter in your life.

stuck next to you - tiishe

[gale-gentlepenguin]

You know, considering how advanced technology is and how it’s confirmed how there is other magic outside of the miraculous. There could totally be new villains that don’t use a miraculous that could be main or reoccurring villains.

Here are some examples I came up with.

-A Tech ceo that realized the power of the miraculous and wants the power to advance human society to a golden age by any means necessary. Uses robots and metal armors to fight.

-A sorcerer that studied magic for decades and wants to become immortal. Summon magical creatures or turn people into monsters.

-An ancient evil that was sealed away but broke out in order to take over the world. (See sorcerer)

-Aliens that discovered the kwami and want to capture and use them as an unlimited power source. (Alien creatures, technology, etc.

[felinefractious]

Hi! I was wondering if you have any thoughts or resources on the Highlander/Highland Lynx breed? Or what, if any, is the difference between the two?

I've read that they're two different breeds, but that that may only be the case because of different registry requirements..??

Also, are they really truly domestic? Every where I've read has said that they most certainly are, but that they're also crossed with Jungle Curls? That bit has left me a bit confused...

https://www.petfinder.com/cat/sampson-71366971/wi/new-richmond/gregorys-gift-of-hope-inc-wi432/

This pretty little guy is up for adoption at a shelter near me, and I'm contemplating going to see him (if he isn't snapped up in the next week lol), but I'd like to cover all my bases for breed research first!

He apparently came in fully intact and was recently neutered which seems.... Strange to me. The people who surrendered him supposedly bought him from a breeder out of state?

I'm not by any means 100% certain, but i did look at a few Highlander catteries and I THINK I may have found his breeder? At the very least they have a king that very well looks like he could be this guy's sire

https://www. highlanderswildnwonderful.com/ Kings.html

I do still wonder why he would be sent out as a companion fully intact though... Or why he wound up in a shelter and not returned to the breeder...

Anyway! I'd love to hear thoughts/opinions resources for potential health issues

So far I've only read that they require frequent ear cleanings and have some UTI issues, but the stumpy tail does make me a little nervous... It doesn't seem to be the same thing as manx, buuuuuut......

Woah, amazing find!

From what I understand - and if this isn’t correct someone more familiar with the breed is welcome to correct me - but the Highland Lynx is essentially the outdated name for the breed more widely known as the Highlander.

The exception largely being the Rare and Exotic Feline Registry which has decided the Highland Lynx is still the Highland Lynx and the Highlander is the same thing but backcrossed to the Desert Lynx use in the breeds foundation.

Which doesn’t make sense to me, it should just be considered an allowable outcross…? But whatever. I don’t respect that registry anyways.

As for their domestic vs hybrid status it’s true that the Jungle Curl is a Jungle Cat and American Curl but it seems like the Highlander falls more into the Toyger realm… there are technically wild caat hybrids in the ancestry but they’re far enough removed that it isn’t super relevant.

Even after 4 generations a cat is largely considered domestic or “SBT” (Stud Book Traditional) and these guys are generally even further out than that.

Before I get into the health of the breed I just need to make a small correction to their description… this handsome fella is not chocolate, he’s black sepia - often called brown or sable, sometimes called natural.

The toe beans tell, and he has many beans to reveal his secrets.

Currently we are not aware of any issues related to curled ears the way there are with folded ears but anecdotal evidence suggests that they’re more fragile and.. yes, require more frequent cleaning. Dirty ears and ear infections are definitely something to be mindful of.

As much as I enjoy polydactyl cats I’m not a fan of deliberately breeding for the trait, the nails on these extra digits can be difficult for the cat to maintain and are more prone to becoming ingrown. Some cats even require an onychectomy (declaw) of the excess digits due to reoccuring problems.

[Image Source]

So acclimating to having their paws handled and tolerating routine nail clips is an absolute must.

And finally… the tail.

Your concern about the relation to the problematic manx gene is warranted.

There are presently two types of tail mutations documented in domestic cats: the “natural bobtail” manx gene due to T-box mutations and the “asian bobtail” due to an HES7 mutation. The latter is not presently associated with the same issues as the manx gene.

HES7 mutations are not present in the Highlander.

Two T-box variants have been identified in the Highlander breed, meaning the mutation for their bobtail is the same as those responsible for the manx. Standard Highlander’s can have no tail to a short tail, those with a long tail are considered non-standarf and are largely used only for breeding purposes due to the lethal nature of T-box mutations when homozygous.

Some Highlander lines owe their bobtail appearance to a “novel variant,” meaning no known mutation has been identified. As this variant or variants are currently unidentified we can’t confidently say which gene (if either of them) it’s most closely related to or if there are similar issues associated.

All that being said not all manx gene cats will present with related problems and for those who do the severity is variable, some may have minor issues that can be managed with diet or medication while others may be… pretty severely effected.

I imagine at this age they would have a good idea of if Sampson has any issues and to what degree they’re present if he does.

If you’re prepared to deal with potential health issues should they arise I think it would be lovely to adopt him, you’re not contributing to the breeding of more if you go through a rescue and are equipped to educate others on why “Yes, mine is awesome but no you don’t actually want one.”

Like Dr. Frank Bozelka and his rescue Scottish Fold. His videos are hilarious and informative, by the way, I definitely recommend giving him a follow.

It would also be good for him to be placed with someone aware of and prepared to accomodate possible breed-related issues instead of someone who just wants a fancy cat… but I understand this can also be overwhelming, so absolutely no judgement if you decide to pass.

But if you do adopt him I’d love to see more pictures! I want to squish his cheeks.

[nexlikestoyap101]

Happy Pride Month 🏳️‍🌈🏳️‍⚧️...check out Splatoon!!🦑🐙

Splatoon is so diverse when it comes to sexuality and gender. Don't believe me? Here's a list:

Pearl and Marina, also known as Off the Hook - the most unsubtle non-confirmed lesbian couple (but it's pretty much canon by now). Check out this post full of evidence!

Acht - the series' first major confirmed nonbinary character, using they/them pronouns, correcting mistranslations from both official sources and fan translations. (Also commonly headcanoned as aroace or other variations, based on their reactions to romantic scenes between Off the Hook)

Orion (the green one) - nonbinary character from the supporting cast, confirmed by this dialogue from their friend. (Only video I could find of the dialogue in quesiton)

The band Diss-Pair - commonly headcanoned as a gay couple based on the fact that they appear in the Valentine's Day artwork for 2019 (by extension, the giant group in the front can be a polycule, if you really want them to be)

Cipher...

And

6. Smollusk - ^ both characters who use it/its pronouns. Listed on their individual wiki pages.

7. Finn - a presumed transgender female fish if we think about real life betta fish biology.

8. Shiver - initially speculated to be nonbinary, based on their pronouns in the Japanese version. Later confirmed to be female in English.

Some of these are more canon than others, but let's just have fun regardless, yeah? And celebrate what we do have!

Some more things I can think of:

Craig Cuttlefish and DJ Octavio - popularly headcanoned as the 'textbook definition of old men yaoi lovers to enemies 🎵'

Agent 24 - popular ship between Agent 3 and Agent 8 (3x8=24, math puns!), due to promotional art + 2020's Valentines Day Artwork. (The characters often change in gender in appearence in promotional artwork)

Multiple ships between the games large cast of female characters

Removal of gendered hair/clothing options in Splatoon 3.

Various same-sex ships from the spin-off manga, Coroika.

Multiple of the above pairings listed are Inkling/Octoling ships (Squid/Octopus) - a reoccuring theme in the game is the opression of Octolings, mirroring real world issues of discrimination and 'forbidden love.'

Jumping off from that middle point, the game is female-centric (with lots of female characters + the default for the playable character being female-presenting), as the developers discuss in a 2015 Famitsu interview:

Splatoon has always been a franchise where hopefully people can see themselves represented in game, particularly young girls. As the franchise develops, more and more diverse characters are added for this exact purpose.

This is an amazing series where hopefully all sorts of people can feel represented in one way or another!

Sorry if I got any details about any of the characters/events wrong - I'm going off of my memory and observations about the fandom, mostly. I just really wanted to share these facts with everyone! You're welcome to share your own intrepratations and facts in the reblogs too! :) Let me know if I missed anything!

Happy pride! 🏳️‍🌈🏳️‍⚧️🦑🐙

[skybrushus]

Note. To the best of my knowledge this is not based on any existing Fallout Equestria storyline, nor does it follow any particular plot in Fallout 4. This is just the narrative that popped into my head as I worked on this piece.

        Sweetie Belle sent a sphere glowing yellowish light down the partially collapsed hallway of the abandoned Stable. The sphere showed a reoccurring theme that she and Amber had observed since entering the ruins. Signs of flooding from the intrusion of rainwater. A lack of power or functional terminals anywhere in the ruins, and an extensive lichen, fungus, and crisscrossing plant roots on the walls, ceiling, and floor.

        However much to their surprise the Stable hadn't been picked clean by looters. Amber felt this was due to its remote location, and that the Stable's entrance had been partially buried by a landslide in the last 50 or so years. The lush local vegetation had camouflaged the rest.

        Sweetie thought looters had found it but had been discouraged by the moldy, mildew state of everything they'd encountered so far in this forgotten Stable. Also they'd encountered multiple hallways that blocked by what looked liked cave ins or impenetrable masses of dense, thick roots.

         Amber's flashlight made slow, constant sweeps as he checked the area immediately around them. Noticing something on a wall he spoke softly.

         "Sweetie hold up for a second." Slinging his submachine gun over his shoulder he approached it. There was lettering of some type that was barely visible beneath the accumulated dirt, lichen, and general muck. Donning a pair of heavy work gloves he started wiping the grime away. After few seconds he was able to read it.

          STABLE 420

          "Well now we know which Stable this was." The pony hybrid muttered. He looked over at Sweetie. "Ever heard of Stable 420?"

           The white unicorn came alongside and stared at discovery. "No Amber I haven't. But that's not surprising. Almost none of the Stables ever had direct communication between them, and StableTech was rather cagey about how many Stables they constructing at the time."

           Unable to glean more information they pressed on. As they did the crisscrossing roots grew more frequent, and on several occasions Sweetie swore she felt one twitch or squirm when she stepped on them. Amber thought that this was caused by the thick layer of spongy, organic detritus that blanketed the floor.

           As they progressed deeper and deeper into the Stable they started to notice a certain plant-based emphasis to facilities here. Seed vaults, indoor greenhouses, hydroponic gardens and laboratories devoted to botany in far greater numbers than were required to sustain the Stable's population. Which as they progressed deeper both ponies started to realize something was missing from this vault. Something they'd encountered in every abandoned vault they'd explored.

        Neither of them had seen any dead bodies or skeletal remains. Not even the usual carcasses of wild denizens that normally took up residence in forgotten Stables.

        It was in the rotting remains of laboratory desk that they found their first piece documentation related to the Stable. A soaked, mold covered lab log. Most of it was completely illegible but at the very back of it was one barely readable entry.

       It was suppose to a beautiful union. A marriage that would make Equestria flourish again one day! Ponies and plants working together to once again bring life and vibrancy to the land. But now it's become a nightmare. Where did we go wrong?

       Not sure what to make of this they pocketed the journal and pressed. A short time later Sweetie noticed that there was a slowly increasing source of light ahead. Also she was positive that a couple of times she felt roots squirm under her hooves as they advanced.

      Eventually the hallway Sweetie and Amber were in terminated a large circular atrium area. The source of the light came the fact that a large part of the ceiling in the Stable and the bedrock above it had been torn away to permitted dim light from the outside world to filter down. A dense canopy of the trees at the surface obscured most sunlight from reached this room, but compared pitch black hallways the two ponies had been in it was welcome sight.

      What occupied the center of the atrium was less welcoming.

       Perched upon a mound of earth and organic material was a massive bulb shaped plant. It appeared to have long tongue leaves/petals that were tightly drawn up. Emerging from the giant plant was mass of roots that snaked out in all directions. The circular room had an oddly heavy and unevenly bumpy texture to it. Only the sound of dripping water broke the silence. After second Sweetie spoke.

       "Okay. Giant plants that aren't trees are creepy."

       Both ponies stayed together but far away from the ominous vegetation as they looked around the room. Sweetie was peering around the room when something caught her attention. Moving her glow globe over closer to circular wall of the atrium she finally recognized what the texture of the wall was.

        It was pony skulls. Hundreds of skulls all facing inward toward the plant. Held tight to the wall by dense network of vines, tendrils, and roots. Only with great effort did she resist screaming.

        "Amber! I know what happened to the ponies of the Stable!" She hissed.

        The stallion turned to see what the mare was looking at when he stepped firmly on one of the roots when he did several things happened at once.

        First he felt the root violently twitch under his hoof. Second a long, moaning sigh came from the giant plant. Third the same plant began open its petals revealing squat, stump-like center.

        "Okay! Giant plant that move are even creepier!" Sweetie exclaimed as she drew her machine pistol.

        The two ponies were beginning to back out of the room when suddenly the center of the plant opened revealing a great vertical maw lined with thorn-like teeth. From this maw erupted mass of long tendrils that whipped out and wrapped around the ponies. Sweetie was physically yanked into the air and Amber found himself dragged toward the plant.

       "Aaaaahhhh!!!" Sweetie screamed. "I've seen some of those creepy pre-war EC comics and I know what happens next!" So she began firing burst into the plant.

       Trying to keep from being throttled by the plant Amber began firing one-handed into the plant at point blank range.

       With her one free hand Sweetie pulled a hand grenade from her belt, and then using her levitation she yanked the pin from it. Then she pitched it into the plant's waiting maw. For several seconds nothing further happened. Then there was a muffled THUMP and the plant suddenly bulged out like water balloon. This was followed by a geyser of green and red ichor that erupted from the mouth drenching Sweetie and spraying all over Amber. Then like some deactivated air dancers the tendrils went limp and Sweetie flopped to the ground. For several seconds the mare just looked down at herself before speaking.

     "I. I. I will never be able to eat guacamole in the Stable cafeteria again!"

     This was a Patreon reward for Skyline. The firearms in the picture are the Russian Stechkin APS Link, Link and the French MAT-49 Link.

Of course Sweetie was referring to those horrible Equestria Comic books from the prewar period.