#with the sort of villain who is also a distant relative of some sort and can maybe be redeemed??

[soldier-poet-king]

Massive lore drops in pf tonight, both for the campaign and for my character specifically and like. DAMN. I'm supposed to go sleep now???? After all that??? I thought I knew what choices periklea was going to make and then that convo happened and neither I, nor she, knew and it was just! So good! I am so stressed???

I'm glad I made periklea very much a manifestation of my own anxieties about the future in many ways bc that wasn't even rp at that point I was Just Talking As Myself, I was SO into it. Like. Can I save you. It doesn't have to be like this. You're what I was on track to becoming. I feel so much guilt over what I was and am. You've done bad things but also I fuckin get it and your motivations and ultimate goals I support. Academic Truth over solace in comforting lies. Palpatine Anakin moment fr. GAH

I am not GOOD at improv and terribly shy in general, but damn once you mix it with fantasy settings, rulebooks, and math I guess I'm really into it

[overflowchute]

Re: word for world is forest - I read that recently and thought it was very cool conceptually. How are you enjoying it so far?

I read it around the time I worked the election, that actually got posted by queue hahah. I think it was alright, pretty interesting, used its relatively short space extremely well. I think the core conceit regarding the native species was super interesting and I liked the way the outer sci fi verse was incorporated through connections while still remaining quite distant.

I think that the characters were maybe a little flat, but that's also a vague necessity when the story is so short. I really liked the arc of the main human character and the way he lingers in the dreams of the real main character. The villain was the most stereotypically exaggerated guy I can imagine, but I've also kinda known of people who are legitimately like that, so I think they work well in the story.

I think that as an anti-colonialist story it was quite decently done - there's good themes of collaboration and the need to finally take up arms in some cases despite the fact that people would really rather not want to. You definitely feel bad for those tormented and yet you also don't feel like it's an open and shut nice and easy feel good war. It flowed fairly fast.

If I had any specific criticism, I was honestly a bit surprised by how sidelined women were. The natives' society is matriarchical but none of them are actually movers and shakers in the plot at all, and of course the human women are purposefully kept somewhat at arm's length. I think it's understandable given the era and the purpose of the story, but was still a bit wild.

I think that some of its greatest aspects are its amazingly strong hook. We immediately learn how shit the main villain is, and there's also that brutally strong aspect of how it first seems like the natives aren't very intelligent because the villain guy speaks like a caveman in their language - only for when the main char finally shows up and starts speaking in perfect English it to get reversed and used to show how shit the guy is. I really like when they mock him saying "hurry up quick" like an idiot all the time.

So overall, I wouldn't say it was a super amazing story or anything - but I think it's a very interesting anti-colonialist sci-fi story and I think it does a great job of being what it is in a pretty short runtime. It's the sort of thing that makes you want to know more about the characters and stuff, but also makes you feel like it's pretty much complete as it is and you can't imagine a way to make it feel more to the point and succinct. Not a bad read really.

[invertedhexagon]

How I'd do a Zelda film-

Well, I'd actually do two.

The first film would be largely about the rise of a new Link and Zelda, and would focus on them, their relationship as a duo and their characterisation. They would be deuteragonists, because a) that's way cooler than putting Zelda in the kidnap / self imprisonment box, b) that allows us to properly develop their characters in the runtime of a film and c) it gives our protags someone to interact with at all times without having to choose any of the companion characters at the expense of the others.

For Link I'd base him mostly on BOTW link in that he's largely mute, but Zelda and other characters discuss things he's said or done off screen, informing his personality. He would also have a rare voice line here or there because I would heavily focus on his characterisation; struggling to ascend from farmer / smiths apprentice / similar to hero.

For Zelda, I'd take a couple ideas from a couple of places; Among them, I'd combine her "I see the problem, I'm going to fix it, whoops I got in over my head" attributes from OOT with her "I'm responsible for a whole kingdom of people" mojo from TP and BOTW / TOTK, and finally a whisper of the distant princess theme she had going on in TP.

For both of them I'd dedicate a little time to some people close to them, like a version of Impa, a Telma equivalent, a Malon, maybe a mentor figure for Link like Rusl.

I'd establish the cycle of reincarnation as a central concept in the narrative, with Link and Zelda having moments that clearly play into this- the duo has to cross a flooded river, link seemingly sees something in the waters, dragon roost theme surges and we cut to them rafting across. They need to infiltrate an enemy fortress, we see Zelda eying an enemy uniform as Impa's theme subtly plays in the music, and we transition via shadow to her sneaking around in an androgenous disguise. That sort of thing.

The villain would be a relatively minor player, like Malladus or Veran- Malladus would be my preference, as being a toon link villain ties into the theme of these being a 'young' Link and Zelda (though they'd probably have to actually be older iterations of the characters to account for adult actors). I would use Malladus or Veran specifically because their mind control powers lend themselves to a slow start to the plot, where there is clearly a threat for Link and Zelda to oppose but it isn't a direct threat of force, so the pacing can afford to be slower. And yes, I'm saving Ganon/dorf for the sequel, but I got a reason okay?

The deku tree pops up a few times to narrate and dispense exposition, and by the end of the film Link and Zelda know that they are reincarnations and Zelda is seemingly comfortable in that role.

Film two is about Link learning to be the same; he was happy to play the role of the hero in the first film, save the people and his new friend and all, but after a time skip and a few off screen minor adventures, he's having a bit of an identity crisis. What value does he, Link the (insert down to earth profession), actually add? Everything he did in film 1 was just an imitation of The Hero's achievements, another loop of The Hero's adventures.

And then Ganondorf shows up, King of Thieves Ganondorf in fact. A Ganondorf who's gone through a few cycles, learnt from his prior conflicts, and is extremely powerful- as strong as he was in TP, if not slightly stronger. From the moment he shows up, Link and Zelda are reunited because they're on the back foot, evacuating castle town and scrambling to defend the refugees from Ganon's monsters, let alone the man himself (this Zelda's a lot less powerful than BOTW Zelda, to put herself on a more even playing field with Link).

The deku tree shows up and tells Link about the master sword, and about a quarter of the way into the film, Link enters the sacred grove.

And doesn't pull the sword. Not because he can't, though he certainly believes as much, but because he can't take another step into being The Hero. He feels like he's being subsumed by it, like he adds nothing to this grand, looming thing and is instead being replaced by it.

We get some fun drama as the extremely panicked Zelda (who feels super responsible for all her people that are dying) is very upset that Link won't take up the sword, so she draws it herself- but, of course, it will not sparkle with the power to repel evil in her hands. Fi will not accept her as her master. She ends up carrying it with them as they continue the plot.

Over said plot, the duo fight back against Ganondorf and protect the different peoples of Hyrule ala BOTW / TOTK, in the course of which they end up forming a group of allies like The Resistance from TP (with a little influence of the TOTK sages, but more down to earth- they don't have any real super powers or destined duty like the sages).

In a certain, brutal, edge of the seat skirmish, it turns out that Link is actually really good at directing this group- helping them protect eachother and capitalise on their individual strengths.

This Link does have a new skill to bring to the table, does have a self beyond his status as a reincarnation.

The simple truth is that The Hero is so mighty because of the people he became, not the other way around- The Hero didn't know how to sail, the Wind Waker learned to save his sister. The Hero only knows how to fight because Skyloft Link learned, to become a knight, to protect his people, and later to help his friend. The Hero isn't some separate alien influence, it's a legacy, a legacy he is contributing to.

A little while after that battle, after Link and Zelda patch things up and we get to see a confident Link kick some ass, he decides to take up the master sword. Fi is delighted to meet him again.

They fight Ganondorf, who particularly demonstrates his knowledge of The Reborn Goddess and The Hero by repelling manoeuvres that reference other cycles (blocking End Strikes, using Dead Man's Volley to conceal tricky plays instead of playing it straight, using cover and his monsters to prevent the sword and arrow combo from WW and TP.) The moves that actually get him are ones that involve the Resistance, tricks the duo have taught eachother, manoeuvres that previous duos never had the time to work on together.

They defeat Ganondorf by being themselves.

[gunterfan1992]

Episode Review: ‘Together Again’ (Distant Lands, Ep. 3)

Airdate: May 20, 2021

Story by: Jack Pendarvis, Kate Tsang, Hanna K. Nyström, Christina Catucci, Jesse Moynihan, Adam Muto

Storyboarded by: Hanna K. Nyström, Anna Syvertsson, Iggy Craig, Maya Petersen, Serena Wu

Directed by: Miki Brewster (supervising), Sandra Lee (art)

Across Adventure Time’s ten season run, the show explored a bevy of “mature” themes and story ideas—topics, like love, sexuality, depression, and grieving. The show also touched upon death, but the emphasis was usually placed on the emotional toll of a loved one dying, not really what happens when you die. We knew there were Dead Worlds and Death. We knew that there was reincarnation. But how does it all fit together? What does it mean? How does it work?

With “Together Again,” we finally have many of the answers.

This special opens with a marvelous fake-out episode simply called “Finn & Jake,” that sees the two steal a magical cartoon of 50-flavor ice cream before rescuing Turtle Princess and LSP from the clutches of the villainous Ice King. This is all deliberately anachronistic and over the top. Ice King is back to his season one ways, Finn has both arms, and he is still wielding his golden sword that he lost in season two’s “The Real You.” There’s lolrandom dialogue and silly monsters; it’s like a parody of seasons 1-2. But then, this adventure starts to get all wonky, and in time Finn realizes that he is in a some sort of trance or illusion: one that ends with Jake being buried in the ground. Suddenly, Finn awakens from his reverie. He’s an old man. And he’s dead. We’re then presented with a new title card that lets us know the episode is actually called “Finn & Jake Are Dead.”

Holy Glob! They actually went there.

Turns out Jake died years before Finn, so naturally Finn is super excited to see his best bud. But something’s wrong—he cannot find Jake!! They planned to spend eternity together. But all that Finn can find is his very own psychopomp, Mr. Fox (voiced by Tom Herpich, whose purposefully stilted line readings are the epitome of delightful). Finn rightfully assumes that Jake is in a different Dead World, and so, being the ball of spunk and energy that he is, he demands to meet with Death, only to discover that there’s a New Death in town (voiced by Chris Fleming). The episode eventually explains that New Death was the son of Death and Life, and after New Death killed his father, he became the sovereign of the afterlife. New Death hates his job and decides to just blow up all the Dead Worlds so he doesn’t have to deal with it all. (I won’t get too much into the details here, because there would be a lot of story to parse out.)

Finn soon learns that Jake has reached nirvana in the 50th Dead World, where there is nothing but peace and serenity. Finn nevertheless tracks down Jake, pulls him from paradise, but in doing so, accidentally lets New Death in, who promptly obliterates Elysium, sending all the enlightened souls—including those from different levels of the afterlife—to the 1st Dead World. This gronks up the afterlife, temporarily halting the reincarnation process.

Well, Finn and Jake are rightfully ticked, and so they haunt the material plane looking for Princess Bubblegum. She’s not home (more on that later), but Peppermint Butler is! After Ghost Finn and Ghost Jake explain the situation, Peppermint Butler tells them what to do: They need to find Life and explain the situation. The duo manage just that, and Life is rightfully angry that her kid has stopped the transmigration of souls. After Life gives Finn a McGuffin sword that can hurt Death, Finn and Jake return to his abode. A brawl ensues wherein we learn that New Death has been possessed… by none other than that spirit of the Lich.

That’s right, it’s the Lich! He’s back, and boy is he evil.

The Lich explains that by possessing Death, he can destroy the afterlife, thereby destroying a key aspect of reality. Naturally, Finn and Jake are not cool with this, and they engage in combat. After Mr. Fox grabs the McGuffin sword and uses it to annihilate the Lich and New Death, he is proclaimed the New New Death and sets everything right. Finn is slated to be reincarnated, and Jake is slated to return to the 50th Dead World where he and Finn will one day be reunited. As Finn is pulled into the wheel of souls, Jake suddenly decides to go back with Finn, too, “Just for fun.” The episode ends with a card letting us know that the episode is neither called “Finn & Jake” nor “Finn & Jake Are Dead.” Instead, it is “Finn and Jake Are Together Again.”

As they say, “And there wasn’t a dry eye in the place.”

If you were to tell me several years ago that the last episode to star Finn and Jake would revolve around them dying, I think I would’ve been upset. Not simply sad, but rather frustrated because “they all died” can feel like a cheap ending. But with “Together Again,” it all works. And a large reason that it works is because the show goes all in with their ideas. Finn and Jake don’t magically leap back into their old life (no, no, they very much do bite the dust). Instead, the special emphasizes the cyclical nature of life through the transmigration of souls. The episode ends with a beautiful scene of Finn and Jake, bound together as soul-brothers, being reborn into a new, mysterious (possibly Ooo 1000+?) world. It’s both aesthetically and emotionally pleasing; it doesn’t feel off the way over finales might. This is right. This is the way life works. “Round and round as nature goes,” and all that jazz.

I loved the series explanation of how death works. It seems that souls land in a specific Dead World, where they ‘marinate’ for a bit, presumably being rewarded or punished based on their life in our meat reality. After a time, they are then reborn. This process repeats, with each soul reaching higher and higher levels of enlightenment until they hit nirvana, which is the 50th Dead World. So in a sense, Adventure Time has a roughly Buddhist cosmology with a dash of Greco-Roman mythos thrown in for flavor. (As to what happens after a soul stays in the 50th Dead World for a long period is anyone’s guess, but I’d speculate that when all the souls in the multiverse have been purified and land in the 50th Dead World, they will all collapse into one another and form one perfect Monad. Perhaps this is the sphere of perfection that the beings who merged into Matthew thought they were connecting to? Who knows! It’s anyone’s guess!) I was a little disappointed that we didn’t get to see who Death, Prismo, Life, etc.’s boss was, but perhaps that’s a mystery better left up to the imagination!

One minor thing that I loved about this special was the number of characters who made cameos as well as all the callbacks that were made to previous episodes. Regarding the former: Finn and Jake’s canine family show up (including the oft-forgotten Jermaine!), as do Tree Trunks and her myriad husbands. Tiffany plays a major role in all these shenanigans as a “death cop” of all things. There is a delightful rogues gallery stuck in the 1st Dead World (including, among others, Maja, Sharon from “The Gut Grinder,” and Wyatt). In the 50th we find Ghost Princess and Clarence happily at peace next to Booshy, the weird spirit mentioned in the Pen Ward classic “High Strangeness.” As far as callbacks go, perhaps my favorite is the clap (from “James Baxter the Horse”) that Jake taught to Finn in case they ever do get separated in the afterlife. And of course, there are myriad references made to “Death in Bloom,” the episode that planted the seed for what this would grow into.

Going into the special suspecting that it would involve Death, I was curious how they were going to handle Miguel Ferrer’s character. (In case a reader is not aware, Ferrer played Death in episodes like “Death in Bloom” and “Betty,” but he sadly passed away a few years ago). The producers’ choice to feature him in a non-speaking cameo—despite playing a relatively significant role in the story—was wise; I’m not sure if I can articulate the exact reasons, but something about his role felt appropriate and not gross, as some post-mortem memorials can be. Speaking of which, the wonderful, lovely Polly Lou Livingston was featured for the last time in this episode as Tree Trunks, happily in heaven with her literal harem of husbands. It was funny, it really was, and I’m sure that Polly Lou would’ve gotten a kick out of seeing it on screen. (Also, this is a pro-Tree Trunks safe space. Any Tree Trunks haters will be chucked into the 1st Dead World with Wyatt.)

The biggest mystery in this whole thing, for me at least, is the question of Princess Bubblegum and Marceline. Several years ago, I wrote an essay about what could’ve happened to them in the Ooo 1000+ universe. I speculated that they peaced out and left Ooo behind. In this special, neither Bubblegum nor Marceline are to be found in the Candy Kingdom—Peppermint Butler seems to be the one in charge, given that he is now wearing Bubblegum’s crown. Likewise, the duo aren’t anywhere in the Dead Worlds either. Maybe the two of them skipped town and got a duplex in the Nightosphere? Who knows… I just want my favorite gals to be OK!

All things considered, “Together Again” was a marvel: An episode that managed to feel like a series finale even more than “Come Along with Me” already did without taking away from the series itself. An episode that managed to make the idea of dying funny. An episode that brought back the Lich in a way that wasn’t forced. An episode that made Mr. Fox the New New Death. An episode that gave us a beautiful ending to Finn and Jake’s story… as well as the beautiful beginning to a new one. I said it on Twitter, and I’ll say it again here: “Together Again” was the end of a sentence in a book with infinite pages. Truly, the fun will never end.

Mushroom War evidence: Everything takes place in the Dead Worlds, so not really. Perhaps a more eagle-eyed viewer can inform us...

Final Grade: That’s right, I’m gonna do it...

Post-script, I actually messaged Jesse Moynihan to ask about his writing credit. He told me that it was for an unused story idea that he had developed. I’m not certain, but I’ll bet it was a part of the cancelled TV movie they were trying to make during season 5, since that would’ve seen Finn and Orgalorg journey to the various Dead Worlds.

[looney-mooney]

Thinking about making an au where Sam and Max are Haru’s distant, crazy gay American uncles who she hasn’t thought about in a while. Until she starts seriously dating Legosi, after which she’s like “maybe I should contact Uncle Max, he’s been married to a vigilante canine for ages”

Details for the Insane Beastars/Sam and Max au under the cut

Max of course DEMANDS to see his niece and her crazy new wolf boyfriend, so they end up going on a trip to the Beastars version of New York City. Louis ends up going along and paying for the trip, because he was already headed over for a business deal so they might as well.

The Beastars version of New York City is obviously culturally different from the Beastars version of Japan, and Legosi ends up getting a new perspective (as he always does.) There are some bugs who can actually talk here (???), and meat isn’t considered taboo in the same way. Most people sign up to be meat donors in their driver’s licenses, because there’s a tax incentive. This move has considerably lessened the strain between Herbivores and Carnivores, so though there’s still definitely some tension between the two groups, those who vehemently insist that carnivores and herbivores shouldn’t interact or date or anything are generally considered right-wing bigots. Most people don’t even really see a separation anymore - carnivores can be meat donors too, and some herbivores here eat meat sometimes. Most Americans are just omnivores.

Systematic racism is still a thing, obviously, because America just Sucks Like That, but I’m White so I’m not even gonna attempt to map out the History of American Racism with Furries. Just know that most people in America have at least a little bit of mixed ancestry, and Legosi probably thinks that’s cool and fascinating while everyone else is like “you seriously didn’t know about the Great American Melting Pot? Bruh have you been living under a rock”

Max is part piranha and no I am not elaborating

They also don’t have permanent Beastars in the States. The closest thing they have to a Beastar is the President, which in this world is… basically the American Beastar. I’m having this be the case mostly so that President Max still fits in with the Beastars Lore ™

Geek exists, and is just a bit younger than Haru and Legosi. She’s probably in high school, but taking college classes at the same time, because Geek’s just. Like That. She’s probably a monkey. Haru isn’t sure what she thinks about Geek at first, but then they start talking and plotting mutant botany projects together and Haru decides that this is her favorite cousin actually

I think Sybil should be at least part fox. Maybe even kitsune-coded, since she changes careers so often? Doctor Mama Bosco’s probably either a dog or a sheep, maybe a sheepdog hybrid? Whatever she is, she started her cloning experiments with insects, which is how Sal and the other talking insects in New York came to exist. Bosco’s probably one of those experimental spider goats or something. The Stinkys are carnivorous seafolk of some sort, originally from the Hudson River but migrated to Land when the river got too polluted for their ancestors to keep living there exclusively. Grandpa Stinky was probably fascinated by land culture and particularly cooking as a young sea-land immigrant, and just messed with the art of cooking as much as possible, which led to the insane food he sells at his diner. I am not going to attempt to assign Abraham Lincoln a fursona.

Legosi spends a good chunk of the trip trying to impress Sam and Max, because these people are members of Haru’s Family and he wants them to like him, but then Legosi ends up star-struck by how well Haru’s uncles work together. He’s never seen partners quite like them in action before, and tries to get them to teach him. But these guys aren’t shonen anime mentors, they’re Sam and Max, so it becomes more of a “hey back off buddy just be yourself and maybe trust your partners a little bit more”

Max in particular really tears Legosi a new one, really gives him a nice good shovel talk. Like, Max likes the kid, sure. Legosi’s the BEST kinda crazy and also a really sweet guy and he seems to care about his niece a lot. But he’s really, REALLY annoyed by how much Legosi shuts Haru out of his life. Like, she’s Max’s kin, she’d be able to take care of herself, she doesn’t need you to protect her to the point of reverence, she needs you to let her in. And not just sexually! Though he has some health class tips and condoms if they wanna do that, cuz he’s the cool uncle. But if you wanna be her partner, you have to RESPECT her, kapiche? Stop treating her like some damsel in distress, she’s tougher than you think. I will end you if you don’t stop infantilizing her.

Sam and Max teach Haru how to fight at some point, because no relative of theirs is gonna go through life not knowing how to defend themselves! Max specifically teaches Haru how to use her hammerspace, and now nobody is safe from her wrath. They also taught her how to use a gun, while scolding Louis for never teaching her this incredibly important life skill! For shame.

Imagine Haru with a gun. The power she would wield. No wonder Paru nerfed her

Speaking of Louis, I’m sure he gets involved in the misadventure somehow, probably by getting accidentally tangled with the villain’s plot during his business deal. I’m sure it’s tangled up in the reveal that Mama Bosco was involved with the anthropomorphic insects, just cuz that’s the biggest and newest difference between these two cultures, and might also somehow nod to the systematic racism in America and how fucked up that is.

Might also address how capitalism is the root of all evil, and how the pressure to conform to capitalism in order to maintain a position of power in his attempts to make the world a better place while also giving Legosi and Haru the space to have their own relationship (while also forcing himself to maintain the charade of a heteronormative arranged marriage with someone he isn’t even remotely attracted to) has been slowly but ruthlessly breaking Louis in a terrible cycle, and how he’s spent so much of his life hiding behind masks that he doesn’t even know who he is anymore. And now he’s in a cage again, but this time he put himself there, with his own actions. And Legosi has to tell him that he doesn’t have to pretend all the time, that he’s his best friend and he wants to help. That he and Haru both love him, and they want him in their lives.

The whole adventure probably ends with Haru saving her boy’s butts, and ruthlessly affirming what Legosi just said. Demanding that they BOTH stop hiding from her, and BOTH stop trying to “protect” her. That she NEEDS them, and she wants them to need her. That they don’t have to be Beastars to be PARTNERS.

And then the whole family (yes I’m including Louis and Legosi in this family) beats the villains up and goes out for a celebratory meal or something IDK how to end things

[sammyheroes]

Ok! Time to over analyze Webby’s Board:

OK, so we have Team Science with the following members: Gyro, Manny, Fenton, Gandra, Boyd, Lil Bulb, and Quackfaster. My reasoning for Quackfaster to be in Team Science might be because she works at the Money Bin, therefore, works closely with Gyro to some degree. Plus, she keeps guard of the archives.  I love that they are considered part of the family. They all work closely with McDuck and have had various adventures with the kids at some point during the series, sometimes more than once, especially Huey. I believe they are considered some sort of extended family.

We also see Drake Mallard (Darkwing) is tied by a question mark to Gosalyn, signaling that they don’t have an established adopted father/daughter relationship yet or even see each other as such, but it’s a big hint for the future. Also, we see a newspaper clip of Launchpad that says “Local Buffoon Crashes Six Planes in One Day, Unfortunately Survives Unharmed” if you zoom in on the picture. I just think that this is really funny that Launchpad canonly crashes more planes that the whole US Air Force (Just a joke!)

There’s also a picture of Penny connected to Launchpad’s newspaper clip that says ‘Just Friends’. I’m not sure if it refers to the pilot and herself or just Webby referring to Darkwing, Gosalyn, Launchpad and Penny as a whole group. But it could be the first option as we see a string attaching Penny to Della claiming her to be Della’s best friend.

Also, the drawing of Darkwing made by Launchpad is adorable, but I don’t think he is depicting Drake Mallard here, but Jim Starling because of the classic uniform instead of the new one. Remember that they believe him dead and not as Negaduck. Launchpad might have felt bad for him and might have asked Webby to add him.

Then we have the Main Family at the center of the board. At the top we see that Webby has added a stone drawing of Bubba, which I think it’s adorable that he was added in such way. Then we see Fergus and Downey, Scrooge’s parents. At the top right we see Goldie, which I’m pretty sure was a locket kept by Scrooge first before it somehow got into Webby’s hands. Then we see Scrooge under his parents with Hortense and Matilda at his sides, his sisters. Beside Hortense we see Quackmore (I’m still salty that we didn’t get an episode explaining what happened to them!). Underneath them we have Donald and Della, Donald being connected to Daisy and The 3 Cabs. Gladstone and Fethry are connected here as cousins. Finally we have Huey, Dewey and Louie with the new addition of May and June at the bottom. Mostly, I can’t say much here since we already now how these are all connected, but the Bubba addition is adorable.

Finally, we have an area dedicated to the villains at the top. I found it weird at first, but then I remembered that Magica is related to Lena and Webby considers her her sister, therefore Magica would be some sort of distant relative. I don’t know why Mark Beaks and Glomgold are in there.

We also see Djinn and Amunet at the top with no strings. It might be because they are considered friends only and not close enough to be considered family, but they’re important enough to be added.

Then we have Webby’s circle. We see Violet and Lena attached to Webby under the name of Shadow Friends, a nod to the time Lena herself was a shadow. We also have her connection to Beakley and her parents, who then turns out they weren’t actually hers if you know what I mean. But they are still related to Webby because of Bentina. (Or that might be Bentina herself when she was younger with her husband, who knows at this point)

There’s also a small section at the bottom for the dead, where we see Duckworth in his regular form and his demon form. Even in death, you cannot tear a family apart.

[wisterialagoon]

For you, I'll stay : pt1

Dabi is one of the top soldiers of the League of Villains. He does the dirty work and feels the stain of crime on his hands. You're an Assistant Inspector at the Seoul Metropolitan Police Agency, resigned to records-keeping instead of doing actual fieldwork. What happens when these two become intertwined in the most prominent political event that changed the era of 1990's Tokyo Japan?

Warnings: Violence (a girl gets beat up in this chapter), gangs, eventual smut(not in this chapter tho)

Tokyo Metropolitan Police Agency, Kantō Region, Japan.

January 9th, 1990, Tuesday. 

22:30 hrs.

"It's going to be a long night," she thought, while fixing her desk for the fifth time. There was a haphazard pile of file folders, an unboxed diskette pack, and coffee cup stains all over her table calendar. She quickly reorganises the file folders, placing them in chronological order, then according to crime. Then, she matches the diskettes, which contain additional data such as interrogation footage, with each pile. Lastly, she makes her way to the pantry to refill her mug with coffee, humming along to a tune that was receiving more airplay recently.

It was an uneventful night, to say the least. As usual, she worked overtime, working on organising the paperwork and records of each case-from instigation to case management. She loved it initially, but now that she's six months into this new assignment, she could feel herself wearing down with how emotionally, physically and mentally taxing everything is. It wasn't so much the quantity or frequency of the load, but the content itself.

Seeing death, rape, theft and disappearances on a daily basis was starting to take a toll on her mental health, and even if she learned how to compartmentalise, there was something about seeing all the details that made her sleep less and less these days. The photos of dead bodies or visages of crying relatives would disturb her to no end, and having to type out each case report even if it meant tagging it as a cold case, was something that never really sat well with her.

Her direct senior, the only female Inspector in the agency-the only one who was actually nice, unlike the rest of the police force who talk about her during lunch breaks and agency dinners-tell her that the feeling of being "uninvolved" and "useless" will soon pass. "Besides," she tells her during one of the rare nights that they're both doing overtime, "You've got potential."

She sighs, wary of the compliment. "I just... I wish I could be doing more."

"You'll have your fair share of fieldwork and interrogations, Y/N" she says, patting the younger girl's shoulder. "Just keep working well, and the Chief will soon see your potential."

That last line resonated with her the most. She knew that the Chief was a firm leader-he did routine inspections, called people in his office to ask for status reports and he'd set all sorts of deadlines. But he was also known for being experienced in reading people just with one look.

So the question was, what was his assessment of her?

Did the Chief view her just like how the rest of the agency did-an Assistant Inspector who was only fit for clerical work even if she had graduated at the top of her class? Did he even notice her presence in the building-or was she too conscious of all the judgemental stares thrown her way because she was the first female recruit in a long while?

That was it, she thought, not noticing that her cup had overflowed.

With a sharp curse, she flung her hand away from the scalding beverage, and moved to grab some tissues-her mind thoroughly forgetting the questions that had darted in her mind not a minute ago.

As she dabbled the tissue on her hands and shirt, the police hotline rang, disturbing the silence of the otherwise empty floor. Alarmed at the prospect of a crime or report coming in at this hour, she runs towards the desk of the patrol and public safety unit.

"SMPA, what is your concern?" she asks, voice surprisingly level. When there wasn't a response, she asks again, this time a notch louder.

"Kidnapping," the voice cuts through the radio silence, its texture a rich timbre with a raspy undertone. Caught off guard at the mention of a kidnapping, she scrambles for a notepad and a pen. "23:00, 6 Chome-10-1 Roppongi, Minato City, Tokyo 106-6108, Japan. Takahashi Yua." In hastily written script, she takes note of the details, not once interrupting the man on the line.

"Who is this? Where is your intel from?" she finally asks, after she hears mere breathing sounds. "Hello?"

The person on the line doesn't respond, instead opting to breathe heavily before the line dies.

"Wha-" she exhales, overwhelmed with the situation. It wasn't unheard of for random tips to come in the station, that much was true. But a tip at this time? And with that much detail? She was wary enough that there wasn't any crime traffic recently but this is proving to be the suspicious exception.

Shaking off her doubts, she dials the home number of Inspector Sato, the head of the patrol and public safety unit. She knows he'll definitely give her an earful for calling at such a late hour-and to his house no less, but if what the man said was true, and if her gut was right, someone was after the daughter of the Minister of National Defense.

At the sixth ring, he picks up and greets her with a litany of questions. "Who is this? Do you have any idea what time it is? Whoever you are, you better have a damn good reason for waking me up!" he rattles off, temper flaring.

"This is Miyasaki Y/N, sir." she says, surprised at how stable her voice was. "Assistant Inspec-"

"Ah, the personal assistant." his tongue clicks, and even if she didn't see, she knew he was shaking his head. "What is it? Here to ask help again in records-keeping?"

At that, she presses her mouth in a thin line, stopping herself from giving him a piece of her mind. She knew that they would always find fault in whatever she does but sometimes she wants to just put them in their place and prove herself.

But now wasn't the time to do that.

"No, sir." she starts, fisting her hand. "There's been an emergency call to the patrol and public service hotline. A tip was given about a kidnapping at apartment 6 Chome-10-1 in Roppongi -"

"Let me stop you right there." he expels a deep breath, clearly uninterested with her report. "You do know what that area is like, right? Or do you not even know where it is?"

"It's in Minato city. The residence listed houses many important political figures, it has national defence" she says, foregoing the other details and taking the opportunity to transition to the most important part. "Sir, you see, this could actually mean that-"

"This means that there is no kidnapping. I mean, if you're trying to pull a joke, it's a terrible one. Hell, there's hardly any crime in that area!" he gives a dry laugh. "it's an executive residential area, guarded and all that. As you said, National Defence is there and so are diplomats and expats. No one in their right mind would attempt a prank call, let alone a kidnapping."

"But the caller gave a name, possibly that of the victim. We should send a team, I have the address. I could lead the-" again, he cuts her off. At this point, a vein was threatening to pop at how unprofessional he was being, but she'd rather not break out into an argument with a direct senior-especially when he was clearly already annoyed at her.

"So this is why you really called, huh?" he chuckles. "Look, no one knows how you got in, or what strings you pulled to pass the Academy, but at the rate you're going, you'll never lead a team-much less my team." the certainty in his voice washed over her, causing her to remain silent at his blatant jibe. "So go back to whatever you're doing and don't even attempt to call me or anyone from the agency to waste their time with your tall tales." the other line clicks, ending their phone call.

Exasperated, she puts down the receiver with a little too much force than was necessary. "Fine, I'll do it myself." she mutters, putting on her coat, muffler and grabbing her car keys.

30 minutes. She'll have to pray that she makes it. After all, she doesn't have much time.

6 Chome-10-1 Roppongi, Minato City, Tokyo 106-6108, Japan.

The Takahashi Residence.

23:00 hrs.

The gate to the apartment building alone rendered her speechless. Pure brass balusters and a towering guardhouse greeted her, complete with intimidating security personnel who wasted no time in asking for her identification.

"Assistant Inspector Lee, from the SMPA. We received a tip about criminal activity taking place in the vicinity of this residence," she starts, not giving any specific details. "This won't take long." she adds, as a last ditch effort to convince them that she means business.

"Alright," one of the guards lets her through. As she rolled up her window, she catches a muffled dialogue between the two. "Isn't she a little too young to be an Inspector? And criminal activity? Talk about absurd."

Scoffing, she speeds up to the address the caller gave and in a few minutes, found herself outside the apartment building. But she was too late. There, standing by the of the main entrance, was the defence Minister himself, with blood on his hands and a shell-shocked expression.

"My daughter..." she hears him mutter. From just behind the door, she hears distant voices screaming for someone to call the police. "Dial the police! Or call the National Defense for all I care! Someone do something!" the voice got louder as she linked it with a face-Takahashi Riku, the Minister's wife. As if seeing the police lights flashing atop her car, The ministers knees gave out.

She makes haste to catch him before he falls, and as she does, she gets her shirt stained with blood, and scrapes her elbow with the force of his weight. Not minding the sting of the wind blowing by her scraped skin, she pulls out her walkie-talkie, and radios the police patrolling Roppongi that night.

"This is Assistant Inspector Miyasaki Y/N, does anyone copy?" she starts, practically shouting. For some reason, she felt an adrenaline rush at the development of events. "Repeat, this is Assistant Inspector Miyasaki, does anyone copy?"

After a few beats, a voice breaks through the white noise. "This is Inspector Takami, copy. What's your 10-13?"

"I've got a two zero seven." she says, forgetting that she hadn't even scouted the area for verification that a kidnapping actually took place. "6 Chome-10-1 Roppongi, Minato City. Send a medic for shock treatment." she rattles off, surprised at herself for actually being able to focus and act given the situation.

Then again, this was her job. Her first fieldwork-albeit unwarranted and unapproved.

"Copy that, 10-4. I'll run code. ETA twenty minutes." he affirms his direct response before ending the dispatch call.

6 Chome-10-1 Roppongi, Minato City, Tokyo 106-6108, Japan.

The Takahashi Residence.

23:20 hrs.

After twenty minutes, two police cars pull up the driveway. One belonged to Inspector Takami, the other was the patrol for back-up. He closes the gap between them in five, quick strides, hands in his coat's pockets.

"What happened?" he asks, ready for a briefing.

"There's nothing definitive yet..." she trails off, mentally berating herself for not even scouting the interior to study the scene. "But I've spoken to the family."

"You mean you've spoken to the Minister of National Defense." he supplies, his breath fogging up in front of him. "What did he say?"

"The family heard the door slam shut, and when he went to check his daughter was gone," hesitant, she clears her throat as a stalling method. "He found her in the marking lot, the girl was bruised and bloodied, unconscious. Looks like she was forced to inhale somthing, and her hands were tied."

"Attempted kidnapping?" he asks, stealing a glance at the apartment buildings façade.

"High chance for it." she answers, clearing her throat again. "Listen, Inspector, I received a tip in the agency around an hour ago-saying something about a kidnapping taking place at this time, at this exact address."

He raises his eyebrows, evidently taken aback at this new piece of information. "And?" he asks, expectant.

"And I think this is a set-up." she declares, sure of something for the first time that night. "Whoever is behind this, wanted us to come, thinking it was a kidnapping when it was an assault and break-and-entry."

"What are you getting at, Miyasaki?"

"There's a reason why Miss. Takahashi was assaulted and not kidnapped. They're telling us something." she says, handing out her notepad which contained the details of the emergency call a while back.

"What do you think this could possibly be then?"

"I don't know... yet." fuelled with conviction, she fists her hands at her sides, no longer feeling that sensation of helplessness or uselessness back in the agency when she was working on records-keeping. "But I'll find out."

9-chome, Kitakarasuyama, Setagaya-ku, Tokyo.

Assistant Inspector Miyasaki Y/N's Residence.

02:00 hrs.

Finally back at her apartment after filing the case and sending off the Minister's family with words of certainty about exhausting their whole force on the job, she slumps on the sofa, feeling her body become dead weight.

"God..." she sighs, fatigued. "That was a long night."

[five-rivers]

Long Night in the Valley chapter 14

“It’s Bakugo.”

“Old Bakugo,” said Todoroki.

“I don’t know,” said Uraraka. “He hasn’t sworn at us yet.”

“Wish fulfillment old Bakugo,” corrected Todoroki.

First contact, said two voices. Aizawa could recognize one as belonging to Two.

“Stop comparing me to the exploding brat,” snapped Two. He returned his attention to Midoriya. “I don’t agree with your philosophy,” he said. “But this isn’t the time or the place.”

Midoriya nodded even as he swayed in place, the edges of his body fuzzy.

“Your idea will work. Eight can take him.”

“What are you talking about?” asked Aizawa.

“Nine here just ran into that fire user.”

“Dabi,” supplied Midoriya, voice thin. “Thank you for letting me use your quirk, sensei.”

“Anytime,” said Aizawa.

“Is there anything we can do?” asked Uraraka.

“Stay back and don’t distract him,” said Two. “I’d send you on ahead to One, but I need to give him my power if he wants his ridiculous escape plan to work.” He crossed his arms. “Focus, Nine.”

.

The thing was, Dabi relied on his quirk to the exclusion of everything else. Which was fine. It was a powerful quirk, and his body really wasn’t up to quirkless fighting, seeing as it was literally stapled together.

But there was a reason he had not faced Aizawa himself in the training camp, but instead had delegated that task to one of Twice’s duplicates. No matter how much his quirk hurt him, no matter how much it reminded him of that man and that time, he did not fare well in fights without it.

Toshinori and Izuku had picked up on this, and, thanks to the joys of partial telepathy and haunted quirks, had managed to come up with a plan.

It was, if Izuku was being honest, a sort of terrible plan, but Izuku and Toshinori were both injured and exhausted, and it was the best they could come up with.

Izuku would hang back and cancel Dabi’s quirk, while Toshinori beat him to a pulp.

This division of labor was decided upon through the observation that Toshinori had much greater experience in beating people to pulp and that Izuku probably wouldn’t be able to focus on using Aizawa’s quirk and fighting at the same time. But Izuku worried. Toshinori had been under so much strain today. His body was in just as bad a shape as Dabi’s. If Izuku blinked.

So don’t blink.

What a comforting consensus from the peanut gallery in the back of his head.

Nana chuckled, but she sounded strained. Not much else we can do for you right now, kid.

.

Toshinori was prepared to fight dirty.

As a hero and Symbol of Peace, he was often faced with the expectation that his fights be clean, straightforward affairs. Usually, he complied with the expectation. Few people could match his strength. Few enemies stood up again or kept fighting after he knocked them back, once. For those enemies who could match him, relatively clean fights were often still the best option to defeat them.

But there had always been exceptions, All for One being chief among them.

Toshinori could fight dirty. It was a skill he knew better than to let lapse.

He knew how much old injuries could hurt, and he had no scruple against going after them. Any weak point was fair game.

(This wasn’t even beginning to mention the others, still whispering in the back of his mind, who had maintained the thin line between the light of hope and the darkness of despair for so many years.)

His fist impacted the line of Dabi’s medical staples. Toshinori felt them bite into his knuckles, felt Dabi’s skin tear around them.

The man – the boy, really, he couldn’t be more than a handful of years older than Izuku – reeled back, shaking his hands as if he couldn’t quite believe his quirk was gone. Then he looked up, at Izuku, and Toshinori could give him this, at least: He caught on fast.

He snapped an arm out, clotheslining Dabi before he could pass him and attack Izuku. Dabi hit the ground, and Toshinori tried to follow up his advantage with a sharp kick to the head.

But, even with as much experience as Toshinori had, Dabi was younger and sprier. He recovered quickly, retaliating with comparatively clumsy but strong fists.

Toshinori was very aware of the time limit he was on. How long had Izuku kept his eyes open already? Aizawa could only keep his version of the quirk going for a few minutes.

He knew when Izuku started to waver, the concern of the past users going clear and sharp in the back of his head.

Dabi’s hands burst into flame.

“Touya!”shouted Izuku.

The man whipped his head around, apparently forgetting that Toshinori was even there.

“We saw your hair dye, you drama queen!”

Toshinori grabbed the sides of Dabi’s head, and tried to slam it into his knee, but Dabi pulled free. They were both breathing heavily, now, but Izuku had his eyes back open and fixed on Dabi.

Toshinori doubted they’d be so lucky to distract Dabi again. The others slid into place in his mind, their experience neatly complimenting his own. They needed to finish it before Izuku had to blink again.

They raised their fists.

“Visit your mom, you loser!”

They closed in.

“At least tell the police what happened to you, so they can get your siblings out!”

.

So, it turned out Izuku did have something else to contribute to the fight.

.

“Please repeat what you told me earlier,” ordered the HPSC president.

The hapless liaison with the DNA testing center flinched, then hid the flinch behind a cough. “Well,” he said, “our technicians ran Midoriya’s DNA through a number of databases, and Midoriya is related to the Scourge of Kamino, but, uh, I think it best if I let her explain the rest.” He stepped out of view of the camera, the coward.

The technician waved at the camera. “Hi, uh. So, I guess the first weird thing about the sample you gave me was how contaminated it was. There were, like, almost a dozen different people’s worth of DNA in the sample you gave me, which… usually Hawks is better than that? But then I remembered the nomu DNA, and the Scourge’s DNA, so in retrospect… Anyway, I sort of ran them all through our databases—”

“Which databases?” interrupted Mr. Brave. “The commission ones, the police ones, the public ancestry ones?”

“All of them,” said the technician. “I ran them through the old ones, too, because the Scourge of Kamino is supposed to be over a hundred years old, isn’t he? I’m kind of surprised he wasn’t run through the old databases himself earlier. You could have closed dozens of cases.”

“Get on with it,” hissed the offscreen commission liaison.

“But I ran them through, and, uh, one was All Might.”

A whisper ran through the room. “He stole All Might’s quirk?” asked one hero, traumatized.

“I don’t know,” said the technician, nervously. “I mean, All Might was there, so it could have just been contaminated in the normal way, but… No, I’ll come back to All Might’s DNA in a bit. Then there were three other heroes’ DNA, Skyrunner, Fidelity, and Lariat.”

“We’ll have to assume he has their quirks, too,” said the commission president grimly, for the benefit of the assembled heroes. “Continue.”

“Another matched to the vigilante Forewarning. Then one matched to what was labeled as a 99% surety DNA sequence from Tempest.”

“My god,” said Mr. Brave.

“Then there were some sequences that matched to samples taken from the scenes of various crimes and terrorist actions but are otherwise unknown. That left two DNA samples that could be Midoriya’s assuming he isn’t over a hundred years old. They both matched as relatives to the Scourge of Kamino.”

“What kind of relatives?”

“Uh, one was rather distant, and was actually had the least DNA present out of all the other strands… The closest possible relation would be half-brother, although cousins might be possible… The other was a parent-child relationship, and the most present DNA sequence, so I would assume that one belonged to Midoriya. The thing is…” She trailed off.

“We don’t have all day.”

“The thing is, all of the different people I’ve mentioned also are related to the Scourge of Kamino.”

Silence.

“Excuse me,” said Mt. Lady, raising a hand. “Did you say all of them? Like, including—”

“Including All Might, yes, though he’s probably more like a great-grandson or something along those lines,” said the technician. “Once you get more than a generation or two, it’s hard to tell, because the ratios of what you get from grandparents aren’t even…”

“Do you have anything more to add?”

“Yeah. After running them through the databases… Well, there are dozens of active heroes that are at least loosely related to either them or the Scourge of Kamino, not to mention villains, common criminals, and civilians who had to register their DNA for one reason or another. And the ShiHi cell line? The one that replaced the HeLa line in almost every drug trial after the quirked population got majority status? That’s a perfect match.” She laughed, clearly on the edge of hysteria. “I mean, I don’t know what we expected. He’s over a century old, of course he’s going to have kids and family members. And he’s – And he’s clearly into shady medical research. Wouldn’t put it past him to have donated to sperm banks, the sick—”

The commission president muted the technician. “You see,” he told the heroes, “why we must act to contain and neutralize Midoriya Izuku as a threat as soon as possible. So many heroes being related to an archvillain like the Scourge of Kamino would damage confidence in the hero system, perhaps irreparably.”

“Are any of us-?”

“I don’t think that’s relevant right now, do you?” asked the commission president, smoothly. “What is relevant is ensuring that Midoriya’s DNA family tree never gets into public hands.” He fell quiet, scanning the heroes with dark eyes. “Regardless of whether or not any of you could find yourselves in it, the fact of the matter is that the ensuing investigations would lay bare other things you may not wish to come to light.” He cleared his throat. “Now, Hawks is putting together a team to track down the League of Villains. In light of recent revelations, we believe they have been working closely with Midoriya…”

.

“Maybe you can use my quirk,” said Shouto. “If you’re fighting Dabi, ice would be the perfect counter.”

Midoriya shook his head. “You’re not related. Can’t.”

“What?”

Two sighed. “The trick he did with your teacher’s quirk only works on people related to him.”

Shouto blinked, then turned to look at Aizawa. “Sensei—”

“Absolutely not,” said Iida, loudly.

“You don’t know what I was going to say,” protested Shouto.

“You can’t ask people if they have secret love children! It’s improper! Let us simply wait quietly like, ah, I’m not sure we caught your name earlier, sir.”

“No, you didn’t,” said Two.

“In any case, let us wait quietly,” said Iida, not one to be easily put out.

“I’m related to Midoriya?” asked Aizawa in tones approaching despair.

“You are,” said Two. “I think you’re related to one of my younger siblings, like Six is. Possibly to the Shimuras, as well, given the secondary portion of your quirk.”

“So,” said Shouto, the gears in his brain turning, “Midoriya is related to all of you?”

“Some more distantly than others, but, yes.”

“So, he based you off relatives and people he knew in real life.”

Two sighed heavily. “Look. That was obviously a lie. Six only bothered with it because of that government bastard that’s crawling around.”

Midoriya had been right. Shouto’s conspiracy theories could be used as an interrogation technique.

“Then what’s the truth?” asked Shouto. “Or are you just embarrassed, like Midoriya is about how All Might is clearly his father?”

Midoriya made a very distressed sound, and Shouto realized that maybe this wasn’t the time.

“You have no room to talk when the pyromaniac currently trying to roast Eight is your older brother, you peppermint styled weirdo.”

“You really are like Bakugo.”

“Do you have some sort of death wish?”

“C-can you guys not? This is hard…” said Midoriya. Then, he gasped and fell to his knees. “He got him. Oh, gosh.” He took a deep breath. “My eyes.”

“Luckily, you won’t need them for this,” said Two, kneeling in front of Midoriya. “In the movement, I was called Shadow Dragon. One came up with the name. He named my quirk, too. Perception Filter. Wanted to name it Chameleon Circuit for a while, but that made no sense. He was such a nerd. He’s still a nerd.”

“Yeah?” panted Midoriya. “Guess that… isn’t a surprise. He used old manga to support his arguments with—No, it doesn’t make it better that you only used that argument once. I mean, sure, I’d probably have made the same—”

“Focus, Nine,” said Two, snapping his fingers in front of Midoriya’s face.

Shouto stepped forward.

“It’s okay, Todoroki,” said Midoriya. “I’m just… How did it work? The Perception Filter?”

“No idea. We didn’t have fancy tests and doctors on hand to figure out the mechanics. But I can tell you what it did. When it first came in—” Midoriya nodded at this, as if he heard something in the sentence that Shouto was missing, “—I could disappear from the senses of one targeted person, along with anything I was carrying. Sight, hearing, smell – that last will be the important one for you.”

“Gigantomachia,” said Midoriya, nodding again.

“Exactly. Later, I was able to affect more people at a time, and my range grew. The fewer people I was hiding from, the farther I could reach, up to about a mile. Sometimes, I could draw attention towards myself, too, although I could never keep it up for long.”

“Activation?” asked Midoriya.

“Don’t think too hard about being hidden. You’re blending in. Part of the scenery. No ripples on the surface of the pond. A shadow inside a shadow.”

“Okay,” said Midoriya. “I think I’ve got it. Were you… were you ever able to hide other people with you? Otherwise…”

“Sometimes I thought I did. When Three and I worked together, we were always way luckier than we should have been, and there were some incidents with cars… But it never happened in a way I could test. Your best bet is just carrying Eight.”

“R-right. Okay. I’ll try that.”

.

“Izuku, you can barely open your eyes. Or stand up. You aren’t going to carry me.”

“But Two said—”

Toshinori frowned deeply and hoped Two got the message. “Just focus on yourself, right now, alright? Gigantomachia will be looking for you, first, not me.”

We’ve always been thankful Gigantomachia isn’t the brightest of All for One’s minions.

Even if he is one of the most annoying.

I don’t know if annoying is the word I’d use…

Toshinori blinked and shook his head. “You’re shaking,” he said.

“I’m okay,” said Izuku, trying to get up. “T’many quirks at once.”

Toshinori put his hands on Izuku’s shoulders, silently telling him to stay down. What a time to forget where he had packed the blankets… Although…

He looked back at where he’d propped Dabi, unconscious, up against a tree.

Dabi seemed to have a cold resistance vestigial mutation… although how Toshinori knew that was a mystery for another day (one probably connected with how One for All manifested in Izuku) and he was a fire quirk user. He didn’t really need that jacket. Besides, Toshinori was a villain now. Sort of. As he and Izuku had discussed earlier, villains were veritable bastions of pettiness.

He stole Dabi’s coat and wrapped it around Izuku’s shoulders.

.

Miles away, trying to coordinate heroes over a video call, Hawks lost contact with one of his feathers. Specifically, the one he’d hidden in Dabi’s coat. He did not frown, twitch, stutter, or otherwise falter. He did, however, curse internally, using words he suspected the hero commission would have like him to never have learned.

Dabi must have found the feather and destroyed it. Hawks had thought he’d hidden it better than that.

This was going to be a pain to explain.

.

Giagantomachia paused for a second, then, with a howl, redoubled his attacks.

“Can anyone tell what he’s screaming about?” demanded Tomura.

“No idea!” said Toga, her cheerfulness more than a little ragged.

“Hey, boss!” said Twice. “If I made a double of this guy, do you think they’d fight each other, or – Dear god, who in their right mind would want two of these things running around?”

“LITTLE LORD,” wailed Machia, “WHERE DID YOU GO?”

“Say, Shigaraki,” said Mr. Compress, narrowly dodging a boulder, “you don’t – ha – think he’s referring to the little green haired – er, white haired – oh, you know what I mean.”

Yeah, Tomura did, actually, which meant the brat (who might be Sensei’s brat – don’t think about it) was around here somewhere, and they’d missed him.

(Like everything else about this situation, Tomura had mixed feelings about this.)

“So, maybe, if the boy and the giant are acquainted, the mother—”

“Do all of you idiots have a death wish? You don’t fight two bosses at once unless you want to be pancaked.”

“I was thinking she could perhaps calm the giant—”

“Yeah, right before they team up to kill us. What part of this are you not getti-?”

Mr. Compress didn’t quite make the dodge and was catapulted into one of the few nearby trees that were still standing. As he lost consciousness, all of the various marbles in his pockets ballooned and broke, disgorging their contents. This meant that Tomura had to rescue Midoriya Inko from being crushed between an entire bus stop shelter (why, Compress, why?) and several logs, because if there was even a chance that she was Sensei’s wife, Tomura didn’t fancy his chances at staying alive if she was unalived in his general vicinity.

As Tomura was in no way a goody-two-shoes hero student, had never trained himself to safely save people, and had a quirk that literally destroyed everything his touched, this went far from perfectly.

At least Midoriya seemed unharmed.

“Ah,” she said. “My shirt.” She shifted slightly. “And my bra…”

There was a shout of utter rage from Gigantomachia, and Tomura contemplated just letting Machia kill him. Surely, being stomped flat by a man taller than most five story buildings would be less painful than whatever Sensei would come up with.

“Oh, my, Machia, is that you?” asked Midoriya Inko, quite calmly, as if she weren’t standing half naked in the middle of a battlefield in winter. “It’s been forever.”

“MRS. LORD!” shouted Machia, his eyes tearing up. “I AM SO SORRY! I LOST LITTLE LORD!”

“Oh, really? He was here, then?” Her eyes were glittering. “I’m sure he couldn’t have gone too far. If we walk around a bit, I’m sure he’ll hear us calling. In the meantime… perhaps you can explain to me what, exactly, you do for my husband? Your role in his business seems to have been downplayed.”

.

“Is that better?” asked Toshinori.

Izuku nodded tiredly. Despite Two’s instructions, he couldn’t keep up Perception Filter and, well, do anything else, really. Toshinori wasn’t much better. Izuku could tell, through One for All, that he was also on his last legs.

“Alright. Let’s keep going the way we were before,” said Toshinori, pulling Izuku up. “Got to get out of Gigantomachia’s range, so you can sleep.”

He did not say that reaching the Wild Wild Pussycats’ camp was now out of the question, with how beaten up they were. They’d be sleeping outside tonight. Hopefully they had enough clothes and blankets…

Izuku shuddered as the pounding sensation in his head increased.

“I’m sure it’ll be fine,” said Toshinori, guiding Izuku with a hand on his back. “Good, you have the briefcase, good.” Toshinori kept muttering encouragement. Izuku really wasn’t paying attention, which made him feel terrible, but he had to keep Perception Filter going. He had to keep going. Just a little bit more… Aizawa-sensei and his friends were almost to One. One would get them out before he broke through.

He just had to hold on until then.

.

Midoriya’s form flickered and then faded. Two sighed.

“Is he alright?” asked Aizawa. “Is he safe?”

“As safe as he and Eight can be, wandering through a forest filled with All for One’s minions while the government tries to track him down in the middle of winter,” replied Two. “Which isn’t very safe, speaking from experience. Come on, let’s go.” Two walked out the hole in the wall, not waiting to see if Aizawa or any of the kids followed.

“You’re calling Yagi Eight, now?” asked Aizawa.

“That’s his number, yeah. Hurry up.”

“Yagi, not Yagi’s… impression, his copy in Midoriya’s mind.” Two didn’t answer. “You aren’t impressions or copies at all, are you? You’re real people, somewhere, that Midoriya is connected to. Why pretend otherwise?”

“Some of the others thought Nine could fix things with the government, if they didn’t know what was really going on. Thought it would be ‘worth it.’ So stupid, after everything…” They walked through the compound gate and into a living room.

“It seems awfully contrived, though. Why try to be dead heroes? Why pick people like Skyrunner and Fidelity to impersonate?”

Two snorted. “They weren’t impersonating anyone. They really are Skyrunner and Fidelity. Except for Eight and Nine, we’re all dead, otherwise we would have finished this by now. Eight almost did, all on his own.”

They turned a corner. Two young children played in a bedroom while a teen watched on. One child was obviously a younger version of Two. That hair was distinctive. The other child had a short curtain of white hair. They had action figures they were playing with, although Aizawa didn’t recognize who they were of.

First contact, said a single, young voice.

The face of the teen leaning against the wall was scribbled out, as if with a marker.

“Don’t look too closely at that one,” said Two.

“Who is that?” asked Uraraka.

“All for One. I suppose you’d call him the Scourge of Kamino.”

“He’s your older brother?” asked Todoroki, his eyebrows raised into his hairline.

“Don’t be disgusting. Biologically speaking, he was my cousin.”

Oh, no, thought Aizawa, don’t tell me... “Is he the one you have locked away? The one you don’t count as being ‘among your number?’”

Two sighed again.

“Are you doing that instead of swearing?” asked Todoroki. “The sighing, I mean.”

“I told you to stop comparing me to the explosion brat! I—” Two tsked, then frowned. “Something’s not right.”

“What is it?”

“This isn’t a safe memory, just a quick one. One should have been here to pick you up by now.”

“What do you mean, it isn’t safe?” asked Iida, before Aizawa could. “No matter how immersed we are here, it is only a memory, isn’t it?”

“You did hear the part where he’s breaking in, didn’t you? And the part where we’re all real people? Are those glasses just for show?”

“The real All for One is trying to break into Midoriya’s mind,” said Aizawa.

“W-wait,” said Uraraka, “but… Izuku… That wouldn’t mean that the commission was right…”

“Of course not. Nine would probably cut off all his limbs before betraying his friends. Even if I don’t agree with him, and think he shouldn’t… I can still see that. But where is One?”

“Why are you telling us this?” asked Aizawa. “You’ve told us why the others didn’t. But you have no reason to say anything, yourself, do you?”

Two turned slightly, to gaze at Aizawa out of the corner of his eye.

“As long as we’re waiting, I might as well collect as much information as possible, right?”

“It’s insurance,” said Two, finally. “It’s hard to see how this will turn out. Eight wants to take Nine out of the country, but even if that works, All for One will still be here. Someone else needs at least part of the story.” He turned more fully to face Aizawa, lips pressed tight against his teeth. “You have to understand. I want Nine to… do well. I don’t want this on him. He’s a kid. So are you.” He looked at the students, then back at Aizawa. “You’re all kids. If I can get someone else to take care of this for him, while he and Eight are somewhere safe…”

“All for One is in Tartarus,” said Aizawa.

“You think something like that’s going to stop him? I’m not entirely sure death would stop him. It didn’t stop us, and he’s at least as stubborn.”

Well, wasn’t this an impossibly heavy weight to set on Aizawa’s shoulders.

“I have no sympathy, you lazy caterpillar lookalike. You’re an adult, aren’t you? Get help if you can’t do it yourself. If I find out you pushed it onto children, I’ll kill you.”

“Wow, he’s secretly soft, too, just like Bakugo,” said Todoroki. “Are you sure you’re not related.”

“There is legitimately something wrong with you. Do you—”

.

The hinges of the vault snapped, and the door crumpled outward. Another well-placed kick sent the door tumbling outward with a crash.

Shaking his hand, All for One stepped into the mindscape and smiled.

“Well,” he said, dragging his gaze over the assembled One for All users, his sworn enemies and the closest thing he had to family, “isn’t this a lovely little reunion?”

[askcherrypie]

“My Little Pony Gets Political” - saywhatnow?

I have not bothered to see the new MLP movie for the same reason I haven’t seen ANY of the MLP movies throughout the existence of the franchise - they always manage to dumb it down (even the ones made for Gen3). MLP’s problem, prior to Gen4 (Friendship is Magic), was that Hasbro almost invariably wrote insipid material aimed at an audience they didn’t think very highly of - pre-teen girls. Gen4 broke that mold by treating its target demographic as thinking (albeit young) human beings, which meant NOT smacking them over the head with blunt, trite, saccharine nonsense. Sometimes, Gen1 and Gen 2 managed to do the same thing even though they hadn’t been blessed with the initial direction of someone like Lauren Faust.

Unfortunately, Gen5 appears to be reversing Lauren’s course.

The new movie (WELCOME TO SPOILERSVILLE, POPULATION: YOU) was apparently written by people who did not watch Gen4 even though Gen5 is supposedly a sequel. In Gen4, the “three tribes” had legendarily distrusted and feared one another in ages past, a state of affairs which almost got them all killed by an emotionally-predatory species called Windigoes. The resolution to this problem, the unification of all three tribes into a single nation, became celebrated as the pony version of Christmas, complete with gifts and pageants.

So, at some point in the apparently distant future relative to G4, absolutely all of that is forgotten and thrown out the window with not a single reason given. The movie never explains it, although it does take pains to make clear that the heroines of G4 have legendary status - which only one pony seems to know about. The closest we get to an explanation is that magic just stopped working one day for no apparent reason, and BECAUSE of that so did friendship. Which, again, is something that happened in G4 when all the tribes had their magic taken from them AND THEY FIXED IT BY REFUSING TO STOP BEING FRIENDS.

So you have this incredibly pointless situation which appears to have no rhyme or reason and exists solely to give the one pony who remembers G4 even happened a goal: reunite the tribes in friendship.

Um. We did that already. Multiple times.

And then we have a bunch of special morons out there who have decided that anytime there is the appearance of a “military dictatorship” - which itself apparently is a matter of somepony wearing a military uniform (hello, Wonderbolts, hello Commander Spitfire, guess G4 Pegasi are Nazis now) and other ponies standing in ranks as though part of a military organization (hello, entire Royal Guard, guess the Earth Ponies and Unicorns in the Guard are also Nazis now and Celestia was running a military dictatorship the whole time).

idk if the generalissimo is “supposed to be” Trump or not, but if he is that’s even more retarded on at least five levels, starting with the fact that Trump didn’t use military troops to lock down the Capitol out of fear he would be ousted from power by American citizens: Biden is. You know, that whole “insurrection” that the FBI ended up saying never actually existed.

But it’s not just retarded because the (apparent) target is misplaced: it would be just as idiotic of a move to make the character a parody of Biden. Contemporary politics never age well, often because more information later comes to light, making such on-the-nose attempts at portrayal fall flat with future viewers. In the current year, it’s not considered socially acceptable to air or even watch cartoons which propagandized the Axis powers of World War 2. Including actual Nazis, on the argument that laughing at cartoon Hitler getting pied in the face somehow denigrates the Holocaust.

Even more retarded is the argument going around that ANY of this is “fascist imagery”. Those sorts of takes are from people whose only understanding of “fascism” is a style of uniform and a general tendency towards militarism. 

It would be more accurate and appropriate to say these are indicators of totalitarianism. Instead, we are told that the following are full-throated displays of Fascism (directly from one of the schmucks trying to make this argument):

* a leader fearmongering

* dressing in military attire

* use of propaganda posters

* the military marching and assembling

* big posters of the villain being shown during the leader’s speech

Problem: all of these criteria also directly apply to Communist governments throughout history. A Soviet-era May Day Parade is hardly what one would call Fascist, but any number of those Parades matched up with every single item on this list.

Nor is this the first time there was an argument in the fandom about “Nazis” and “Commies”. Fans trying to push their real-world politics on other fans insisted this video was all about either/or - depending on which bunch of totalitarians they wanted to be the “real” villains “the show was speaking against”.

In G4, they were smart enough NOT to try and wedge IRL politics into the show. All of this is specific to circumstances revolving around an attempt at a social revolution in Equestria, where all ponies would lose their “destinies” (as determined by their “cutie marks”), and thus be free and equal to pursue whatever future they “really” wanted.

But Starlight Glimmer never promoted National Socialist ideology, nor Communist ideology. She just wanted to take over Equestria using psychological abuse and mind control.

The new writers don’t appear to be that creative or intelligent. Instead, they’re just trying to map current-day social commentary onto Gen5, at least according to outlets like the New York Times . These were the same sorts of imbeciles who previously claimed MLP fandom “has a Nazi problem” (The Atlantic) or was a haven for school shooters (Rolling Stone).

Don’t let the bastards win. Screw ALL the totalitarians, and when the people insulting you screech that Stalin did nothing wrong, mark them in the same pot as the folks who say Hitler was on the ball. If that ends up including the writers for Generation 5, well, there’s always Generation 6..

[inkycompass]

Evil Punnett Squares

Fire Emblem: Genealogy of the Holy War is a game where the villains' plot is an evil Punnett square.

Let me explain.

In the fantasy genre, mystical traits that are inherited through generations are often referred to as "blood of the thing" or "the blood" of this or that mystical lineage. Sins carried in the blood, powers carried in the blood... this can even refer to ordinary attributes, like one's facial features or eye color demonstrating their, e.g., "royal blood" -- essentially, some kind of heritable trait. Unless specific circulatory system components are referred to, we can usually understand "blood" as a synonym for "DNA" in fantasy.

In Genealogy, a major plot and gameplay element is "Holy blood". In the backstory, thirteen dragons forged a pact with thirteen human warriors, imbuing them with mystical powers: Holy blood. (Or, in Loptous' case, Unholy.) The descendants of these warriors, whatever their moral alignment, inherit these powers to either a great or lesser degree, which is called Major blood and Minor blood.

Given the way Holy "blood" is inherited, it's not a stretch to understand it as a set of thirteen mystical alleles. In Mendelian genetics, alleles are designated as dominant (R) and recessive (r), with any carriers of the dominant allele expressing the dominant trait. These perceptible traits are called phenotypes--so Holy blood inheritors have Major or Minor phenotype. In most cases, rare traits are carried on the recessive allele, so rare phenotypes are usually assumed to be homozygous recessive (rr), because the dominant allele masks the expression of recessives in heterozygotes (Rr).

The villains' plot hinges on finding two carriers of Major Loptous and coercing them to have children, which will allow the evil dragon Loptous to use that child as a vessel. So how does this work, genetically?

In each generation, there is usually one person carrying Major blood. This person will always pass on Major blood to one of their children, but everyone else will have Minor blood. Sometimes, even direct relatives may not have any perceptible Holy blood. The way this makes the most sense is if the Major Blood trait is carried on the recessive allele. So with Loptous blood, the dominant allele (L) confers minor blood in the LL genotype, and also the heterozygous Ll genotype. To be Major Loptous, a person would need to be homozygous recessive: ll. That means that two Loptous heterozygotes have a chance of producing a Major Loptous child. Although it is taboo for two Minor Blood characters to marry, the Loptrians don't care about that. They succeed in getting control of a pair of half-siblings with Minor Loptous blood (Arvis and Deirdre) and coercing them to have children through blackmail and magical trickery.

The result is twins--Julius has Major Loptous blood, and Loptous takes control of him accordingly. But Julia's Holy Blood wheel is missing that center circle--she does not exhibit Major OR Minor Loptous traits. If we're going to cast Holy blood as a matter of Mendelian genetics, how can she not have any Loptous blood?

The answer lies in the fact that Deirdre, in addition to her Minor Loptous, had Major Naga blood. We'll call the Naga alleles N and n.

Let's do a dihybrid cross.

This Punnett square is a little complicated. Arvis' full genotype is Llff (Minor Loptous, Major Fjalar). Deirdre's is Llnn (Minor Loptous, Major Naga). Their children therefore receive three sets of Holy blood alleles: Fjalar from Arvis, Naga from Deirdre, and Loptous from both. Arvis passes a Fjalar allele to both children, which makes sense if he is a homozygote. But the twins are each missing something they should have. Julius has no Naga blood, despite the fact that Deirdre must have given him an n allele. Likewise, Julia has no Loptous. Why are the twins missing two bloodlines that they must have inherited?

I'll dip back into Genealogy lore to explain this. Naga is the dragon of the holy element--in fact, in any Fire Emblem game set in this continuity, Naga is THE Holy Dragon who opposes whatever dark dragon is oppressing humanity this week. Naga's tome has a critical advantage when wielded against Loptous'. It stands to reason that the Naga allele would have a similar effect on the Loptous allele.

Because Deirdre was heterozygous for Loptous, with copies of the Major and Minor allele, her double n allele was not able to totally mask them and she showed a Minor Loptous phenotype. If Julia was a heterozygote, this would be the case for her as well. But if she is homozygous dominant (LL), even a single allele for Major Naga (n) can mask the Minor Loptous phenotype. To Jugdrali understanding, it appears that she does not have any "Loptous blood" at all.

Julius' single copy of n, however, cannot mask the double l in his genotype--in fact, the double recessive overwhelms the single recessive Naga allele, leaving him without the Naga phenotype at all. (Just as Julia wielding Naga always beats Julius wielding Loptous, but two Juliuses at once could overwhelm her.) The strength of the two opposing alleles also partly masks the effect of the Fjalar allele--so although both children have a copy of the recessive gene, its expression is indistinguishable from the expression of Minor blood.

But having seen a cross where there are only single copies of alleles in the potential offspring, this makes difficulties when predicting genotypes for the F1 generation (that is, the Generation 2 children). In Punnett square exercises, even dihybrid crosses, it's assumed that you're getting the same type of alleles with any set of parents. This is not the case for Holy blood, where you have a dozen alleles all being crossed together. Thus, the F1 generation are mostly hemizygotes--individuals with only one copy of a certain allele. How could each generation have Major phenotypes when most parental crosses can only donate one Holy allele?

It's important, then, to note two things. Dominant and recessive alleles may not be dominant or recessive to alleles of other types, so the Holy blood alleles may have different effects on each other than they do with themselves. The second thing is that this is mystical dragon DNA, conferred to human carriers with a very deliberate intent, and as such it will sometimes behave in odd ways.

Let's see how this plays out with Quan and Ethlyn's children. Quan has the Major Njorun phenotype, so we'll assume him to be homozygous recessive (nj nj). Ethlyn is Minor Baldr. We'll assume her to be homozygous dominant (BrBr).

Leif and Altena have identical genotypes, but different phenotypes. Within chromosomes, some alleles can mask--partly or fully--related alleles. When we're dealing with mystical alleles, it's plausible that alleles could interact with each other across individuals--that as the elder child, Altena's copy of nj is suppressing the Major phenotype in anyone else with a single copy of nj born in her generation. (This would also guard against loads of Major-phenotype children brawling with each other over Holy weapons and inheritance.)

We can also assume that singular copies of an allele have, say, a 50% chance to be expressed once the first scion is born. Brigid and Edain are identical twins with Major and Minor Ullur, respectively. Assuming Lord Ring was uu, and both his wives lacked U or u (we will call this lack of allele z), their half-brother Andrey should also carry u. But he lacks the Minor phenotype. Therefore, the u he is carrying simply does not express itself phenotypically. We will say that there is a 50% chance of a single allele expressing a phenotype.

We're not done yet. What about crosses with parents who lack Holy blood, and crosses where both have the same Holy blood?

Let's start with Brigid. We already established that Brigid must be a hemizygote for u. If she is paired with Jamke, who has no Holy blood, their first child--Febail--always has the Major phenotype, because the dragons who blessed the Crusadors wanted those lines to have the full force of that blessing. Their subsequent children have a 50% chance of having no Holy blood. Patty always does, because of gameplay mechanics, but if you want to get more complex, you could say that Holy alleles always shows up in the first TWO scions, and reverts to normal Mendelian probability after that. The same applies to Edain's children, but hers will never have the Major phenotype due to cross-individual allele masking from Febail.

(Note that while Jamke's genotype is labeled as zz, this is not a real allele, just a placeholder denoting his lack of one.)

Incidentally, this also would apply to Seliph. Deirdre must have given him one Loptous allele, but it is being fully masked by her Naga allele; like Julia, he does not have any Loptrian traits. He is also a hemizygote for Major Baldr (br) and expresses the Major phenotype. In a cross between Seliph and Tine (a Thrud hemizygote, T), their children have the potential genotypes of brT, nT, lT--a 1/3 chance of Loptous. However, because Seliph is also the inheritor of Major Baldr, his br allele will likely be the one that appears in his children thanks to magic DNA sorting. So his children are safe. Julia's Naga allele will also insist on appearing in the genotype of her potential children.

Cross-individual genetic influence can, however, be overridden if you cross two parents who are heterozygous for the same Holy blood. The game tells us with a big ol' wink that you're definitely not supposed to do that because it's big taboo, but if you do, you'll get kids with Major blood. And there are two crosses you can do for this within your army: Ayra x Chulainn and Silvia x Claud. Both pairings are distant cousins.

Assuming both are heterozygous for Od, that gives a 25% chance of an oo child. Although Shannan's two copies of o could mask a single copy in someone else, they cannot mask another double o--so even though Shannan is the Major Od homozygote in Generation 2, Larcei and Scathach are both able to become Major homozygotes as well through luck.

With the potential for children with one copy of the allele to be Major, Minor, or Neither, this also introduces the prospect that Holy blood alleles could be lost. We have two ways to handle this. One is to say that Holy blood alleles, being mystical, always end up in any offspring--so even if Febail has eight children with a non-carrier mother, all of them will have u in their genome. The other is to say that maybe that is just what happens sometimes. All Holy blood families are nobility of one rank or another, and they would simply add "Holy blood" to their matchmaking considerations alongside money, titles, and land. (There is also likely some amount of cheating going on with the "no marriages between the same type of Holy blood". Not enough to produce lots of Major children, but enough marriages between cousins to ensure that there are heterozygotes around to keep the Major and Minor alleles at a pretty high frequency within the family.)

The upheaval caused by the twenty-year Holy War scattered many scions of Holy blood all around the continent, and many subsequently married without regard to maintaining the Holy lineage. Under these circumstances, those rare alleles would eventually be lost through natural causes. Although Naga's alleles still exist by the time of Chrom, Naga has made multiple interventions into human affairs, and her assistance to Ylisse's first Exalt likely took the same form as her blessing to Heim, the progenitor of Jugdral's line of Naga blood.

So there we have it, a Mendelian explanation of how the inheritance of magic dragon traits works in a video game from 1996, thank you for reading it if you got this far.

[kuralione]

Chatted with @dianxiasworld earlier. Ideas and realizations were had.

So, what determines whether someone become a Villain or a Psyker? Is it a random coin toss? If you get heads you get the powers that give you a magical girl transformation and fuck with your head? If you get tails you get the powers society adores and a near guaranteed future with Lampas?

The first chapter sorta implied that it’s blood/genetics based. Which…yeah, leads to all sorts of fucked up implications and potential inequalities. VtK world doesn’t seem very dystopian nor does there seem to be any blatant tracker/labeling systems. Still, if people are aware of the connection than they will act on it.

I’d think there would be some prestige with having Hero blood—that is being closely related to a Psyker. Beyond just the benefits of association, you would presumably have better odds of becoming a Psyker yourself or having children or grandchildren who have powers.

Not gonna lie, if I lived in this world and wanted children than I’d prefer a partner who was or was related to a Psyker. The world is dangerous and I’d rather my kids have powers than be helpless civilians. Not gonna marry an asshole for the chance of giving my kids superpowers, but those people would be desirable in a similar way to how people with prestigious jobs, money, intelligence, and attractive appearances are desirable.

Psykers don’t have secret identities. If you’re a child or sibling or a grandchild of a Psyker, people would know. It’d likely be something you’d be proud of and share. Tropes aside, Naeun is a model in high school. She is beautiful, but she’s also the younger sister of a Psyker. Maybe she wouldn’t have gotten the job if she wasn’t qualified. It could have given her an edge though. Psykers are admired and just being associated puts you in a better light.

Nothing blatant or official, but known hero blood has probably a source of privilege in this world. And something monitored by Lampas—Cassian grew up in an orphanages and just happened to get close to Jeff—a much older psyker? I bet Cassian had hero blood somewhere in his family tree and Lampas makes sure that those orphan kids with a predisposition towards Psykerdom get put in the nice orphanages. And that if Psykers volunteer or do charity work that they tend to end up working at those places/programs. No kidnapping or child soldier nonsense, just systemic favoritism no one can prove.

Lampas presumably pays very well and has all manner of incentives to join up given almost all Psykers end up working for them. So they also probably have the funds to live in nice places—money to put their kids in the best schools too. There’s nothing wrong with that, I guess—it’s their paycheck they work for. But it adds to the general privilege and prestige around Psykers. They are put on this pedestal by society.

The failings of Psykers and those around them are more likely to be excused because they’re good. A father who never shows up for his kid or family? He’s not neglectful or absentee, he’s busy being a Psyker. A Psyker (like Cassian) with a penchant for using unnecessary force? A slap on the wrist or maybe a brief suspension if the public makes a fuss.

(And a large paycheck makes sense to encourage Psykers not to turn to any criminal means of making money. That would tarnish the image of Psykers as the be all end all Good Guys. Behave, and you get a cushy life. Misbehave and I imagine the penalty for criminal Psykers is disproportionally steep.)

As for the relatives of Villains…well. I imagine discrimination is illegal, but it still happens just like in our world. It’s probably easier to hid a Villain grandparent or distant relative if there isn’t a public database (though Lampas probably has a private one). It’s not something you talk about.

People might be more wary of those with Villain blood. After all, they can ‘go bad’ and ‘snap’ too, you know? And the personal paranoia must be horrible. Knowing that you could end up like one of those lunatic murdering people on TV. It must be terrifying, because surely you won’t be the same person afterward. And fear for your own children and siblings. I suspect most people become Villain/Psykers during childhood to young adulthood so the fears should abate as someone gets older, but there is still stigma.

Or perhaps there hasn’t been any known villain blood in the family within enough generations to be relevant. If half the population is Hero Blood and the other half is Villain Blood there’s probably a lot of mixing. Most people probably don’t know which they are and siblings could come out with different alignments? This seems a lot more reasonable situation for the majority of the population—if you don’t have a villain or hero in your immediate family then it’s a predetermined coin toss. Hell, you might still be Hero blood if you parent or sibling was a Villain because different genes get passed on. There would be assumptions, but they wouldn’t have to be correct.

The Psyker/Villain gene can’t trigger that often otherwise society would look a lot different.

[yamayuandadu]

Rider of Clouds

A a loose adaptation of the Ugaritic Baal cycle of myths, with some changes and the holes patched up with other myths and historical trivia. It will probably go on and on as some sort of silly “myth crossover” thing. Mount Saphon, the spiritual center of a large but poorly defined area spanning from the Mediterranean Sea to the Euphrates and the residence of many gods, needs a new king. While the former king of the gods, El, favors his distant relative Yam, this decision is not popular with the other deities and would be a disaster for their human followers; however, few dare to question El decisions in public. The exception is Baal, the heir(ess) of El's popular but not very ambitious rival Dagan, determined to take Mount Saphon to the bright future of the late bronze age.

Protagonists

Baal (Hebat) – the eponymous Rider of Clouds (a real title used in myths and cult texts), a young weather deity born to Dagan and Shalash (not pictured), semi-retired agricultural gods who settled in Tuttul on the Euphrates shortly before Baal's birth. Dagan hails from Mesopotamia proper, while Shalash is Hurrian. While the mythical  Baal Hadad is male, my version is a woman – the idea started as a joke about conflating Baal from the Baal cycle with Baalat Gebal, a female figure associated with another levantine bronze age city (BG's actual identity is an object of much scholarly debate) being more valid than conflating him with much later Baal Hammon from Carthage (or rather with Roman hot takes about this deity), which happens a lot online, but I got attached to it o now here we are.   She nonetheless uses a male title inherited from her father, much like a few historical female rulers did. In my version “Hadad” is only a title (or rather a me, eg. divine attribute), and her real name is actually Hebat. Irl Hebat was, among other things, the name of a goddess mentioned in one inscription as Dagan's daughter, and thus a featureles sister of Baal. As the levantine/syrian Hebat lacks a defined character in real mythology (”another” Hebat was regarded as the Hurrian storm god's wife but was at times replaced in this role by the more interesting sun goddess of Arinna and that's about it; I'm not going to use that one in my story) it should be fine to conflate her with Dagan's best attested divine child, I think? Baal is impulsive and follows a moral code which, depending on the point of view, might be either naive or heroic, which means she's not exactly the optimal person to get involved in n-dimensional divine politics (the ideal person to be the protagonist of an Ugaritic epic poem, as evidenced by history), but that's not enough to stop her from trying; the popularity with humans helps, too. The story documents her rise to the position of the head god of the pantheon residing on Mount Saphon, ruling over Ugarit and other surrounding areas.

Astarte (it should be Ashtart for maximal accuracy but everyone knows the later form of the name better so...) – a goddess of humble origin and no particularly well defined attributes, who attaches herself to Baal initially in hopes of advancing own career, though the two eventually develop a more genuine relationship. She patterns herself after the much more famous Mesopotamian Inanna, seeing her as an ideal to strive for. While Baal has the name recognition and disposition fitting for a major deity, Astarte is the part of the duo actually capable of navigating politics, and takes the title of Face of Baal, negotiating support for Baal's bid with other gods. The image of Baal she projects differs slightly from reality, though not enough for most onlookers to notice. Astarte is also a connoisseur of foreign clothing (as pictured above) and art.

Anat (art courtesy of my girlfriend who sadly isn’t on tumblr but who helped a lot with figuring out a lot about this story) – the younger daughter of the ruling couple of Mount Saphon. Her philosophy differs greatly from her parents' and as a result she isn't really seriously considered for succession. Her hobbies include bladed weapons, gambling and heroic epics; in the past she attempted writing her own self insert one. Her temperament means she was never considered for succession, which she doesn't particularly mind. She's deeply invested in Baal's ascendance, and is probably the god Astarte wants to recruit for their cause the most.

Gupan and Ugar – two minor gods who might be some of the only allies Baal recruited herself rather than with Astarte's help. They play a minor role in the story as her messengers and heralds (just like in the real myth!). They're also a couple. The cuneiform on their coats says “Baal.”

Kothar-wa-Khasis – a craftsman god who, by own admission, only works part time in Ugarit and travels the world for the rest of it. He's kind and dependable and his wares are both affordable and of great quality, but his real motives are hard to ascertain. His real identity is likewise a subject of much speculation among other gods – while his preferred manner of clothing hints at an egyptian origin, nothing is known for sure. His true name is that of the god Ptah of Memphis; he spends most time outside it and incognito because he thinks smaller pantheons on the periphery of Egypt's influence offer more artistic freedom. He speaks in a very poetic pointlessly complex way (basically... imitating the style of ancient poem translations). While an architect first and foremost he a reneissance man - architect, sculptor, engineer, armorer, musician. He isn't very fond of Yam due to the latter's lack of aptitude for art and cost cutting suggestions.

There are actually two gods hiding behind the title “Kothar-wa-Khasis,” with the second one hailing from Caphtor (Crete) from where  Kothar arrives when commissioned to build Baal's palace in the real myth. She's shy and refuses to reveal her real name and hides behind the title “Mistress of the Labyrinth” and the labrys symbol. Her arrival is generally a sign of the duo taking a project particularly seriously.

Shapash – El's firstborn daughter, serving as “the torch of the gods”, a royal herald and solar deity. She also handles her parents' “foreign policy” on their behalf, which in practice means figuring out how to placate neighbors whose decisions aren't guided by the need to avoid angering various reviled figures.

Antagonists

Yam (right)  – a sea monster more than a god, presiding over the nearby section of the sea and all that dwells in it, including the commercially significant sea slugs. He's also the son of the formerly influential Anatolian god Kumarbi, banished to the underworld by the current head god Teshub due to his many past misdeeds. As a result of his father's past influence over the world (and current influence over the ruling couple), Yam gained El's support and received many titles, which de facto makes him the most likely to succeed El as the king of local pantheon.  He's capricious and inconsiderate, but maintains a larger than life public image meant to make him palatable to potential backers. The exact circumstances of his arrival in Ugarit are shrouded in mystery, and may or may not be responsible for his unusually strong hatred of Baal. Mot (left) – profoundly unpleasant and unsociable being kept around by Anat's parents for unclear reasons. He resides in the great offering pit in the abandoned city of Urkesh, formerly the center of Kumarbi's sphere of influence, reduced to a ghost town.   While his equivalents in neighboring areas generally view themselves as impartial or as a necessary evil, Mot gets his kicks from posing as a personification of death itself, and is notoriously corrupt. El and Athirat – the ruling couple of Mount Saphon and parents of Anat and Shapash, currently pondering retirement, which stirs many contenders to the throne into action. El is a lifelong opportunist changing views and allegiances as he sees fit, though he pretty consistently favors his distant relative Yam as his main underling ever since the latter arrived in the area.

El was originally Amurru, a courtier of the sky god Anu, overthrown by the nefarious Kumarbi. For unclear reasons Kumarbi made Amurru his vassal and bestowed the name Elkunirsa, or El for short, upon him.

Athirat is largely responsible for El maintaining his title for so long, and is a much craftier politician than he is. She comes from an influential dynasty of sea gods, but lacks dominion over the sea herself.

She and Yam are related, as seen here.

Abduyam – an attempt at developing an obscure figure from the original myth, Yam's nameless and seemingly rather rude and infuriating messenger, into a full blown character. The theophoric name he uses (there are real theophoric names invoking Yam, surprisingly) is just a pseudonym, and his real identity is a mystery. He interned under a variety of famous mythical villains in order to gain a greater understanding of their ways, and currently serves as Yam's messenger, adviser, doorkeeper and punching bag.

Ashtar – a feeble opportunist who sides with Yam, hoping to receive a share in the gains he's making thanks to El's blessings. He's pretty content with playing the role of a toady though his aspirations might be different, as Baal and Astarte suspect due to his love of gaudy imported textiles. Megalomania doesn't necessarily equal malevolence, though. He also loves sea slugs.

Foreign dignitaries

(ignore the ?, it’s just Baal) Marduk (right) – the tutelary deity of Babylon, a prominent and internationally renowned god. While technically the area encompassing Mount Saphon, where the events of the story take place, isn't directly under the control of the Babylonian pantheon, as one of the oldest in the world and the source of the writing it nonetheless has a tremendous impact on smaller neighbors. Formally Marduk is merely a representative of his father Enki and the assembly of the gods in Nippur, but as the old gods are not very mobile, he's the de facto acting head of the pantheon in foreign relations. He doesn't have a unified mythical narrative about himself yet at this point in time, despite his position, which is a source of insecurity for him. During travels, he's assisted by his personal aide and biographer, Nabu (not pictured), and his pet mushussu, Tishpak. Seth (left) – in real life, ancient Egyptians equated many gods of their neighbors with Seth; therefore in Rider of Clouds Seth serves as an ambassador of the Egyptian pantheon, usually residing in Gebal near Mount Saphon – a city whose gods (and human rulers) take pride in trying to be more Egyptian than the Egyptians themselves, and regard Seth as their spiritual liege (under the title “Lord of Lebanon”). While ultimately Marduk's judgment matters the most, Seth gets the right to veto his decisions when it comes to validating claims to local thrones. On good terms with Kothar-wa-Khasis, which is a subject of much gossip among other gods. Teshub (center) – the head of the Hurrian pantheon, technically capable of projecting the most power in Mount Saphon politics due to the Hurrian influence on huge number of other local pantheons, including that of the Hittites, thanks to his marriage to the Hittite sun goddess of Arinna; however, as the local gods for the most part share closer affinity with Mesopotamia than Hatti, he competes with Marduk for political influence. As he and Baal are a very similar type of god, he's the most outspoken supporter of Baal's ascension to the throne out of all 3 foreign dignitaries. El’s support for his nemesis is probably a factor, too.

Kubaba – the head goddess of Carchemish; much like the king of Carchemish served as a Hittite viceroy taking care of affairs of the vassals irl, she acts as Teshub's ambassador in the southeast, mediating between the Anatolian and Syrian gods. She hopes that Baal's rise will normalize foreign relations to the benefit of her human followers – El's erratic behavior and sympathy for a number of widely detested figures made that rather difficult. While she's not much older than Baal, she poses as an ancient deity and dresses like someone twice her age. She also seeks opportunities to insert herself into suitably ancient narratives. In another time and place she'll be known as Cybele, and eventually as the Roman Magna Mater, but this is not the story about it.

Plot-relevant but not present in the story physically

Inanna – the celebrity superstar of every pantheon from Hatti to Elam. After being elevated to one of the foremost positions among the gods she started a profitable franchising business, offering help with setting up own cult system and the right to use the title of “Ishtar” and the eight pointed star emblem in exchange for a share in potential profit and a spot in the franchisee' home pantheon. As her fame is unique even among the greatest of the gods, this isn't that bad of a deal. Other benefits of the franchising program include free tickets to the annual Ishtar meetup in Uruk and a 24/7 tech support line ran by her sukkal Ninshubur. Asides from Astarte, prominent members of the franchising program include the Hurrian Shaushka, the Elamite Pinikir, and the night goddess of Kizzuwatna.

Kumarbi: an agricultural god of the Hurrians who seized the kingship of their pantheon violently before being overthrown himself by Teshub and his allies. Now he resides in the underworld and plots, aided by a network of allies – some opportunistic, some stupid, some simply malevolent. His will is usually carried out by an unspecified number of identical fate goddesses, possible to differentiate only by the numerals on their veils. At the core he and Baal's father Dagan are very similar gods in function, but not in temperament.

[notebook-13]

BNHA History

Alright! I decided to assemble what we’ve been told about how society has changed since the advent of quirks. So here’s a rough timeline + my speculation.

Distant Past

≈200 years ago

The birth of a glowing baby signaled the beginning of superpowers. Considering the tremendous chaos that followed, I think it’s likely that the onset was fairly rapid—the glowing baby was the first of a lot of people all at once born with superpowers (or, it was the first baby born with a noticeable superpower). Crime skyrocketed, the law became meaningless, humanity came apart at the seams.

Why there was such an explosion of crime and chaos hasn’t been directly addressed; presumably it’s because early metas were violently shunned as nonhuman, and because new powers entailed the opportunity to use them.

Under these conditions, All for One rose to prominence. He used his meta power to win slavish loyalty, granting powers to those who desired them and removing them from metas who rejected them. His manipulation of his devotees was so great that he didn’t need to give them orders: they anticipated his will and acted on it. He didn’t tolerate dissent and crushed those who defied him. (ch193)

AfO’s period of de facto rule is not included in history books (he persists as a myth), so it’s unlikely that he occupied an official, publicly recognized position. But his rule apparently stretches from approximately the advent of quirks till the battle of Kamino Ward. (ch59)

However, AfO’s younger brother opposed him. AfO punished him by forcing on him a “useless” power-stocking ability. This power fused with the brother’s latent ability to transfer his ability, and the brother was able to pass it on. Over the next two centuries, the OfA holders continued to pass it on, largely to whoever happened to be nearby when they were dying instead of to selected proteges. (ch59, 257)

Relatively soon after the advent of superpowers, the police foreswore using them as weapons in order to keep the trust of the public. Vigilantes emerged to fulfill this role, attempting to mete out justice, and at some point the government authorized certain people (heroes) to use their powers offensively to enforce the law. Heroes were heavily criticized at first, but they eventually developed public support thanks to their strict adherence to the law (according to police chief Tsuragamae). (ch56)

According to the bnha spinoff Vigilantes, the government classified vigilantes into heroes or villains based on public opinion of them. (ch13)

MLA Era

How long ago was the Meta Liberation Army active?

Ch232: Redestro weakly implies that Destro was born before the beginning of heroes as a profession. This early date would also coincide with writing legislation to authorize heroes to use their powers to apprehend any other meta who used their ability.

Ch238: the MLA was in hiding for generations, plural.

Ch223: Redestro states the MLA has trained for “many generations”

So…somewhere between seventy years ago and more than a hundred years ago?

Regardless of the exact dates, Destro was born into a borderline period when there was intense prejudice against metas and official effort to coexist peacefully. When his mother defended him by claiming his power was a mere “quirk,” she was killed by a mob.

Sometime later, when the government drafted legislation to (supposedly?) promote peaceful coexistence, they recalled her idea of “quirk” and tried to use it as part of their reform. Destro, now an adult, opposed this and their reform, asserting that this was not the world his mother envisioned when she’d said “quirk.” (ch232)

He rallied metas to his cause, to bar any restriction of meta ability use, and the MLA fought the government for several years before defeat. It dissolved, many of its members in jail, including Destro himself. He penned his autobiography and then killed himself. (ch218)

Post-MLA, Pre-Symbol of Peace

Unknown number of years ago

Villain: “Seems like no one’s willing to break the law nowadays. All this whining about not selling out their friends. It’s a real pain. […] Man, I miss the days before All Might came along… I was young, and this country was a way more impulsive place.” (ch57)

Yagi: “I believed that this country needed a symbol so I started dashing headlong towards that goal. A shining light…hope. A wake-up call for everyone. As I ran, I swore I’d become that sort of man. People always had these worried looks. All the heroes in the world couldn’t slow the rising crime rates. Much more than now…they were truly scared.” (ch165)

This was an apparently cutthroat, impulsive period where efforts to curb chaos continued but found limited success. Crime was on the rise, something Yagi attributed to the idea that there wasn’t anyone (a “pillar”) for people to rely on. (ch93)

≈70 years ago

When Ujiko proposed his “paranormal singularity theory,” he was roundly rejected and mocked. Due to his own struggles with housing multiple quirks, AfO recognized how prescient Ujiko’s warning was, and he reached out to recruit Ujiko. (ch270)

(Note: Ujiko’s use of “paranormal” could mean he proposed his theory before “quirk” became the standard term, meaning “quirk” could be a rather recent change of language.)

≈35 years ago

AfO killed Nana. All Might was eighteen; he subsequently went to America to complete his training.

Symbol of Peace Era

≈30 years ago – Battle of Kamino Ward

Deku: “Ever since he appeared on the hero scene, his strength has won him undisputed popularity. Every year that he’s been active has seen a marked decrease in the appearance rate of villains. His existence alone is a deterrent to villainy.” (ch2)

Gran Torino: “[Stain’s] ideals and opinions…they’re gonna get out there. On the net. In papers and magazines. On TV. This age we live in, for better or worse, is one of suppression. But mark my words—people are gonna be influenced by this.” (ch57)

Shigaraki: “It’s not crazy to imagine that someone could commit an atrocity at any given moment. So why do they smile and mingle like this? Because the laws and rules are built on their individual morality, they’re convinced that ‘No one would ever do that.’” (ch69)

Shigaraki: “The reason these fools can smile and live their lives is cuz All Might’s always got that grin on his face. Smiling wide, as if to say there’s no one he can’t save!!” (ch69)

Deku: “All Might. Was there ever a time you really couldn’t save someone…?” Yagi: “…? … Sure. Plenty of times. Right now, somewhere out in the world, someone could be hurting or dying. It sucks, but I’m only human. I can’t save people who are out of my reach… That’s why I stand tall and smile. I’m the Symbol of Justice. The citizens…heroes…villains…I need to light the way for all of them.” (ch70)

Kid: “Nowadays people expect different things from heroes than they used to. It’s all about the entertainment factor and approval ratings.” (ch144)

Shigaraki: “You heroes pretend to be society’s guardians. For generations, you pretended not to see those you couldn’t protect and swept their pain under the rug. It’s tainted everything you’ve built. That means your system’s all rotten from the inside with maggots crawling out. It all builds up, little by little, over time. You’ve got the common trash, all too dependent on being protected. And the brave guardians who created the trash that need coddling. […] I don’t care if you don’t understand. That’s what makes us heroes and villains.” (ch281)

After about two centuries of chaos, Japan achieved stability after All Might established himself as the Symbol of Peace. All Might was specifically noted to have demolished most organized crime, so that villain teams were relatively rare (ch83, 115, 125). As Shigaraki put it, now people could go about their lives confident of their safety because All Might convinced them that everything will be alright, a hero will take care of them. This was true to the extent that people would flock to the sites of hero/villain battles to take photos and videos.

Whereas, as Twice put it, if you were on the wrong side of the law, then All Might’s catchphrase “I’m here” was a curse, something to fear and loathe. Gran Torino characterized this era as an age of suppression, as in, the symptoms were suppressed, producing superficial stability, but the underlying conditions hadn’t changed.

During this period, the industry of heroism shifted to over-emphasize heroism as public entertainment, rewarding attention-grabbing stunts and PR skills over humbler virtues.

This shift inspired Stain the Hero Killer to enact a purge of unworthy heroes in order to revive true heroism. He deeply impressed society, and, despite his murders, he became a popular figure. His ideals provoked some people to question whether society’s heroes were “true heroes,” while others disregarded his ideals and simply found him cool.

During this era, 80% of the population had a quirk. Whether that statistic was stable or if it was an effect of demographics (ie, most quirkless people are elderly and almost all kids have quirks) hasn’t been specified.

This era could be separated into All Might’s Bronze, Silver, and Golden Ages, each with a different costume.

≈30 years ago

All Might debuted in Japan, and he kicked off an unprecedented era of stability.

5 years ago

All Might fought and “killed” AfO.

Age of Endeavor

Battle of Kamino Ward – Present (ch283)

HPSC: “All Might had it all…power with enough charm to win the people over. The gulf between him and the perennial runner-up was always huge… I doubt we’re gonna find someone that charismatic again anytime soon.”  Mera: While we’re waiting for the next All Might, hero squads with a focus on team unity are gonna have to fill the gap. This order from up high is meant to make some headway on that front… (ch111)

Miyagi (newscaster): “If we’re being honest, I think All Might just got too big for our own good. So big that we lost sight of things. […] As for us, we shouldn’t just passively protect the status quo. Isn’t it our duty to bring back a culture of excitement around heroes?” (ch115)

Kid: “We know what’s up. Mom and dad and the TV all ask the same thing. ‘Are the heroes doing okay?’ …We know. We’re better than them!” (ch165)

Hawks: “That guy earlier, screaming ‘Long live metahuman liberation’…this [rumors of nomu sightings] is kinda like that. They republished some old-school criminal’s autobiography, and it’s flying off the shelves. I’m thinking that’s influencing people. That stuff tends to sell best when society’s feeling unstable, right?” (ch186)

Gentle: “What counts as a spectacle is a question for the current generation. We shall go to the source [UA]—the source that enchants our society.” (ch171)

Newscaster (surveying the stampede of fleeing civilians during Endeavor’s nomu battle): “This is society without a Symbol of Peace!!”  Can’tcha See-kun: “Stop saying that crap already!! Open your eyes before spouting off on TV! Especially at a time like this! Look! Those flames’re still rising up! You see ’em, right?! Endeavor’s alive and fighting!! So don’t give up just cuz the other guy’s gone! There’s still a dude out there risking it all for us!! Can’tcha see?!” (ch189)

Kuraishisu (newscaster): “In the past, a situation like this [the destruction of Deika City], where heroes were forced to make a difficult call, would have earned those same heroes criticism, but I suspect we may be witnessing a critical turning point in this era. A large-scale shift in opinion from criticism to passionate support.”  Uraraka: “Feels like everything’s different ever since the ‘Can’tcha See kid’ did his thing.”  Ashido: “It’s all cuz Endeavor kicked butt!” Mt. Lady: “Y’think the future’s bright? Not so fast!! It might seem like the winds of good fortune are blowing our way, but if you stop and think about the flip side of all this…it’s actually coming from a sense of urgency—it’s a response to danger! These cheers for the conquering heroes are really prayers—a plea that we emerge victorious! They’ve had enough of the showbiz side of heroism and want us to prove our worth for real now!” (ch241)

Mineta: “Not too long ago, she didn’t give a crap about anything except being on camera…” Aizawa: “Mt. Lady’s not the only one who has changed. Every hero out there is being pulled up by the number one’s rising ride.” (ch241)

After All Might retired, uncertainty gripped Japan as people wondered what would happen now. A strong consensus agreed that Endeavor wasn’t suited to fill All Might’s boots, something reflected in how the crime rate went up 3% in the month after Kamino, and reflected in how people suddenly became interested in reading the MLA ideology of rejecting heroes and protecting themselves.

During Endeavor’s battle against the nomu, the press attributed the public’s frantic stampede—ignoring heroes trying to guide evacuation—to the public’s lack of trust in Endeavor (and heroes generally) now that All Might was gone. Public trust improved after the nomu battle, especially thanks to Can’tcha See-kun.

Within a month after the battle, expectations shifted. People had enough of showbiz heroism and wanted the heroes to walk the talk and protect the public against villains, to the extent that comfortable armchair criticism was replaced a passionate support driven by fear of villains.

Miscellaneous Questions

When did “hero” become a recognized profession?

When did the hero ranking system begin?

When did the celebrity culture around heroes develop?

When did “quirk” come into common use?

How old is Yagi? How long ago did he debut in Japan and begin the era of peace?

How old is AfO? How long after the advent of quirks did he come to power?

When did AfO recruit Machia?

When were the nomu invented?

When did humanity pass the point of quirk singularity? (ch193)

[pochiperpe90]

Interview with the director of “They Call Me Jeeg”

Interview with director Gabriele Mainetti about the movie and the Zingaro (Luca Marinelli)

When I think back to “They call me Jeeg” I think of the Zingaro. In your film there is one of the most beautiful villains of Italian cinema of recent years, how was he born?

We wanted to create a villain that wasn't just bad. We wanted to give it a three-dimensionality, complicate it and make it fascinating and original. In my opinion, the Zingaro is a very successful character and much loved by everyone for a specific reason: because they feel him close. He is the victim of what is a bit of a contemporary neurosis, that is, the need to showcase himself. We are now victims of how many likes we get on social networks and how many views does the video we post on YouTube, and he’s interesting because when he was a kid he performed in a singing interpretation on ‘Buona Domenica’ and then he lived what many people did: he become a meteor (it means that his fame lasted very little). But it’s as if he had never accepted it and brought with him this narcissistic attitude, and he wants to become a respected and almost famous criminal, but it makes no sense, because criminals when they become so important have to live in basements, it's not that you can show off, so it's a bit of a nonsense, and that's all the madness of the Zingaro.

It was interesting, because when I met people to do the auditions they all came with - as they say in Rome - 'the nostrils of the nose widened like bulls', as the kind of bad guys who beat you. But the Zingaro is an intelligent, sophisticated character, with a talent, who can sing, elegant, who has his own aesthetic idea, he is beautiful, and therefore I needed someone who would bring me the intelligence of the character, and Marinelli although at beginning was very distant from what you saw on the screen, had made me glimpse this necessary feature.

The stakes were high. It was difficult after seeing Luca Marinelli as Cesare in Claudio Caligari's ‘Don't Be Bad’ to think that in a few months he would be back with another strong character.

I shot a year before ‘Don't be bad’ and this helped him a lot, he always recognizes it when he can. Luca was far from the peripheral element, he is a boy who grew up in a modest family, in the streets with his friends, but still he was in Prati, he wasn’t in San Basilio, in Tor Bella Monaca or Corviale. He has never experienced one of these realities, and this character must have had this reality in his blood here, and the need to redeem himself socially and find the famous 'turning point' of the criminal. I took him, took him to Tor Bella Monaca, we did a lot of tests, it was a very intense job. At the beginning there was a moment of jealousy, not because the ‘Maestro’ had taken him, but because it was released first, but it was right. At one point I said: "What do I care!", Caligari taught me so much with two films - if they say that Caligari has made little cinema, it’s the biggest bullshit that can be said, because in Caligari’s movies there is more of that cinema that in a hundred films of many morons. The fact that he saw this light inside Luca and the fact that I also saw it inside him, means that something works. I love Caligari, I love him as much as I loved ‘Don't be bad’.

I admit I was almost upset when at the press conference at the Quattro Fontane, here in Rome, Marinelli arrived in plain clothes, not dressed as the Zingaro …

He is very shy, very reserved, he’s exactly the opposite of his character. Paradoxically in life Santamaria is the Zingaro, and Enzo is Luca Marinelli …

The nice thing about the Zingaro is that we discover his character and his past little by little, when we think that the character has been defined and yet, not really. I loved his unexpected obsession with Italian singers, four queens of the Eighties: Loredana Bertè, Gianna Nannini, Nada and Anna Oxa …

We actually had an Italian singer in mind but we were unable to involve him, we thought of replacing him with another singer but we continued to find only women and we said to ourselves "but she doesn't have the power of this one", and in the end the idea: "but why don't we take several, as if he was an expert?", and this thing was born a lot with Luca, especially the musical choice, we went there, we evaluated them, we discovered which ones we could use - because you know music always has a cost ... I am a lover of all four singers put in the film, TOTAL, which should probably lead me to question myself about my sexual orientation, right now I continue to heterosexualize everything, but I love them, a lot, and I loved Anna Oxa when I was little, Berté despite now looking like Mickey Rourke is always super, great, she always has a crazy voice.

Since we met the Zingaro, with some of my friends, we greet each other with: «C’è una ragione che cresce in me»

To think that someone posted to me on the Internet: "If I started singing such a shitty song, it means that the film is really beautiful!", and I replied to him: "But how dare you saying that “Un’emozione da poco” is a shitty song, you are a shit!».

What was it like shooting the scene in which Luca Marinelli, in a shady club, sings and dances in a sequined jacket, shirtless, with just a glove, with his hair back, with high-heeled boots and tight pants, the song by Anna Oxa?

Luca did it I think 15 times. In the end, the voice was right, Luca has a very strong voice, he is very resistant, he never loses control. I made him do it a lot of times, because he wanted to make it perfect and I kept following him. I have told it through many fields. We have thought about it a lot.

Look, the Zingaro was a very difficult character. The look, how to throw his hair, how to dress him, how he had to sing, how he had to perform, which tattoos… is the character we have thought about the most. Then if you notice he is clearly a quote from David Bowie's Ziggy Stardust, especially in the final part.

Another thing that I liked so much about your film is that there are no good and bad characters. Bad guys are never just bad guys. And it’s precisely the weaknesses of the characters that make them close to us, the Zingaro who sings at the top of his voice “Non sono una signora” in the car with friends as if he was at the stadium, Enzo who eats the usual cream pudding in an atmosphere of extreme desolation in front of the TV, Alessia fixed with a single DVD, a cartoon for children. “They call me Jeeg” is a film about superheroes who are real people, who are so real that at different moments in the film we identified with a different protagonist of the three.

Thank you so much because this thing you say, is not easy. Usually the emotional vehicles are always one or two, three is tough. It all depends on how the writing is set up. The character is the most important thing in the film, because it’s the emotional vehicle of the viewer. In America they had already tried it in some films. Super didn’t have super powers but he was a sort of vigilant who disguised himself and went to do good, he was a loser in an American town who clashes with this boss, microboss of the underworld, and must kill the Evil. The Manichean vision between Good and Evil, which is very American, still makes me laugh.

This attempt to mix what I call the ‘Pasolini element’ with the ‘fantastic element’, which I had already tried in my short films ‘Tiger Boy’ and ‘Basette’, comes naturally to me. You know, I was lucky enough to have done the American school, I was part of the University in New York, my grandmother lived the first years of her life in New Jersey, I have relatives in New Jersey, my sister lives in America, I have a very "happy" relationship with America, the American system is total crazy, but I understand their cinema, and I understand their fictions, and I understand why we digest some things and we don't digest others, I know how we work. For me, the only way to get to the suspension of disbelief was to tell characters that are as real as possible, then hook on to a very strong experience. Because if you are so passionate about him, you can't not believe him when he has super power, but he has to react to super power as anyone would react. They are really well written.

This thing here makes me laugh ... No one has ever focused on this thing. This guy falls from the top floor and runs away! Escape! What the fuck are you running away for? He wasn't hurt but he runs away, he has to run away because he's afraid, he goes back home and if he has to, he can't think about it yet, he doesn't think about it yet, but it's typical of someone who doesn't want to have responsibility. Then when he gets angry that he punches the wall, he still struggles, and when he becomes aware of the fact that he has super powers, since he is a criminal, what does he do? He rob an ATM, to buy more yogurt. That's where the stuff works. If, on the other hand, you made him fall from the top floor and then say: "Damn, I’m so strong!", he would jump again, climb up, smash his head, gut, takes his cocaine, it seemed, you know ... but what are we talking about.

The 80s songs, Buona Domenica, YouTube, superheroes, the Roman suburbs, the Olympic stadium ... the mix of elements that are part of the story of “They call me Jeeg” could be very risky, but the way it’s narrated makes this a winning combination. You tell things you know without judging them.

Exactly. Many kids call me and tell me: «Ah, but how did you do it, but how did you do it», «How it should be done» I replied: «Guys, you should talk about things that concern you!». You have to talk about the things that belong to you, and try to insert them into what the cinematographic genre is, that genre has its codes, if you want to do an even more extreme operation, but I don't recommend it, you have to completely subvert them. But you have to make it work for what you are doing. I am an admirer, for example, of Puglielli's ‘Dorme’, it's a WONDERFUL film; he recounted the frustration of his height, which is actually a shortness. We must start from the things we know, from our frailties. Unfortunately, the American superheroes, especially the Marvel ones, lately, are all plastic. I always ask myself, a question that always arises spontaneously, but how the fuck do they put all that spandex stuff on? How do they get into it? Do they all oil themselves first? It looks like a wetsuit ... I find it really ridiculous. In fact, it's not that I don't like superhero movies, I like Batman, because he still has a great internal conflict and everything, but here I need characters with great fragility. My favorite superhero movie is The Guardians of the Galaxy, because I know five ramshackle people who have the responsibility of saving the world. And they manage to do it, how? Because they establish a true relationship between them, which is that of friendship, and realizing that they love each other, they understand that they can also love others and say to each other "Oh well, let's save these assholes", it's fantastic, it's fantastic, it's beautiful. I can empathize with them. Certainly with Superman I can’t, I can’t succeed.

In the days I watched “They call me Jeeg” I had arrived at the third episode of Jessica Jones, the Netflix series in which the protagonist takes the opposite path of Enzo, from superheroine to 'normal' person, investigator with somewhat special powers. What do you think of recent series or movies that have a superhero at the center?

I saw the first two episodes but it bored me a bit. Deadpool is just the answer to this clean cinema, with him farting, getting sodomized by his partner and he's nice, but he didn't convince me too much, because he is in reaction to the plastic of these super heroes, and therefore he mocks everyone. But I don't give a damn about that either. I want the story of a person, I want the story of a character, that's the thing that excites me. I saw Daredevil and I didn't mind, it wasn't bad.

The background of Rome in “They Call Me Jeeg” is an important component. Are there any Italian films set in recent years, in the capital, that you care most about? I think of Romanzo Criminale, The great beauty, Don't be bad, Suburra.

They are very different films. Sorrentino has such a unique look that one cannot fail to recognize it. Formally it’s indisputable. Sometimes, from a content point of view, there are some things that I probably can't grasp, and I don't know if it's my limit; I like to get excited, the staging excites me, but I don't know, I love ‘La dolce vita’, I love Fellini, I love ‘Otto e mezzo’, that distorted and grotesque vision that he had ... but there is no comparison, that would be nonsense.

“Don’t be bad” is certainly the one that excited me the most. Who wants to make a certain type of cinema, social cinema, committed cinema, should study this ability of Caligari (but how much has he been criticized? Because yes, "Masterpiece" and that and that, but everyone criticizes a lot of it, because they are infamous ‘rosiconi’ → jealous people in the Roman dialect). What Caligari teaches is that he puts you next to a character with extreme problems but makes him feel like a friend, makes you understand that he is like you and allows you to identify. He has a deep friendship which is that between Cesare and Vittorio, he has a love story, the character of Cesare, as well as that of Vittorio, even the drug itself is experienced as fun at the beginning, as a sort of pact of love between the two of them, then you understand many things, that is something that is a great lesson in cinema, it’s a lesson in profound cinema, of cinema that interests me, cinema that excites you.

Romanzo Criminale is a very successful genre operation, which has highlighted the possibility of tackling the genre when it was thought to be banned; when I had this subject in 2010 I used to shoot like a jerk for all the productions and they said to me that: "Don't have to do this thing, because it doesn't make sense, genre cinema isn’t liked in Italy, it doesn't work, it's a waste of time, among other things, we don't have the skills to organize it», and instead Romanzo Criminale, then the series, then Gomorra the series, Suburra, now they make Suburra the series, is telling the opposite. Fortunately there is a Romanzo Criminale, fortunately there is ‘The Great Beauty’ who won the Oscar, fortunately there is ‘Don't be bad’.

DUDEMAG

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)  

[dannyphantom-justiceleauge]

What would the Guardian of Heroism's duty consist of... I know Clockwork is supposed to watch over all of time and space to keep the universe in balance but what Danny do?

he obviously works closely with clockwork and while clockwork’s job is to make things run smoothly and best relative to some greater interest in the universe, he probably has a time interfering directly. he mentioned before that he has the areal view of all of time and space. he’s the big picture guy. i see danny as being the man on the ground. he’s in the trees and guiding the parade when it goes off course. i think that used to be clockworks job, but he’s encouraged to be as neutral as possible and knowing everything probably makes him seem rather heartless at times. he lacks the human element that danny has. so having danny to do that side of job, makes things easier and fulfills danny’s obsession. also fits with clockwork directly interfering with danny’s bad timeline and letting him experiment and learn in the one where he was never born. strikes me as clockwork training him.

as for the directly interfering/guidance element of danny’s job, i imagine it’s a ‘good for the many kind of morality. they can’t save anyone and sometimes hard amoral choices have to be made. so take batman for instance. danny could have save batman's parent, right? turned them intangible, defeated the gunman. but i feel that at some point in the comics long history it must have been explored what exactly would happen to Gotham if the dark knight hadn’t appeared. yes theirs plenty of talk about how batman escalated the kind of villains Gotham had, but he also saved countless lives over the year and if he didn’t become a hero then those people would be dead.

i think it would be danny’s job to make hard decisions like that. but unlike clockwork he’s a lot closer and a lot less cold about these decisions. he’s the moral authority and an empathetic guide. (not that clockwork isn’t empathetic). he gets good at making the right choices without clockwork spelling out the timeline for him.

danny’s also just a symbol. being a hero is an extremely hard path. it’s never easy, it’s unforgiving and however worth it is, being strong all the time is impossible. it’s easy to go down a darker path. it’s easy to lose yourself in the work. sometimes people forget what they’re fighting for. danny as the guardian of heroism is sort of meant to be the ideal. but not in a distant way. for instance superman is a symbol of strength and justice but he often seems distant and untouchable. for the heroes that danny helps, he’s just a person who showed up and helped them. he gave them good advice, reminded them of what they cared about, or saved them. when the heroes remember danny they aren’t seeing some untouchable all powerful figure, they’re just having good memories of a good person.

beyond saving lives, kindness can go a long way in saving someone. it’s a lesson danny had to learn multiple times. but as the series progressed we saw how he had an easier time as he befriended and talked to the ghost than he did fighting and defeating them.

heroism at it’s core is about helping people. you can be someones hero by talking to them, by helping them do a chore they can’t, by being present when they need someone, and of course by saving their life. so that’s the sum of it. danny’s duty is to help people. danny’s duty is to help others save people.

sometimes that him facing down an impossible enemy, sometimes that’s comforting a crying child. either way he’s doing good - Hestia

[army-of-mai-lovers]

Why Amon Should Have Been An Android

(spoilers for LoK and Young Justice season 1) 

If you followed my LoK liveblog at all you may have noticed that I theorized at one point or another that all four major villains of LoK (Amon, Unalaq, Zaheer, and Kuvira) were secretly robots/androids (the term I used was robot, but the more accurate term would have been android.) Now, with Unalaq it was definitely just because I found him boring, with Zaheer it was to make fun of the fact that he was an Airbending prodigy with zero training, and with Kuvira it was because it was a thing at that point for me to predict that an LoK villain was a robot (and I was kind of right that time!!) 

But with Amon? I was completely serious. We never see his face, his cause is stupid (and the perfect way for his programmers to start some trouble in Republic City), and he was able to resist bloodbending, which, if you’ll recall, requires that the victim have blood for it to work. You know who doesn’t have blood? That’s right, androids/robots. 

But there’s another reason that I sincerely thought Amon was going to be a robot (android), and it’s the reason I’m writing this. There was something naggingly familiar about LoK to me, and no, it wasn’t that it was a sequel series to ATLA. To me, LoK doesn’t really feel a lot like ATLA (barring, of course, the very poorly shoehorned in fanservice cameos of Iroh, three times, like he’s a recurring character or something.) I struggled to pinpoint exactly what it was, but in my own observations and the observations of other people that I was talking to while liveblogging, a couple key differences became clear: 

[ID: an image of Korra from the back looking out towards Republic City, which is shown to have large white skyscrapers, a bay, and numerous smaller buildings. Much of it is obscured by fog and clouds. The city is built in the middle of a sprawling bay. /End ID]

1. the setting of LoK is incredibly Americanized and Eurocentric. While ATLA displays a lot of cultural insensitivity towards the cultures it borrows from in choosing how to depict them, LoK...doesn’t really depict other cultures. Republic City to me felt very similar to how 1920s New York is typically depicted in media, and no setting in the Earth Kingdom or Water Tribe was explored enough to really explore the unique cultures of those settings. While you can tell in ATLA that bryke was somewhat interested in (a vague, exoticized, unrealistic vision of) East Asian culture, LoK is very clearly inspired by America and Europe, with very little else influencing how the setting was depicted. 

2. there are no “unimportant” people in LoK. Everybody is related to somebody we know from ATLA (or somebody from ATLA), a powerful business mogul, military, somebody high up in the government, a celebrity, and/or the Avatar. The only character I can really think of that’s an exception to this is Kai, who really does not have much of a role. (I guess you could argue that Mako is an exception but y’know...he was a famous pro-bender for a while there) You don’t just get to meet a regular person living in a village anymore. Every character in LoK has political, social, or cultural power. 

These points, put together with the technological prowess of the world of LoK (which is different season to season and sometimes even episode to episode depending on how the writers are feeling that day), made the show feel very distant from ATLA, but very, very close to another show that I have watched and loved. And that show is Young Justice. 

[ID: an image, from left to right, of Batgirl, Blue Beetle, Bumblebee, Beast Boy, Miss Martian, Nightwing, Superboy, Wondergirl, Robin, and Red Arrow in the foreground, posing together. Above them and in the background are the adult heroes, obscured in shadow. From left to right, Red Tornado, Aquaman, Martian Manhunter, Batman, Superman, the Flash, Green Arrow, and Wonder Woman. They are all against a gradient blue background. /End ID]

For those not in the know, Young Justice is a DC animated cartoon focusing on the teen sidekicks, proteges, and relatives of superheroes like Batman, Superman the Flash, Green Arrow, Aquaman, Martian Manhunter, and others banding together to form their own superhero team. YJ is set in America, vaguely, with characters residing in cities with names like Gotham City, Star City, and Central City (a naming convention that Republic City fits right into). And as is apparent from the premise, most of the characters you’ll meet in YJ are superheroes, related to superheroes, or otherwise important business moguls, celebrities, or political figures. And while the world of YJ is of course significantly more technologically advanced than that of LoK, there’s more overlap than you’d think. Besides spaceships, teleportation, smartphones, and genetic engineering, there’s really not a lot of tech that YJ seasons 1 and 2 have that LoK doesn’t. 

So you may be thinking, “ok Arthur, we get it, you’re a fucking nerd, what does this have to do with robots?” I’m glad you asked! One of the storylines of YJ focuses on the war between rival tech moguls Tio Morro and Professor Ivo, in which they build increasingly sophisticated androids. Ivo’s are pretty much just designed to kill supers, but Morro’s are expressly designed to mirror the human psyche, and desire to be a part of human society. Amon very clearly also desires a community, and does much of what he does to integrate himself into a community of nonbenders where he really doesn’t belong. Further, Morro’s androids are immune to threats that humans are not immune to because they are not made up of organic matter. For example, in season 1, episode 3, Miss Martian attempts to read Red Tornado’s mind, to no avail, because she can only read the minds of organic beings. In a similar vein, Amon was able to resist bloodbending, and while unfortunately that was not because he was an android, it would have made sense given the conventions of the cartoon android genre. I didn’t realize it at the time, but my previous YJ knowledge very much influenced the way I read that scene. The way Amon’s body was animated very much mirrored the animation of Morro’s androids trying to resist their evil creator’s programming. 

So, I’ve taken you through the what, the how, but I promised that I’d say why Amon being an android would have been better, and I plan to deliver. First, it needs be remarked that while Amon being an android wouldn’t have made much sense, it would have only made slightly less sense than the canon explanation of Amon being Tarrlok’s secret brother. In fact, I’d argue that, if handled correctly, Amon being an android could make more sense and be more impactful. Here’s how I envision it: android! Amon would be pretty similar to Red Tornado, in that he would know that he was an android and be programmed to help people. He was of course, built by Hiroshi Sato (that man designed and likely built all the Equalists’ weapons he has the range), who sees himself as a sort of father to Amon. Hiroshi tells Amon about the systemic disenfranchisement of nonbenders and how a Firebender killed his wife, and Amon, being programmed to want to help people and to desire participation in human society, decides he wants to lead a revolution against benders. However, an android can’t very well openly lead a revolution (you could add a bit in the backstory episodes about how humans don’t trust androids or something), so Hiroshi and Amon come up with the story that Firebenders burned his face and hands, which is what prompted him to lead the revolution. Thus, his whole body, including his face, is covered, and his followers assume that it’s because the burns are so bad, and they follow him. In the latter half of the season, the krew would uncover Hiroshi’s involvement with the Equalists, but Asami would be the one to realize that Amon is an android that Hiroshi built. Amon being Hiroshi’s “son” of sorts would be another element of Asami coming to terms with the evils of her family, as Amon in this case would be a machine programmed to be easily manipulated to follow Hiroshi’s cause and would consider himself her brother, and she would have to reckon what to do with both of them. The nonbenders’ cause would still be legitimate after Amon was exposed as an android (unlike it is when the literal figurehead of their movement is also antithetical to their movement) and the heroes would have to reckon with the realities of bender supremacy and the hurt it caused. Amon could even get a redemption arc and work with world leaders to make a better society for nonbenders and androids like himself (I’m sure there’s some parallel you can draw between nonbender oppression and android oppression, though I can’t think of one atm) As an added bonus, Amon wouldn’t be able to bend, so he couldn’t bloodbend Korra, which would be one less time that an LoK villain took away Korra’s bodily autonomy. Amon could even be a recurring character in the later books, because really, wouldn’t LoK have been more fun with a newly-redeemed android sidekick still learning about what the world is outside of his creator’s narrow worldview? Plus, that would give Asami more to do in books 2 and 3 than meet Varrick and participate in love triangle drama (Amon is of course replacing Varrick’s presence on the show), and getting to know and bond with Amon could be the catalyst for her visiting her father in prison in book 4. 

Remember, I didn’t claim that this would be good, I claimed that it would be better, and since the bar was on the ground with that secret brothers twist that wasn’t too hard to accomplish. tl;dr bryke are cowards, take the plunge and make him an android.