#I have no problem with people using a game or other work of fiction to inform their own lives and experiences

[centaurianthropology]

One thing that I think a lot of Disco Elysium meta misses (likely because a lot of it is very clearly written by young Americans writing from an intensely American-centric cultural perspective without even really realizing it) is that one of the singular and central themes of the game is massive-scale generational trauma in a home that is economically collapsing as its resources and people are being drained by an occupation.  People have noted that no one tries to help Harry, despite the fact his mental illness is incredibly obvious to everyone around him.  He tells Kim that he completely lost his memory, and Kim politely asks him to focus on the work.  He tells Gottlieb that he had a heart attack, and Gottlieb tells him that if he’s still alive it couldn’t have been that bad.  That he’ll drop dead sooner or later, but then so does everyone.

And that’s the most important thing: so does everyone.  Look at Martinaise.  Look at the world in which Harry lives.  It is not our own, but it is adjacent to ours.  More specifically, it is clearly adjacent to the states of the Eastern Bloc: overtaken and occupied by a faraway government that clearly doesn’t care about Revachol or its people.  And that is obvious in every tired face, every defeated citizen, everyone trying to eke out a little happiness or meaning in spite of the overwhelming trauma and damage around them.  The buildings are still half-destroyed.  The bullet holes are still in the walls.  The revolution was decades before, but it still feels to the people there like a fresh wound.  The number of men of Harry’s generation who are not alcoholic or otherwise deeply fucked up are very few.  Some, like Kim, hide it better, but the deeper you dig into his history, the more you realize how damaged Kim is.  He’s more than a little trigger happy, and hates that about himself, but he is a product of his environment: Kim’s entire life is seeing people he cared about shot and killed, so his instinct now is to shoot first himself, to protect those few people left who still matter to him.

Harry is not unique in his trauma.  He is a distillation of an entire culture of people who tried to rise up and make something beautiful, and were instead routed and occupied.  He is trapped between the occupation and the people on the ground, along with all the rest of the RCM.  Their authority comes from the occupying government, but it is implied that they were formed out of the remnants of the citizens militia which sprung up from Revachol itself as a way to try to mitigate some of the horrors being committed on its streets.  The Moralintern sure as hell wasn’t going to get their hands dirty, so they happily conscripted (and therefore could better control) this group, who are only recognized in certain places, and whose authority mostly amounts to giving out fines.  The RCM is corrupt, but it is corrupt in the same way its culture is.  Bribes are considered standard with them, not a moral failing, but a necessity, so long as those bribes are correctly logged as ‘donations’.  It’s how the RCM stays afloat, and the rest of Revachol completely understands that.  Everyone would take a bribe if it meant they kept eating.  Everyone would take a little under-the-table money if it meant keeping a roof over their heads.  The officersof the RCM certainly don’t make enough to see a doctor.  They have an in-house lazarus, and if he can’t fix them they just die.  Mental health care?  What mental health care?  Harry doesn’t get it for the same reason no one else does: it doesn’t really seem to exist.  There are no counselors, no psychologists, no psychiatrists.  How would they even start?  If the world is what is broken, if everyone is suffering a similar catastrophic amount, it makes sense that Harry’s trauma would simply get rolled up with all the rest.  Kim asks him to get on with the job because Harry’s suffering is not remarkable in Revachol.  He is one of an entire generation who have an astronomical number of orphans from the revolution, and so many younger people are left more or less orphans as their parents drink themselves into oblivion like Cuno’s father.  So Harry’s truly unique attribute is embodying all that trauma, having it all inside of him, filling him to bursting.

To really engage with the themes of the game, engaging first and foremost with the reality of Revachol is imperative.  Imposing our own reality onto Revachol, particularly if coming from an American perspective (which tend to have the habit of both viewing the world through an American lens and not realizing they’re doing it because they’ve never experienced a different lens), will always feel shallow to me because of this.

All that is to say, I would love to hear some more explicitly European meta about this game, and especially Eastern European meta.  If anyone can point me to some good, juicy essays from that perspective, I would be grateful!

#Disco Elysium #is such a good game #but I found a lot of the meta around it frustratingly shallow #and very VERY American #which is also frustrating #given how clearly Eastern European the roots of this game are #I have no problem with people using a game or other work of fiction to inform their own lives and experiences #but I find it strange when people engage with the game #as though it was coming from an American perspective #asking why certain things happen or didn't #based on how they would play out or have played out in America #anyway this a rambly way to request some meta from other cultural perspectives #I am very interested in reading it! #Disco Elysium meta

[makapatag]

realities, maximalism,and the need for big book™️

some gubat banwa design thoughts vomit: since the beginning of its development i've kind of been enraptured with trying to really go for "fiction-first" storytelling because PbtA games really are peak roleplaying for me, but as i wrote and realized that a lot of "fiction first" doesn't work without a proper sort of fictional foundation that everyone agrees on. this is good: this is why there are grounding principles, genre pillars, and other such things in many PbtA games--to guide that.

broken worlds is one of my favs bc of sheer vibes

Gubat Banwa didn't have much in that sense: sure, I use wuxia and xianxia as kind of guideposts, but they're not foundational, they're not pillars of the kind of fiction Gubat Banwa wants to raise up. there wasn't a lot in the sense of genre emulation or in the sense of grounding principles because so much of Gubat Banwa is built on stuff most TTRPG players haven't heard about. hell, it's stuff squirreled away in still being researched academic and anthropological circles, and thanks to the violence of colonialism, even fellow filipinos and seasians don't know about them

this is what brought me back to my ancient hyperfixations, the worlds of Exalted, Glorantha, Artesia, Fading Suns... all of them have these huge tomes of books that existed to put down this vast sprawling fantasy world, right? on top of that are the D&D campaign settings, the Dark Suns and the Eberrons. they were preoccupied in putting down setting, giving ways for people to interact with the world, and making the world alive as much as possible.

one of my main problems with gubat banwa was trying to convey this world that i've seen, glimpsed, dreamed of. this martial fantasy world of rajas and lakans, sailendras and tuns, satariyas and senapatis and panglimas and laksamanas and pandai... its a world that didn't really exist yet, and most references are steeped in either nationalism or lack of resources (slowly changing, now)

i didn't want to fall back into the whole gazeteer tourist kind of shit when it came to writing GB, but it necessitated that the primary guidelines of Gubat Banwa were set down. my approach to it was trying to instill every aspect of the text, from the systems to the fluff text to the way i wrote to the way things were phrased, with the essence of this world i'm trying to put forward. while i wrote GB mainly for me and fellow SEAsian people, economically my main market were those in the first world countries that could afford to buy the book. grokking the book was always going to be severely difficult for someone that didn't have similar cultures, or are uninterested in the complexities of human culture. thus why GB had to be a big book.

in contemporary indie ttrpg spaces (where I mostly float in, though i must admit i pay more attention to SEAsia spaces than the usual US spaces) the common opinion is that big books like Exalted 3e are old hat, or are somewhat inferior to games that can cram their text into short books. i used to be part of that camp--in capitalism, i never have enough time, after all. however, the books that do go big, that have no choice to go big, like Lancer RPG, Runequest, Mage, Exalted are usually the ones that have something really big it needs to tell you, and they might be able to perform the same amount of text-efficient bursting at the seams flavor writing but its still not enough.

thats what happened to GB, which I wanted to be, essentially, a PbtA+4e kind of experience, mechanically speaking. i very soon abandoned those titles when i delved deeper into research, incorporated actual 15th century divination tools in the mechanics, injected everything with Martial Arts flavor as we found our niche

all of this preamble to say that no matter how light i wanted to go with the game, i couldnt go too light or else people won't get it, or i might end up writing 1000 page long tome books explaining every detail of the setting so people get it right. this is why i went heavy on the vibes: its a ttrpg after all. its never gonna be finished.

i couldnt go too light because Gubat Banwa inherently exists on a different reality. think: to many 3 meals a day is the norm and the reality. you have to eat 3 meals a day to function properly. but this might just be a cultural norm of the majority culture, eventually co opted by capitalism to make it so that it can keep selling you things that are "breakfast food" or "dinner food" and whatnot. so its reality to some, while its not reality to others. of course, a lot of this reality-talk pertains mostly to social--there is often a singular shared physical reality we can usually experience*

Gubat Banwa has a different fabric of reality. it inherently has a different flow of things. water doesn't go down because of gravity, but because of the gods that make it move, for example. bad things happen to you because you weren't pious or you didn't do your rituals enough and now your whole community has to suffer. atoms aren't a thing in gb, thermodynamics isn't a real thing. the Laws of Gubat Banwa aren't these physical empirical things but these karmic consequent things

much of the fiction-first movement has a sort of "follow your common sense" mood to it. common sense (something also debatable among philosophers but i dont want to get into that) is mostly however tied to our physical and social realities. but GB is a fantasy world that inherently doesn't center those realities, it centers realities found in myth epics and folk tales and the margins of colonized "civilization", where lightnings can be summoned by oils and you will always get lost in the woods because you don't belong there.

so Gubat Banwa does almost triple duty: it must establish the world, it must establish the intended fiction that arises from that world, and then it must grant ways to enforce that fiction to retain immersion--these three are important to GB's game design because I believe that that game--if it is to not be a settler tourist bonanza--must force the player to contend with it and play with it within its own terms and its own rules. for SEAsians, there's not a lot of friction: we lived these terms and rules forever. don't whistle at night on a thursday, don't eat meat on Good Friday, clap your hands thrice after lighting an incense stick, don't make loud noise in the forests. we're born into that [social] reality

this is why fantasy is so important to me, it allows us to imagine a different reality. the reality (most of us) know right now (i say most of us because the reality in the provinces, the mountains, they're kinda different) is inherently informed by capitalist structures. many people that are angry at capitalist structures cannot fathom a world outside capitalist structures, there are even some leftists and communists that approach leftism and revolution through capitalism, which is inherently destructive (its what leads to reactionaries and liberalism after all). fantasy requires that you imagine something outside of right now. in essence read Ursula K Le Guin

i tweeted out recently that you could pretty easily play 15-16th century Luzon or Visayas with an OSR mechanic setting and William Henry Scott's BARANGAY: SIXTEENTH CENTURY PHILIPPINE CULTURE AND SOCIETY, and I think that's purely because barebones OSR mechanics stuff fits well with the raiding and adventuring that many did in 15-16th century Luzon/Visayas, but a lot of the mechanics wont be comign from OSR, but from Barangay, where you learn about the complicated marriage customs, the debt mechanics, the social classes and stratum...

so thats why GB needs to be a (relatively) big book, and why I can contend that some books need to be big as well--even if their mechanics are relatively easy and dont need more than that, the book, the game, might be trying to relay something even more, might be trying to convey something even more than that. artesia, for example, has its advancements inherently tied to its Tarot Cards, enforcing that the Arcana guides your destiny. runquest has its runes magic, mythras (which is kinda generic) has pretty specific kinds of magic systems that immediately inform the setting. this is why everything is informed by something (this is a common Buddhist principle, dependent arising). even the most generic D&D OSR game will have the trappings of the culture and norms of the one that wrote and worked on it. its written from their reality which might not necessarily be the one others experience. that's what lived experience is, after all

*live in the provinces for a while and you'll doubt this too!

#gubat banwa #ttrpg #filipino #fantasy #writing #rpg #gamedev #dnd

[r6shippingdelivery]

There’s been a lot of talk about AO3 and censorship lately, due to one of the candidates to the OTW board. And I realised I have very strong Opinions:tm: about censorship and the freedom AO3 stands for.

Censorship is not a solution. It doesn’t work and it’s not even easily agreed upon where the line should be drawn. What some people might deem as immoral or reprehensible is not the same others will consider so. For example, you and me can agree that sexual stories about minors turn our stomach, yet other people would also include LGBT+ content there, even the sfw ones, and others might decide that any sexual content at all is immoral. So, how do we agree about what to ban, when nothing of it is even illegal?

because let’s be honest, it’s all fiction. As in, not real. Things like incest, rape and pedophilia are illegal irl, but not in fiction. Cause they’re not harming anyone. Really. You can find it disgusting, I certainly do, but I also recognize no person, no actual human, is harmed in the making of those stories. Because they’re made up and about made up characters. I won’t seek it out, and if I see someone making that kind of content I will most probably avoid them/block them (without harassing them), but they have the right to create any kind of fiction they want.

It always baffles me how readily understood that is when it comes to murder and violence in fiction. Nobody thinks that someone who writers murder mysteries or procedural shows really wants to go out and kill people. However, as soon as it’s about sex, people are up in arms ready to believe that those make believe scenarios are an indicative of someone’s real desires. Why is that? And since we’re on the topic of double standards: why are people clutching their pearls about fanfic, but literature gets a free pass, more or less? You go into a library and you’ll find lots of books with shocking and distasteful topics, including those that contain pedophilic content (like Lolita, to put a famous example), incest (Game of Thrones, among many others), rape, murder, etc. But they want me to believe that fanfic, the medium with severely impaired social acceptance and magnitudes smaller reach, is the actual problem that will “normalize” those ideas? Nah fam, I smell a moral panic, and people finding fanfic writers easier to bully into submission. Because this is all about controlling what forms of creative expression are deemed acceptable. Fanfic IS a form of art, popular art if you will, but still art. And by virtue of how AO3 is designed, it’s ridiculously easy to never see the kind of stories that you find objectionable.

Tags are a wonderful thing. I can specify what I want and what I don’t want in my story results when searching! Tags are the author being responsible and giving due warning. Especially the “dead dove: do not eat” tag, it lets you know that the content of the story will have questionable content, proceed at your own risk or keep scrolling. Same as the “chose to not use archive warnings” that one is a warning in itself that the story might contain triggering/upsetting content, and it’s the prerogative of each reader to decide whether they’re comfortable continuing reading or not. Ultimately, it’s all about taking responsibility for one’s decisions. People who are in favor of censorship in AO3 either don’t know how to control and curate what materials they access, or feel entitled to everyone else taking their morals into account instead of taking responsibility for their own experience in the archive.

None of the stories on AO3 is illegal. Fictional stories are not illegal, not even those dealing with unsavory topics. The archive makes people agree to continue reading whenever you click on a story with a certain rating (or without any rating at all, just in case!), so the reader is giving their consent to continue reading, they’re making an informed choice. Same as with the tags. They’re there, they’re a warning. If someone reads the tags, finds them displeasing and still continues reading, that’s on them. If I find a story with tags about rape/non-con, for example, I keep scrolling. Cause I know I will find the story displeasing and upsetting. The people clutching their pearls and going “but think of the children!” are, mostly, people who refuse that responsibility and ask the world to accommodate them and their morality. And then throw around words like pedohilia and accusations of “kiddie porn” careleslly, watering down the seriousness of such accusations. No, an explicit fanfic of twin, underage siblings going at it is not CSA. Cause there’s no real children involved in it. It might be disgusting for a lot of people (me included), understandably, but you can 100% avoid reading it and interacting with the people who write those. 

Finally, let’s not forget the recent history of fandom spaces, shall we? LiveJournal and Fanfiction.net both had purges of content, after some campaigns for censorship gained traction and popularity. So now everything relating to certain topics is eliminated! Well, except that also includes communities of support for survivors of sexual abuse (it happened in LJ). Well, except that the people pressuring for censorship weren’t happy with the gay smut either, so a lot of LGBT related stuff is now also gone! (happened both in LJ and ff.net). Except, in some countries anything sexual at all, is frowned upon, so why not ban that too? Censorship supporters will always move the goalposts, forever shifting their aim whenever they accomplish something. Because it’s easier and more comfortable to make others conform to their standards than accepting some artistic expressions will be uncomfortable to some people. And trust me, none of them will care if the dark fic in question was written by a survivor of similar experiences trying to cope with their trauma or raise awareness, or if it was done simply for titillation or to safely explore different scenarios in fiction. And the topics that were banned in those websites didn’t disappear at all, they just weren’t properly warned for/detailed in the summaries, so anyone could stumblre upon them by accident. The complete opposite of what happens in AO3.

AO3 was created by people who lived through those censorship events in different fandom spaces, as a response to it. To seeing whole communities and swathes of fan content being unceremoniously deleted overnight. AO3 is an archive and an online library, not a social media platform. It’s a safe haven for anyone to host their fan creations, but that doesn’t mean it’s a safe space as people understand the term in other platforms. In AO3 you make your safe space by using the tags. Because that is the only real way we can have a safe haven for EVERYONE. 

The thing about freedom of speech is that sometimes, you have to defend things you dislike (that, I repeat, are legal in this case), because experience has shown time and time again that as soon as you give an inch to the censors, they take more and more. And today they’re up in arms about “pedophilic fanfics”, but once that is done? It might be all nsfw content, it might be trans related content, it might be something else. But it will happen. 

#ao3 #fanfiction #fanfic #censorship #freedom of speech #anti anti #okay I'm entering the discourse I'm sorry

[linkspooky]

The Supreme King Judai vs. Dark Deku: How To Do a Dark Deconstruction of your Shonen Hero!

Think of this as less me complaining about My Hero Academia, and more me taking a closer look at the writing of the Dark Deku arc and why it failed to achieve what it set out to achieve.

I like to look at writing on a deeper level than Thing Bad, and Thing Good. Imagine a story is a car engine that won't start, in order to find the problem you've got to disassemble all the pieces and look at them one by one to see what pieces aren't working. That's the kind of criticism I'm talking about, break storytelling down into different tools like parts of an engine, plot, world, characterization, ideas, actions and consequences and then look if the author is using those tools effectively to sell a story.

In other words we're talking about the difference in ideas and execution. All works of fiction have ideas, even bad anime can have good ideas inside of it. The idea in question is Judai's case is can exploring the dark side of a hero. Can a hero's positive qualities also lead them down a dark path? Yu-Gi-Oh Gx answers this in a satisfying way, and My Hero Academia I'm going to argue does not.

IDEAS VS EXECUTION

One piece of writing advice I heard from Brandon Sanderson of all people that always stuck with me is "Ideas are cheap. You can always come up with more ideas."

All works of fiction have ideas and themes no matter what the Game of Thrones guy say, but some works are better at communicating their ideas than others. I want to quote a Homestuck Ending analysis of all things to explain what I'm talking about.

When you are a writer you can write anything you want. But if you want to write a story that people want to read you have to follow the rules of good storytelling. There are reasons why storytelling rules exist. A story is a bond between author and reader, readers to other readers. It is a communication between humans and humans work in a certain way. Storytelling rules are rules of communication. Rules for handling expectations and saying what you intend to say without it being misheard. Rules for tugging at emotions and pulling heartstrings in a good way rather than a bad way. Storytelling rules are lessons learned by authors of the past that failed to communicate what they needed to. They are not that subjective.

Chief among these rules is buildup and payoff. In fact one of the most basic techniques of storytelling is foreshadowing, in screenplays you usually foreshadow one important twist, then add a reminder so the audience doesn't forget, before finally paying it off.

To simplify build up and pay off I like to refer to it as question and answer. Usually a story will ask its audience a question, and usually by the end that question is answered, unless the point is to leave that question unanswered / ambiguous.

Character arcs are examples of buildup and payoff too, a lot of characters, especially in serialized media are sold on their potential future development. Here's an example, how may people got invested in Dabi years in advance because of the Dabi is a Todoroki Theory? That's an example of good buildup and payoff, because the author sewed just enough hints to build up an audience expectation and then paid it off. People became invested in the story, because they thought their investment and theories would pay off eventually and it did - so hooray!

Both MHA and YGOGX dedicate an entire arc to trying to deconstruct their main protagonist. They also seek to deconstruct the "Hero Complex" or "Saving People Complex" that each protagonist has, and ask the question if those traits are really a good thing.

This post puts it better than me so I'm going to quote tumblr user rhodanum.

‘Hero complex’ or 'saving people complex’ — an obsession with rescuing people in the face of danger, often to the exclusion of all higher thought processes. All too prevalent among shounen main leads, especially hot-blooded shounen main leads. Yuki Judai is certainly no exception. What is interesting in his case is that the writers follow the consequences of his rash, reckless, often thoughtless actions all the way to their heartbreaking logical conclusion. For those not fully in the know, it involves spiky black armor, an army of sycophants and a fall from grace that caused as much damage as a thermonuclear bomb. Don’t make perky, happy shounen protagonists snap, people. First rule.

I'm going to quote another video too, to add onto the above quote. It's from this video, starting at around 39:52

"GX is kind of famous among fans for taking its happy protagonist and stripping him down to all of his worst qualities. And that's fun. So Judai is a character who's really interesting. He's definitely open to a lot of interpretation, and you know we're gonna be leaning on my interpretation of him. Sorry. It's my video. I think he's commonly referred to a "very typical shonen protag" probably one of the most shonen protag of the yu gi oh protagonists. He is headstrong and loud, and (makes punching noises while air boxing), he is a type of character who's like I'm gonna be the best and brings everyone along on the ride. He's the kind of protagonist that everybody loves him they're all fighting over him, and Yu Gi Oh Gx really puts him up on the pedestal, of like THIS GUY. THIS GUY DOES IT ALL. Then season 3 rolls around and dares to ask: but what if that's selfish behavior?"

That's the question both MHA and YGOGX are asking in Dark Deku arc and Season 3 respectively, what if all of those behaviors that make them the typical hot blooded shonen protagonist are actually selfish? Is their hero complex really a good thing?

Each arc is tasked with exploiting the main character's flaws, until they reach their emotional breaking point and lowest point in the story. Let's see how each story treats their main character and from comparing that I want to make a point about what makes effective storytelling.

The Supreme King Haou Arc

Instead of recapping the entire arc to you, I'm going to touch upon what ideas the story setup in regards to Judai's character and how it paid off those ideas. What are the questions the story asks and what answers does it give us?

I'm going to focus on the two questions I outlined above. Is their hero complex a good thing? and What if this is selfish behavior?

Yu-Gi-Oh GX is an anime where instead of using super powers, the main characters fight each other with a magical trading card game. Besides that fact there's a lot of similarities between GX and MHA. They both take place in an academy setting where the main characters learn about using their quirks, and playing the card game better respectively. It is a shonen battle anime where almost everything is solved with a shonen fight, they just use cards instead of flashy superpowers. The main characters are all students who have to grow up and enter the adult world.

Judai and Deku are both characters that deconstruct the "hero complex" of shonen main characters. Judai is themed entirely around heroes, he has an elemental hero deck where every hero is based off a hero that appears in popular culture, he is the best duelist in the school and the one everyone calls on to save the day over and over again. As stated above he is the most Shonen Protag to ever Shonen Protag, he's a warrior therapist who makes friends and saves the day because he's really good at the card game, and will always show up to fight for his friends.

For the first two seasons Judai is built up on this pedestal of the ideal Shonen Protagonist, and praised by basically every single character for being "childish" and "pure of heart" however when Season 3 comes around the narrative stops heaping endless praise on him and starts to challenge him. However, this doesn't come from nowhere there are signs of these personality flaws of Judai, they just get swept under the rug the first two seasons.

There are several moments such as the climaxes to season 1 and season 2 where Judai fails to grasp the stakes of the situation, saying things like "Oh, this card game is really fun" when he's dueling with lives on the line. Judai in fact has a pattern of "only wanting to duel for fun", he fights because it's fun to him not because it's the right thing to do. However, he's continually forced into high stakes situation where he has to fight for others just because he's the strongest character - and constantly having to carry that on his shoulders starts to weigh on him after awhile. Judai will show up to fight and save his friends every single time they need him, and that's the source of his hero complex because after a certain point his friends start relying on him too much.

In general he also doesn't have deep thoughts of what heroes are, he admires heroes but it basically boils down do "Heroes are cool." He's kind of like Goku where he doesn't really fight for any idea of justice or to save others, just for the thrill of fighting itself. He also has a tendency to be insensitive to other people's feelings and take things for granted. For example, in Season 2 like three of his friends get possessed and Judai doesn't even do anything about it for half a season because he's too busy participating in the dueling tournament.

In general though it's a pattern of Judai only wanting to "duel for fun" and him being forced to duel to save others instead, and be responsible for other people. Judai will show up to fight for his friends, but even then he falls back on just "dueling for fun" because always having to fight for others is too much responsibility to put on his shoulders.

There's a lot of hints of Judai's flaws, but they also tend to get brushed off because shonen protagonists are just like that. Like, Judai can say some insensitive things to his friends sometimes and be oblivious to their feelings, well he's just a book dumb shonen protagonist. Judai should be taking this fight seriously, well he's just being a happy go lucky shonen protagonist, etc. etc. A lot of these things are also just swept under the rug as him just being a child, a boy-at-heart like most shonen protagonists are supposed to be.

However, season 3 starts looking at Judai not as a shonen protagonist but as a person, and it all starts with the suggestion that maybe Judai remaining a child at heart is a bad thing, especially when his friends around him are all growing up. It all starts with the introduction of this guy right here - Johan Anderson.

Johan shares many things in common with Judai, he can see spirits, he's a duelist who loves to duel, he has a strong connection with his cards. However, the more you compare them the more you notice that Johan has a lot of things that Judai lacks. They are so similiar that they become almost instant best friends, but even then Johan himself notices there are a few things off about Judai's behavior.

Sho: Bro... I thought you would have something to say to me. Johan: He seems lost. I think he just wanted you to give him some advice. Judai: SHo will be fine. Johan: Judai, you're colder than I thought.

It takes someone completely new to the dynamic between Judai and his friends, who likes Judai but hasn't spent the past two seasons idolizing him to realize that some of his behaviors are kind of off. That Judai isn't really the most empathic, or even that good at understanding other's feelings.

Johan is the one to point this out because he has the emotional intelligence that Judai lacks. We've been told Judai is our shonen protagonist for two seasons, only for the real shonen protag Johan to step up out of nowhere and show them how it's done. Johan is good at seeing other people's emotions, and he becomes a near instant pillar of emotional support for Judai. More than that, he also is the first person to treat Judai like an equal, he never asks Judai to save him like all of Judai's friends do, if anything they both save each other.

Johan also exists to show what Judai is lacking, mainly a reason behind why he fights.

Judai: I do it because it's fun. Or because of the surprise and delight, I guess. Well, I guess that comes down to "because it's fun", huh? Sorry, I guess that's an awkward question to ask out of nowhere. Johan: What's wrong, Juadi? Judai: Nothing, really. Johan: I have a proper goal. Judai: Don't tell anyone. Even if people don't have the power to see spirits, they can still commune with them. That's why, for those people as well... (I want to be a bridge between humans and spirits).

Judai is someone who will always show up to save his friends when he is asked, but he doesn't really have a concept of what being a hero is or the repsonsibilities it entails, he just admires heroes in a pure hearted way. Johan on the other hand has a reason to fight and that's to help humans and card spirits get along, and Judai expresses admiration for Johan because he has a goal.

At the same time this is happening, Judai gets picked apart by two villains for his lack of reason for fighting. Judai has been praised to death for two seasons for being pure of heart, but now the villains are challenging him by saying he has no "darkness of the heart". That without it the reasons that Judai fights are superficial and frivolous.

We have something that you lack. Judai: That I lack? Yes the darkness of the heart that slumbers deep within a duelist. The burden that a duelist bears in his heart. Judai, you have none of that. Judai: A burden in my heart. I have nver, not even once, dueled for myself. I doubt someone like you, who only thinks of himself could udnerstand that. Judai: What would be fun about a duel like that? It isn't fun at all! You must bear other's expectations while remaining strong. That is what it means.

Judai is a bit of a blood knight, he will be dueling with his friends lives on the lines and stop to go "Wow, this duel is really fun" and it's usually just dismissed a shim being a shonen protagonist until suddenly it isn't.

I'm gonna draw a deliberate parallel between Deku and Judai here that I'll reference later on, they both don't understand "darkness of the heart" and they need to understand it in order to grow as people.

There's also the underlying notion that being a hero is not all it's chalked up to be, to be a hero, to fight for other people's sake means also taking on their suffering. As noble as that may seem suffering is suffering.

Cobra: Fortune would never smile on a fool like you who fights while prattling on about enjoying duels. Cobra: You are certainly a talented duelist. But you have one fatal flaw. Judai: A fatal flaw? Cobra: Yes, your duels are superficial. Someone who fights with nothing on his shoulders, cannot recover once he loses his enjoyment. What a duelist carries on his shoulders will become the power that supports him when he's up against the wall! Cobra: But you have nothing like that! Those who go through life without anything like that cannot possibly seize victory. Cobra: But I know that nothing I say will resonate with you... because you have nothing to lose but the match. Judai: I... Cobra: Afraid aren't you? Right now, you have nothing to support you.

In the context of this scene, Cobra has told everyone that he's currently enacting his evil plan out of the vain hope that he can somehow revive his son from the dead.

As insane as "I think I can revive the dead" is as a motivation, fighting for the sake of your dead son is a much stronger motivation than "I think duels are fun."

Judai doesn't have an appropriate answer as to why he fights when he's questioned by the villains, and instead of coming up with his own answer he relies on the answer Johan provided for him.

Johan: You idiot. Why are you so shaken Judai? You think you have nothing on your shoulders? Give me a break! You always bear other's expectations on your shoulders. When you have other people's expectations riding on you, it means they've trusted you with their hopes! Don't you always carry those? If you lose what will happen to us here?

Johan's words snap him out of it, but this isn't Judai coming up with an answer himself it's just taking the one that's provided for him.

This is also the point where we get start to develop an answer to our question. Is Judai selfish?

In action he's not. His actions are selfless. Judai is always fighting for others, even when he only wants to duel for fun. He will show up and fight if you ask him too.

However, in motivation he is selfish. His motivations are selfish. Judai isn't fighting out of some selflessness, but because fighting for the sake of other people gives him a purpose. He keeps fighting for his friends, because he's built all of his friendships around being the one to solve their problems. It's why he Johan's answer suits Judai so well, because he thinks that's how friendship works that he has to keep carrying everyone's burden for them.

Not only does it lead to unhealthy friendships (he sees his friends as burdens) but also it's unhealthy for Judai himself (he can't keep carrying other people's burdens without getting weighed down).

Judai's hero complex, this pressure he feels to save everyone around him arises from two things, it gives him friends when he'd been a lonely child before that, and it gives him purpose. Playing the hero is how he made all of his friends, and now it's how he keeps them.

However, in spite of doing all this to keep his friends, Judai's relationship with his friends is so all give and no take that he's practically fighting alone until Johan shows up. Judai doesn't form a healthy and stable relationship with Johan however, Johan just becomes a crutch.

In Summary:

Judai's actions are selfless.

His motivations are selfish.

Judai's purpose is to carry everyone's burdens on his shoulders.

Judai's friends exist to be saved by him.

The following arc is roughly divided into four sections. Everything I've covered above happens in the first section the Cobra Arc.

Cobra Arc

Zombie Survival Arc

Dark World / Supreme King Arc

Oh Shit, Yubel's Back

The cobra arc is the introduction and it sets up the basic ideas of Judai's character that I listed above, in addition it focuses on the question of if Judai is selfish, and the idea that being a hero is a burden. There's also the third question where Judai is called to understand darkness of the heart, something Deku will also be called to do.

The Zombie Survival arc is an arc where the school is teleported to another dimension and they have to survive for several days with a limited food supply, everyone fighting, and an outbreak of zombies.

The main setup of this arc is to show how everyone is working well together as a team, even in a high stress situation. Alexis, Judai, Misawa, Kenzan, all pull together with the help of new students Johan, Austin O'Brien and Jim Crocodile Cook.

However, I'm brushing over this arc because Judai doesn't actually do much this arc. If you analyze who does what, it's mainly Johan and Austin O'Brien who are in charge of the entire school. Johan demonstrates leadership skills, calls on everyone to pull together in a time of crisis, and most importantly emotionally supports Judai all throughout.

Even when Judai is confronting the main villain of this scenario Yubel, it's Johan who shows up to support Judai, and it's Johan who wins the duel at the sacrifice of his own life. Everyone gets through the zombie arc unscathed, but it's because Johan is the hero of this part of the arc, not because of anything Judai really did.

Judai who having gone on so long carrying other people's burdens to the point where he's made saving others his purpose, has for the first time experienced someone helping him carry those burdens only to disappear and Judai does not react well to it.

This is when the story has finished setting up all the dominoes that are about to fall. We have one mini-arc drawing attention to the dark side of Judai's personality and how he doesn't understand his own darkness, and one mini-arc showing Johan being a much more effective hero and leader than Judai, demonstrating everything Judai lacks.

You Either Die a Hero, or You Live Long Enough...

Yadda yadda you know the rest. A character being undone by the same traits that made them a hero, is classic tragedy 101. It's called the Hamartia or the fatal flaw. A character's greatest strength in some situations can be their greatest weakness in others. The Supreme King Arc is a masterclass in showing how the traits Judai had that led to his success in the first season, can lead to his total ruin, and even to him becoming the villain of his own story.

Hero and Villain are much closer than you'd realize, and this becomes especially true in the relationship between Judai and Yubel. Judai shares an extremely close relationship to his antagonist foil, just like Deku does with Shigaraki.

However, in Judai's case he's the reason that Yubel turned evil. While it's not entirely his fault, Judai's decision to abandon Yubel when he was a child, made Yubel go through ten years of painful torture all alone, which is the reason behind their current madness.

To summarize Yubel and Judai's story briefly. Yubel is a card spirit, the thing that Johan wants to serve as a bridge between card spirits and humans. Judai had an incredibly close relationship with Yubel as a child, but Yubel was overprotective and used their powers to harm anyone who came near Judai. Judai launched Yubel into space hoping the righteous space rays of justice would calm Yubel down (I know that sounds stupid just go with it) but instead Yubel was hit with the light of destruction a corrupting force that made them endure years of torture. They called out for Judai's help in their dreams only for Judai to eventually forget about them with a psychologist's intervention. Eventually the satellite they were trapped in made it's way back to earth, and they almost died burning up on re-entry. When they finally crawled their way back to Judai, they found Judai had been living the past ten years happy and surrounded by friends, while they had been tortured in space and nearly died all alone.

At which point Yubel snaps, hard.

While it's not Judai's fault entirely because he was a child and he didn't know what was going to happen, he still made the decision to abandon Yubel and stuck them in that situation. Judai's actions creaeted Yubel, and now Yubel is here broken and hurt and determined to hurt all of Judai's friends.

Judai doesn't know how to cope with the guilt or responsibility for either of these things. Both for creating Yubel, and for the fact that because of Yubel Johan might now be dead.

I'm the one who made her what she is!

This is where the show starts demonstrating that understand in darkness of the heart is necessary, because Judai can't understand two things, number one the fact he might have hurt Yubel, and two how to deal with the sense of responsibility he feels towards Yubel becoming what they are, and for Johan's apparent death.

He just feels a lot of guilt, and as someone who's only been the carefree hero up until this point he doesn't know how to deal with that guilt.

Judai makes a very similiar decision to Deku. He decides to go out and hunt for Johan by himself, leaving his friends behind so he won't risk their safety. Unlike Deku however, his friends immediately follow and insist on coming along.

This is when the problems start appearing, because the second everyone enters the Dark World to look for Johan, the show starts demonstrating clearly how different Judai's leadership is from Johan.

All of Judai's flaws start popping up, he's tactless, self-centered, and doesn't consider others feelings, and most importantly of all he doesn't look before he leaps. These behaviors that could earlier be swept under the rug, just become aggravated in a high stakes situation where everyone's lives are on the line. Judai came together with everyone to look for Johan, but he keeps acting like he's alone.

Another user's meta post here summarizes Judai's actions in the Different Dimmension, more succinctly so I'm going to quote them.

Shit Judai’s friends signed up for when they went into the Different Dimension with him:

searching for Johan

working as a team

deciding as a group what risks they’re willing to take

risking their lives together, on an even playing field

Shit Judai’s friends didn’t sign up for when they went into the Different Dimension with him:

having their input thoroughly ignored

being left behind while their friend recklessly charged ahead

having essential information kept from them (Judai didn’t tell them about the fatal consequences of dueling in Dark World)

being kept from dueling without their opinion on the matter ever being taken into account

having their physical, mental and emotional well-being be completely ignored by the de-facto group-leader

being relegated to secondary importance in comparison to Johan, in Judai’s eyes

having their group leader outright break the promises he made to them

To name a few things Judai does while in the different dimmension. Almost immediately after entering the dimension he runs away from the rest of the group, forcing Austin O'Brien to follow before anyone has even gotten their bearings or investigated where they are. Make an agreement with everyone to rest and wait for Dawn to search for Johan, only to run off into the middle of the night without telling anyone. Run off ahead of the group leaving several of their members behind, and when O'Brien tells Judai that members of their group are missing and that he should go back and search for them, Judai asks O'Brien to just do it instead.

Judai doesn't see the flaws in this behavior because it's how he's been acting all along, he always runs off into danger head first and he always fights on his own. Judai's never been good at considering the feelings of others though because he's a tad socially impaired, so he just doesn't seem to notice everyone's growing concerns with how he's acting.

Once again we are asked the question, is Judai's behavior selfish?

Judai deliberately abandons his friends three times, and the third time everyone stops to discuss his behavior.

Kenzan: True, we did come to this world to save Johan, saurus... Fubuki: He did find some minor clues as to Johan's whereabouts, so I suppose it's only natural, but... Asuka: But right now, I feel something is different about Judai. Menajoume: That's right. He got us all riled up about this, and now he's totally forgotten the comrades who came along with him. Kenzan: That's really irresponsible, Saurus. Fubuki: I don't mean to be a wet blanket, but I wish he'd realize the anguish he's putting us through. Asuka: Judai isn't doing this for Johan or us now. It's for himself. He just seems to be rushing forward, headlong, to forget the responsibility he bears on his shoulders.

The answer now is yes, his motivation is selfish because it's no longer about saving Johan, but just to stop himself from feeling guilty.

The stress of the situation is aggravating Judai's worst qualities yes, but Judai's always thought about himself first before others, he's always viewed his friends more as burdens / people to be saved rather than equals.

This all leads to a situation where Judai messes up big time. The same way he abandoned Yubel, he abandons the rest of his friends to run ahead and search for Johan.

They are all kidnapped - and it's Austin who notices they are missing Judai isn't even paying attention. Austin says they should head back and look for the others, but Judai asks Austin and Jim to handle that alone so he can keep searching for Johan.

Jim: The others haven't arrived yet. Something might have happned to them on the way. Judai: I see. Sorry, but could you go back and fetch them? Jim: What? You mean you don't care what happens to them? Austin: Don't forget these are the friends that are in this with you. To fulfill our objective in this dimmension we need everyone working together. You wait here until we return. Judai: Okay, I will.

Austin and Jim agree to go back and search for the others, if Judai promises to wait for them here instead of going on ahead. A promise which Judai immediately breaks.

Which is how Judai walks right into a trap.

Judai abandons his friend so they get kidnapped. He doesn't go back to look for them, so he misses out on a chance to save them. He doesn't wait for Austin and Jim to come back, and because of that he wanders all alone into a trap.

That trap is a sacrifice ritual where the leader Brron challenges him to a duel, and every time Judai attacks one of his friends are sacrificed. Judai is forced to attack and each friend dies one by one.

Judai didn't want to attack, he didn't choose to sacrifice his friends, but he did make every decision leading up to that. The trap was easily avoidable if he 1) didn't leave his friends behind 2) went looking for his friends after they were left behind or 3) waited for Jim and Austin to come back.

Judai didn't mean to sacrifice his friends, but it's a result of his own bad decisions. It's the culmination of an arc where he's been selfishly taking his friends for granted. It's a consequence for Judai just choosing to recklessly barrel forward because he can't cope with his guilt.

Judai's lack of darkness of the heart really dooms him here, because he was blind to his own flaws until it was too late. This isn't even the part where Judai does the bad thing, Judai's careless actions lead to four of his friends dying but he doesn't learn from his mistakes. He snaps, hard.

Judai: But at least I avenged them. Sho I'm really glad you're alive. Sho: Those words... they're just lip service. Bro... bro, you're selfish. Before now, I thought of you as the sun. Someone who gave others energy and made the impossible possible. But, I was wrong. All you care about is getting your way. You don't care who you sacrifice. You'll do anything in the name of your goal. Avenging them won't bring back the people you sacrificed. You're just dueling to satisfy yourself. Judai: O'brien! Austin: I thought I told you to wait. Judai: Are you saying what I did was wrong? Austin: Think it over for yourself. Judai: Why? What did I do that was so wrong? I... I did the right thing! And yet... everyone keeps leaving me! What... What is wrong with me? Supreme King: Yuki Judai. To be willing to be evil to defeat evil. This world exemplfiies survival of the fittest. It must be ruled with power. Judai: Power? I don't have that much power... Supreme King: You hold the Super Polymerization card in your hand. Defeat the spirits that stand against you. Breathe their lives into it and complete that card.

After this point Judai decides to sacrifice everything else for power, and to complete the Super Polymerization card he's already sacrificed four friends four.

It's the culmination of an arc where Judai's only been praised for his strength and his ability to win duels. Where he constantly has been called to win duels to solve problems, until that stops working. When everyone is gone, all that's left is his strength. He had to keep winning to keep people safe, but even that wasn't enough, he was still missing something.

He knew he was missing something, that there was something wrong with him and he didn't know where to look.

Conclusion?

He needed power. If he had power, then he wouldn't have lost. If he had power then everything would have turned out alright. He didn't have the strength to carry everyone's burdens for them, that's why he lost, so what he needs is more power. He's been demanded to win, win, and win again so now winning is all that matters.

Now we have our second question: Is Judai's hero complex a good thing?

That's a definite no, because the pressure to always win, to always save everyone and carry their responsibilities has now completely broken Judai. To the point where he now believes that the only thing good about himself is that he's powerful, but he now is willing to sacrifice others to gain more power.

My name is the Supreme King.

Now here's the best part about Judai actively having a villain arc.

He does bad thngs. He does a lot of bad things.

It turns out when you're abandoned and left alone to suffer you do bad things, crazy that, I'm sure Yubel would have a lot to say about that.

Judai is also not being possessed in this scenario. They state it several times. You could say he's Shadow possessed in a Jungian sense. The supreme King is the symbolic embodiment of all of Judai's flaws that he's been ignoring until now. You could say Haou is representative of Judai's subconscious that has been repressed for so long until all those flaws finally surfaced, and that the Judai we see on a day to day basis is his ego, that the relationship between the two is a metaphor for conscious and subconscious.

Jim does a deep dive into Judai's mind, where we're shown a symbolic sequence of what the inside of his head looks like. Judai witnesses his friends appear in mirrors before they shatter one by one, all while he mumbles about how he needs to get stronger.

These are all storytelling devices to show Judai's fractured psyche, but Judai is still in control of his actions. Judai talks and responds to questions when he's addressed. Judai's friends confirm that it's still Judai, he's not a puppet or possessed.

Misawa says later to Judai's face that he and the supreme king are the same person. Judai later is able to use the Supreme King's powers and maintain complete control, because the Supreme King isn't a split personality. Judai even says when Amon is sacrificing someone he loved for power, that he was doing the same thing as the Supreme King, sacrificing everything for power.

We later learn that the ritual that sacrificed four of Judai's friends was a part of Yubel's schemes, but that's the only thing Yubel set up. Judai made every bad irresponsible decision that led to his friends being captured. Judai was the one who snapped and decided to complete Super Polyermization after it was completed. Learning Yubel was behind the sacrifice ritual doesn't take away any agency from Judai at all, because Judai is responsible for his own decisions.

What it does do is create another parallel between them, because we learn the reason Yubel set up the sacrifice was to make Judai walk the same path that they did.

Judai is hurt, abandoned and isolated and in that situation he ends up lashing out at everyone around him in a similiar manner to Yubel. When Judai is put through similiar trauma, he doesn't overcome it in some heroic way because he's an innately good person, no he succumbs and behaves in ways that are incredibly similiar to Yubel.

Even when Judai's friends selflessly try to help Judai, he resists them every step of the way. He ignores their constant calls to him, their comfort, and he even fights them. Judai is eventually reached by the efforts of Jim and Austin combined, but they both die in the effort. Judai is saved because Jim and Austin were way better friends to him than he was to them.

Judai is effectively snapped out of his destructive spiral, but he's left alone with the sobering realization of everything he's done and the blood of two more friends on his hand.

When it's time for our hero to finally face Yubel, he no longer has the moral highground. Now when he faces Yubel it's not as hero and villain, they're just two sides of the same coin. Two people who when they were abandoned, lashed out and hurt everyone around them.

The question is no longer can Judai save Johan. The question now is whether Judai can live with the guilt he's carrying within him, and for that matter can Yubel live with the guilt of what they've done now too?

By this point Judai's been completely deconstructed. He's no longer the hero of the story, he's just a flawed person who needs to fix his flaws. He has the choice to live with his mistakes, and the biggest conflict now is whether he's going to save his villain foil Yubel, or strike them down in order to save the rest of his friends (the three that are left).

This also creates a much more compelling reason for Judai to save Yubel. Not just because Judai is responsible for Yubel's creation, but because they've both made the same mistakes, they have the same traumas and the same scars. Jim and Austin were willing to risk everything to save Judai even when he didn't deserve it, and didn't want it. Now is Judai capable of doing the same thing, of reaching Yubel the way he was reached, not for the sake of saving the world but for helping a friend?

I just want to save my friend. That's all.

This is to me a very compelling setup for the challenge of whether or not Yubel can be saved. Judai's not really saving a helpless victim, he's not acting out of a sense of duty to sacrifice himself for the world, he's being challenged to save someone who suffers from all the same flaws that he does. Judai and Yubel are so similiar at this point it's really just Judai saving himself.

The Dark Deku Arc - Setup

This is the part where I'm actually going to praise MHA. Shocking I know. Season 1 and 2 of Yu-Gi-Oh GX are about 105 episodes in total. The Dark Deku arc begins at about episode 131 with Deku's decision to leave the hospital by himself to hunt down Shigaraki and AFO alone and try to understand villains better.

The 130 episodes up until that point are much better build up, than the first 105 episodes of Yu-Gi-Oh GX. To put it frankly GX is paced like ass. There's far too much filler, and because of that the plot points the anime is trying to make are delivered less efectively. In fact 105 is a good example of what I said above, that ideas are one thing and execution are another.

Season 2 especially is a season filled with good ideas and weak execution due to pacing. Here's one I use as a go-to example. There's a character named Edo Phoenix who's on a quest to find who killed his father. The ending of his plotline is he discovers that in a twist, the man who adopted him is the one who killed his father, and he's been encouraging Edo to investigate because it lets him spy on the police investigation and keep it off his tail.

That's a good twist - however that twist happens in the same episode that Edo's adoptive father is introduced. The audience is given literally no time to even get to know Edo's adoptive father, or get invested in their relationship so the twist doesn't hit at all. A better paced story would show Edo's relationship to his adoptive father early on, get you invested in them, only to pull the rug out from under you so you would feel the shock of that betrayal alongside Edo.

GX establishes its character cast, and yes the filler does give the cast time to breathe and they're all well characterized but because the plot around them is so poorly structured, none of the plot points really hit. Okay, Edo's adoptive dad is evil. Next! You can have good characters, but if you don't put them in a strong narrative framework that challenges them then those characters are just gonna kinda sit there.

The first 105 episodes of Yu Gi Oh GX does succesfully characterize most of the main cast, but it also feels like everyone's just goofing around. In comparison the first 135 episodes of MHA much more successfully builds an escalating conflict. Each new arc either introduces you to a new facet of the world, makes the amin characters more complex, or adds to the conflict.

We basically go from arc 1 "The hero high school is fun" to Arc 2 "The villains are a serious threat" to the Camp Arc "Oh shit, Shigaraki is learning and the villains are getting stronger."

When Bakugo is kidnapped at the end of the camp arc, the tension is ramped way up with the appearance of AFO, and All Might's retirement.

After that point we're introduced to the Overhaul arc, which not only again makes the League of Villains more complex and sympathetic, but also introduces the audience to All Might's more flawed side - the fact that All Might literally worked himself to death saving others and it still didn't work.

Then My Villain Academia -> The Villains are now a threat and they have an army.

Each arc builds on a previous arc, the characters and the world grow more complex, and it feels like you're learning about these complex issues alongside the characters. It just makes Yu Gi Oh Gx look like the silly card games show by comparison, by setting up this very layered world, and conflict, and heroes that challenge the protagonists on what it means to be a hero and what it means to be a victim.

Then all of that great setup.

We are side by side with the proagonist. We, like Deku now want to see if someone like Shigaraki can be saved. We, alongisde Deku want to better understand the villains and learn to see them as people. We want to know if the corrupt hero system can be salvaged.

However, these are too many questions so let's boil it down to two once more, because this is looking at Deku's character.

Deku and Judai are in some ways different as night and day. Deku is an introverted nerd and the victim of bullying, and he starts out with no quirk at all. Judai is a self-confident, charismatic prodigy who instantly seems to charm and befriend everyone around him. Deku desperately wants to be the hero and works his way up there, whereas Judai is just kind of thrown into the school hero because he's the best at dueling.

Judai is kind of a mix of Bakugo and Deku's traits, he's a self confident prodigy who always wins, but he's also someone obsessed with heroes and who has a hero-complex where he's continually forced to save others.

The Dark Deku arc, like the Supreme King Arc looks to take a darker, more introspective look at Deku's character, while also exposing Deku who is a sheltered kid to the a very grey on grey world. It also seeks to deconstruct Deku's suposed "hero complex". Despite the many differences between Deku and Judai I believe the two questions an be boiled down to the same thing.

Is Deku Selfish?

Is Deku's hero complex a bad thing?

These are the questions the series itself is asking in the deconstruction of Deku's character. Deku himself is asking if there's a better way to save villains tha just beating them down or outright killing them, but we'll discuss that later.

Just like Judai there is some setup before this to give a previously very one-note Shonen protagonist mor depth. Deku and Judai are both people who fit the determined, punchy, solve everything fist fight shonen protagonist to a T, on top of being the one to always show up to fight for their friends. Just like in the beginning of season 3, we do have some hints before this that there's something wrong with this attitude. That there's something about Deku that's not entirely there.

There's a flashback of All Might talking with Bakugo where Bakugo discusses that the fact that Deku never takes cares of himself or factors himself into the equation when he always puts others first deeply bothers him and there's "something wrong with it" that's made him always push Deku away.

This flashback also leads into a scene where Bakugo pushes Deku out of the way of one of AFO's attacks, telling him to "stop trying to win this on his own." In an attempt to make Deku see that he's not fighting alone this time.

Deku has also been warned repeatedly about the way his power destroys his own body when he uses it, warnings he's repeatedly chosen to ignore. Saving others isn't just a goal for Deku, you could arguably say it's a method of self-harm and that's what unnerves Bakugo. Bakugo even gave a similiar speech in the past, about how someone like Deku shouldn't take all of the bullying that Bakugo has given him over the years and still try to be his friend afterwards. At this point it's not really like Bakugo's done anything other than tone down the constant insults a little bit, he hasn't apologized or anything but even this early in the manga Deku has a tendency to just let Bakugo's treatment of him go. It's not like they were super best friends forever before the bullying started either despite what the shippers might tell you. Bakugo is saying it's weird that this kid just takes it, and takes it, and takes it without fighting back like he doesn't care about how people treat him and Bakugo is right... that is weird!

Deku either has such low standards for how he's treated that he just lets Bakugo get away with it, or he just doesn't hold a grudge when he is mistreated because his pain and his suffering just always matters less. Either way it's not healthy, and it could be indicative of a deeper problem hiding behind the surface.

Either way there's setup here, because on one hand you have everyone and their grandma praising Deku for his "drive to save others that eclipses all common understanding."

While at the same time he's criticized by Bakugo for having no regard for others. This could be the setup for the character trait that led to his earlier success leading to his downfall later. In Judai's case, everyone praises his purity of heart, but then that purity is later criticized as childishness, naivete and a refusal to grow up.

As for Deku...

How can you protect others if you can't even bother to protect yourself? How can you save others if you can't save yourself? That's the question Touka asked of Kaneki in Tokyo Ghoul when she rightly called out his desire to protect everyone at the Anteiku Cafe as just a roundabout way of getting himself hurt by acting recklessly.

In Kaneki's case he's not trying to protect anybody, he's just picking battles against the doves and getting himself hurt. He's acting out a hero complex in the sense that if he feels like he didn't fight his friends battles for them like Judai then he wouldn't have any friends to begin with. That's why Touka also says "Besides that, everyone doesn't belong to you. You have no business protecting us."

Is Deku fighting for the same reason? Does he harm himself to protect others because he views himself to be worthless and the only way to demonstrate his worth is try and fight to save others?

We don't get an answer for that question. Judai thinks duels are fun, and he's really good at them, and because he's good at dueling he's made friends. He think to keep those friends he has to keep dueling for the sake of others.

Deku's not motivated by the idea of protecting or keeping his friends, that's a secondary motivation. All we have on Deku is that he feels a strong desire to save others, and that he worshipped heroes like All Might growing up but has a naive idea of what a hero is supposed to be. However, his lack of motivation could be the "something that's missing" just like Judai has.

The GX writers did some hardcore digging into Judai's character by focusing on how shallow he was in motivation compared to everyone else, and showing that to be a symptom of his childish naivete.

There's also the potential parallel between All Might and Nighteye's breakup, and Deku's decision to leave all his friends behind to hunt for Shigaraki himself.

Even if Deku doesn't have a deeper motivation than just "an unnatural drive to save others" then you could show the effects of Deku walking down the same path that All Might did, the belief that he has to be the one to save everyone singlehandedly and if he rests for a single moment than someone might die, leads to him not only destroying his body, but also doing permanent damage to all of his social relationships.

Even if Deku's motivation isn't too deep, you could still have the traits that led him to earlier success now driving him to ruin as the story punishes Deku for his excessive selfishness.

This is also where we finally get back to Deku's goal of understanding Shigaraki, and contemplating whether or not it's possible to save villains without killing them.

I draw a parallel between this and Judai's enemies calling him out on lacking "darkness of the heart" and that without understanding that darkness he can't win.

Judai's lack of darkness of the heart means two things, he's not mature enough to understand the reason why his enemies are fighting, and he's also not mature enough to se the darkness in his own heart which is why he ends up blind to his own flaws and making pretty severe mistakes later on.

For Deku, it's mainly a lack of understanding of the motivations of the villains he's fighting again, villains he's only ever really beat down with his fists until now.

However, for Deku lacking darkness of the heart you could also re-contextualize that as meaning because of his idealization of heroes he's never once looked at the darker sides of hero society that might have driven people into becoming villains.

Deku's lack of inner darkness may just come from the fact that compared to the villains he's fighting against, he's gotten to live a pampered life. Without understanding that darkness, he can't be a full person because he'll still be a naive sheltered child, and not an adult wise to the way the world works and the moral greys he inhibits. Either way, it's just as necessary for Deku to gain an understanding of "Darkness of the Heart' as it is Judai.

So here's all the setup for the start of Deku's Dark deconstruction arc. As different as these characters and scenarios you can still boil it down to those three narrative questions about Deku / Judai, is there behavior selfish? Are there hero compelexes a good thing? Do they need to understand darkness of the heart?

Before moving on I'm going to summarize Deku's setup as thus:

Deku's actions are selfless.

Deku's motivations are also selfless (a desire to save others).

Deku does not benefit from saving others in any way, if anything he actively harms himself in order to do so.

Bakugo finds this behavior incredibly disturbing.

All Might destroyed his body and burned all bridges because of similiar flaws to Deku.

So the answer to the first question is Deku selflish? No. Is his hero-complex a bad thing? Potentially.

While Deku himself decides that he needs to understand darkness of the heart in order to better understand villains. Deku is actually more set up to contemplate darkness of the heart than Judai is, because Judai charges into the dark world blindly with only the motivation of saving Johan not even caring for Yubel, while Deku has the explicit motivation of trying to understand the little boy inside Shigaraki.

DEKU LEFT THE HERO ACADEMY

Deku begins the arc by leaving alone to go searching for Shigaraki, with hand-written letters addressed to all of his friends that tell the truth about One for All and also say Goodbye. He makes the deliberate decision to leave them behind so they don't get targeted alongside of him. It's a pretty classical superhero motivation, I need to cut myself out of my loved ones life in order to protect them. Of course this sort of ignores that everyone in his class has super-powers too, but you know heroes they're all such drama queens.

Is this selfish behavior?

This is going to be the only time I'm going to solidly answer yes. Deku clearly did not take his friends feelings into account. His desire to protect them, is more important than their own agency. They also might want to fight alongside him, they'd be upset if they saw him die or get hurt trying to protect them. Deku thinks of his own feelings of wanting to keep them safe and not being able to handle the emotional burden of protecting him, more than he does their own personal feelings.

This is also something that All Might did they permanently burned all of his bridges with his sidekick and friends, and deeply hurt his sidekick who was just asking him to take a break so he did not get himself killed and quit because he didn't want to watch All Might slowly kill himself by inches.

Deku is being selfish here, and later on when he does face his friends he even acts pretty condescending belittling them and insisting they can't fight on their own or keep up with him.

However, I need to ask a secondary question.

Is there any lasting consequences for this selfish behavior?

Besides the fact that it hurt his friends feelings for a little bit, no. I spent a much longer time covering this in Judai's sections because Judai's selfish behavior led to character conflicts. Judai disregarding his friends led to everyone starting to resent him in the Dark World, and their once tight-knit friend group further falling apart.

Judai on three seperate occasions makes impulsive decisions to run ahead without consulting with the group. The second time he outright lies to the group and sneaks ahead without them. THe second time all of his friends are captured when they go after him and try to follow him to give their support because they're worried about him. The third time he makes the decision to run ahead, he knows about the danger they're in and the risk of getting captured and he just blatantly ignores them. When Austin notices they're missing Judai doesn't even go looking for them because they're not a priority at this point - saving Johan is.

This is something that has very real and lasting consequences in the story, they're captured because of his recklessness, and sacrificed in front of his eyes. Even though they technically come back in season 4, the trust between Judai and his friends is all but gone and he's alone for a lot of Season 4.

Judai's decision to abandon his friends has direct and lasting consequences. He is being punished for his hero complex. Running ahead, and fighting alone against the bad guys is what Judai has always done and what's worked before, but now in a more complicated world it's not cutting it and Judai is being challenged for his flaws.

Deku hurts his friends feelings a little bit, but even in that case the focus is on how sad it is for Deku, how hard it must be to be a noble hero fighting alone.

Deku's Mary Jane and Spiderman bullshit never impacts his friends directly, other than the fact that they find it slightly condescending. His "I need to keep secrets from my loved ones attitude" is challenged because his friends want to fight alongside him, but there's never any narrative punishment delivered to him. It's just solved with one fight scene and a character holding out their hands. Whereas, the consequences for Judai's rash actions last two seasons.

I call it "Mary Jane and Spiderman" Bullshit, because Spiderman keeping his identity a secret from all his loved ones is a big conflict in the comics. Something that got Gwen Stacy killed, because Peter Parker never told her his identity in order to protect her, and then that just ended up with Norman Osborne finding out about her anyway and kidnapping and killing her.

You might have heard of the "Death of Gwen Stacy" it's a pretty famous moment in comics. It's also a case where it shows that the Hero's failure to communicate honestly with their loved ones in the name of "Protecting Them" can actually get them killed.

There's even consequences in MHA itself for heroes choosing to sacrifice their personal lives to help complete strangers. Shigaraki literally made a whole speech about it. Kotaro Shimura is traumatized for life over his mother's decision to abandon him instead of giving up on being a hero. Nana Shimura believed she was doing something selfless in sending her child into foster care to keep him out of AFO's clutches, but that was shown to be wrong as AFO just found Kotaro's household and then destroyed him later on in adulthood anyway.

So in the story we are shown scenarios where choosing to abandon your loved ones in the name of "protecting them" can have disastrous and lasting consequences, but as for Deku himself, the decision to leave the school has basically no consequences whatsoever.

Well, Deku making the decision to fight alone is something that might lead to some consequences. After all, Judai's breakdown came about because he always felt the pressure to fight alone and carry everyone's weight on his shoulders until he couldn't.

Perhaps, with Deku fighting alone to protect everyone we'll reach a similiar breaking point. Just as Judai couldn't handle carrying everyone's burdens, looking for Johan, and leading his friends into the Dark World all that the same time and eventually broke down maybe we'll see Deku break down because he just like All Might can't carry the burdens of an entire nation - oh wait nevermind he's working with the Top 3 Heroes.

Even the premise that this is Deku leaving the school, to become something like a vigilante wandering the countryside trying to fight AFO on his own is just incorrect because Deku is receiving government assistance right now.

In the Dark World it was really just Judai and his friends, so every single bad decision Judai made had consequences because they were well and truly alone. Deku has backup so he's not even really "alone" in the arc that's supposed to be about him fighting AFO and trying to understand Shigaraki alone.

ALL YOU'LL FIND IS BLOOD AND VIOLENCE

Let's briefly focus on questions two and three, is Deku's hero complex bad, and does Deku need to understand darkness of the heart?

Judai's hero complex was based on the idea that if he wanted to have friends he needed to fight for them and solve their problems for them.

Judai got in such an unhealthy negative feedback loop, that he had to carry his friends burdens in order to maintain his friendships with them, but at the same time he couldn't receive any help from them because he made their friendship all about him carrying their burdens. He was operating underneath an amazing pressure to always win until he lost. The very thing he did to try to maintain his friendships, keeping his friends at arm's length and fighting alone is exactly what ends up driving them away and leaving him alone.

But, still...! They're all... They're all gone. There really was something missing in me. But what is it? What was missing? What should a duelist burden themselves with?

Judai paradoxically fights alone in order to keep his friend group together, which only ends up with him losing four friends and being abandoned by the rest when they're disappointed for him in his selfish behavior. Judai screams out why, realizing he did something wrong here, that something went wrong because he's been winning duels, he's been fighting the same way he did before only to end up with the worst option possible. The realization that he is truly alone breaks him down entirely.

Judai's hero complex unwravels when simply charging ahead to fight doesn't work for him anymore, because the situation becomes more complicated than that. Darkness of the heart can mean many things. Judai not understanding his own personal flaws. Judai not seeing how his flaws are affecting others. Judai not looking at other people's emotions, he doesn't hear or respond to criticism when his friends start trying to tell him how is selfish decisions making is making them feel.

I can't just stay and wait. All this time I've run on instinct, never second-guessing myself. If I just stand still now... I'm sure I won't be able to start running again. And I won't be able to get to Johan.

Judai's hero complex has a clear source - he believes he has to keep running ahead and fighting for his friends the same way he always has in order to keep those friends and if he stops he'll lose everything / succumb to the guilt he now feels about being uanble to save Johan. His Hero Complex also has clear consequences, him running ahead without thinking gets all of his friends kidnapped and used in a sacrifice ritual that could have been avoided if he had made different choices.

Spiderman kills Gwen Stacy because Peter Parker deciding to not tell her about his secret identity to protect her backfired and made her an easy target to the Green Goblin.

Heck, Spiderman's entire character is about how the burden of being Spiderman and his Hero Complex constantly sabotages any attempt he makes at having a personal life. Miguel O'Hara's catchphrase in the incredibly popular Spiderman movie is that "Being Spiderman is a sacrifice" and he's not wrong either.

SO, is the narrative punishing Deku's hero complex in any way?

Well, the one warning he did receive that if he kept fighting he'd lose permanent loss of his arms turns out to not matter anymore because his body is just stronger now.

So, even the phyiscal toll of fighting alone that's a consequence for Deku doesn't actually apply here.

I keep talking about consequences but what do I actually mean? Am I talking about strictly punishment? Do bad things need to happen to characters in order to get their lessons?

Not necessarily.

When I say "consequences" I mean in terms of actions always having consequences in a story. The best stories are succinct, that means you basically cut down in as many frivolous details in a story as much as possible so everything that happens onscreen is something that matters and contributes to the whole. Therefore, every action should have a consequence directly seen onscreen in story. Stories are all actions and consequences, the choices the characters make should have direct impact on the plots and the other characters because it makes those choices seem like they matter.

If the story constantly draws attention to the fact that Deku is afraid of ducks, but the story takes place on the moon and there are no ducks living on the moon then that's a wasted plot thread because there are no consequences. If a character does something bad, other characters should discuss it, or it should negatively impact them in some way.

When Judai decides to run ahead without all of his friends for the first time after they all agreed on a plan, the result is the next episode they all start talking about their shared doubts with Judai when he's not around. If they all just swept Judai abandoning them under the rug, then Judai running ahead and leaving the others alone doesn't feel like an impactful character flaw.

There's no lasting consequence for Deku's hero complex. It doesn't drive him to any kind of breaking point like it does Judai.

I think the reason why is because there's no real moment of failure for Deku. When he tries to ask Muscular why he fights, and Muscular rejects him and says that he was just born evil and has no deeper motivations, Deku's not frustrated at all.

Deku who feels a "unnatural desire to save others" isn't really bothered by the fact that Muscular insists that he can't be saved and that they can only fight. Despite this technically being a failure, Deku has failed to talk a villain down, failed to find a way other than fighting and also failed to understand the darkness in someone's heart it's of little consequence because it's not framed as a failure.

Deku just punches Muscular, back to the drawing board.

There's another manga called Choujin X running right now, where the main character is on a similiar quest trying to see if there's a way they can save the big bad Sora Shihouhin, and when he is forced to fight against a villain who won't back down, de-escalate, or listen to reason he has a complete emotional breakdown.

This is the reaction of someone who's genuinly invested in the idea of saving the villain, and frustrated with the reality that he might not be able to save her, that he can't talk to the villains or convince them to back down. Tokio's not even characterized by an unnatural desire to save others like Deku is, so why is he the one breaking down and not Deku someone apparently so selfless that he wants to save the mass murderer that's trying to destroy society?

If Deku's desire to save others is so strong why doesn't he show frustration at being unable to talk down, or understand Muscular?

Judai is stuck in a negative feedback loop where he's forced to fight for others, because he believes he has no worth to his friends otherwise. All we're told of why Deku feels the need to save everyone around him is that he's just like that, he just feels like saving everyone no matter who they are the moment they come into view.

If we're choosing to characterize Deku that way, then number one he should be attempting to save everyone, and number two the stress of having to save everyone is something that should get to him. His "Hero Complex" should be what's breaking him down at the moment. The unnatural desire to save everyone around him that led him to so much success should be what's punishing him this arc.

Judai felt pressure from two aspects, first the pressure to carry everyone's burdens, and second the lack of understanding of darkness of the heart. Unlike Judai who doesn't want to understand darkness and who avoids it as long as possible, Deku goes into this arc actively seeking to understand how his villains think.

Deku and Judai also suffer from a lack of darkess in their own hearts. This leads to them having empty motivations. Judai has a childish desire to enjoy fun duels. Deku has a childish desire to save everyone. Neither of them have tried to grow or change or even question those motivations in any way and because of that they're stunted people.

Judai doesn't know why he fights. He doesn't question why he fights. He just takes on the burdens of others to give him something to fight for. This all together leaves Judai blind to his own personal darkness, and also because of that blindness he can't grow in any way because he never evaluates himself, he never looks at himself and tries to change.

When he's on his knees and at his breaking point he screams at the top of his lungs, "WHY? WHAT AM I MISSING? WHAT DID I DO WRONG?" simply because Judai's never thought about these things.

Deku's asked these same questions both in the Dark Deku arc, and hundreds of chapters later he's asked what he's planning on doing as a hero in order to make things better and Deku never materializes an answer.

Pre-Dark Deku Arc, during Dark-Deku Arc and Post Dark Deku arc, Deku always solves his problems by recklessly jumping in and saving others. There's never any point where he's punished or criticized for this behavior in any significant lasting way. He never has to self reflect and develop a reason on why he wants to save others, or eve think about how he's going to save others, he can just keep acting as the rash, impulsive hero.

Judai and Deku are both characters who are empty, and lacking in motivation but Judai is ruthlessly criticized for that until he reaches his breaking point and is forced to look at his motives.

This once again comes from a lack of failure on Deku's part. Deku never fails the way that Judai does. There's a scene where you could have easily had Deku fail. The entire Nagant vs. Deku fight where Deku fails to give her any substantive answers to his questions.

Imagine if Deku's simple philosophy of always extending a helping hand failed here. Imagine if Deku actually got deeply ivnested in the idea of saving Lady Nagant, and did his beset to talk and reach out to her but his answers weren't enough and because of that she just chooses something like suicide. Imagine he has her by the hand, and she's dangling off of the roof and he thinks that his impressive move to save her should have been enough - he's reached out a hand like always. He thinks this should have won her heart over, by showing her that someone still cares in all of her despair.

Then, Nagant in one final spiteful move lets go. The person he heard her entire backstory, the person maybe he once was a huge fan of her when she wasa hero, the person he wants to save the same way he wants to save Shigaraki chooses to let go and fall to her death because dying would be better than living in whatever kind of corrupt world that Deku is trying to build.

This could be Deku's Gwen Stacy moment. Spiderman carelessly webs Gwen Stacy whe she's falling to catch her and for a moment he thinks he's saved her because he's overconfident and has caught people falling like this a thousand times, only to find out he's snapped her spine. His overconfidence, his hero complex making him believe everything magically would work out led Gwen Stacy to her death. This could show the simple act of just offering a hand out to someone in need isn't enough, without empathy and understanding.

Instead, AFO just blows Nagant up in Deku's face.

Except, that isn't even a failure bcause Nagant turns out to be just fine! There's no point in blowing up Nagant except for the spectacle of it, because she turns out to be fine five minutes later and even shows up to fight in the next arc.

There's no consequencs to anything that happens in this scene. Deku doesn't suffer any consequences for being blind to the faults of society. (He's working right alongisde a killer cop just like Nagant and he doesn't even care.) Deku isn't forced to reflect on what saving people or making society better would even mean. He also isn't punished for his lack of understanding the way that Judai is.

Afterwards, Deku denies help to a very mentally-ill Overhaul, who is apparently not one of the villains that Deku wanted to save. There's a whole buch of asterisks on that "Deku wants to save everyone***" goal. This also isn't framed or used to paint Deku in a bad light because Overhaul is unworthy of salvation in Deku's eyes for hurting Eri.

Is this action part of an arc? Is Deku reaching his limit with trying to sympathize with villains only to see people like Overhaul and Muscular fighting him every step of the way and telling him they don't want to change?

Nope, this scene is never brought up again.

Deku never fails, and he never does anything wrong. Even when there are situations where you could argue he does do soemthing wrong, like denying the armless, mentally ill Overhaul help - he's not painted as being in the wrong.

The entire arc is supposed to be about criticizing the protagonist for their hero complex, and their lack of understanding of the darkness of the world but for Deku there's no criticism to be had here.

Compare this to the sacrifice ritual in the Supreme King Arc, where not only does Judai fail to save his friends, but the friends that survive ruthlessly tear into him aftewards for his selfish behavior. THe actions of one protagonist matter, have consequences in the story and are criticized. The actions of another protagonist have no real consequences and are never criticized.

The whole mansion blows up and... nothing happens. No one's injured in the explosion. It may as well have not happened in the story because there are no consequences for Deku just continually choosing to blindly run ahead like his hero complex tells him to.

There's evena moment where Deku winds up in a similiar situation to the dark ritual. After receiving information from Nagant, he blindly wanders into a mansion in Haibori woods believing it to be AFO's base, only to find out it was a trap and AFO was waiting for him to blindly charge in all along.

THAT'S WHAT MAKES US HEROES AND VILLAINS

This is where I'm going to talk about another big similarity between Deku and Judai, and also the biggest point of divergence in the Dark Deku and Supreme King Haou arcs.

Deku and Judai are both character foils with Shigaraki and Yubel respectively. This is where I'm going to praise MHA again, surprising everyone.

The foiling between Shigaraki and Deku is masterful. They both started out in relatively the same place, as boys with dreams to become heroes who were softly told no by their parents. Tragedy struck Shigaraki and he killed his family on accident and wound up alone wandering the street for days until he was found by AFO.

They're both the students of the greatest hero and villain of the last generation. They both end up being surrounded by a group of close Nakama that they want to protect. They're both continually challenged to grow up, and show how they're going to be better than their predecessor for the hero and villain sides respectively. They both have to prove they are worthy successors. Shigaraki has all the heroic spunk and determination that Deku has but on the villain's side, and while Deku loves heroes, Shigaraki is hero society's critic wants to bring down the hero system that didn't save him.

You get the feeling that Shigaraki really is Deku just in a different situation, a same person on the opposite sides of the conflict kind of character foiling.

As the biggest Yubel stan here, in some ways the foiling for Shigaraki works better than the foiling for Yubel because Shigaraki isn't just Deku's foil, he's the foil for all of society. Yu-Gi-Oh Gx takes place in a society run where everything centers around card games, it's not really that deep. In My Hero Academia you have that 100 episodes of great setup where Deku is not only learning to look at the darkness within himself, but also the darkness within hero society around him.

Judai's narrative as much as I love it, is entirety about Judai.

Not only could Dark Deku arc develop Deku's character, it could also say something deeper about the world it's taking place it, because Deku has all these connections to Shigaraki, who also kind of represents the orphaned boy failed on all levels by the society around him.

Shigaraki is the shadow of -> Deku, but also Shigaraki is the shadow of -> all of society.

Yubel is the shadow of -> Judai, and only relates to Judai's personal growth.

Yubel is Judai's personal villain, and was created by his actions as a child. His decision to abandon Yubel into space, led to Yubel being tortured and their later madness.

Yubel is also Judai's shadow. They carry all the same flaws, but those flaws are obvious in Yubel and repressed in Judai. Yubel's belief is that Judai is someone who purposefully enjoys hurting their friends, and that's how he shows his love. While that's twisted it's not hard to see how Yubel came to that conclusion. After all, Yubel loved Judai so much only for Judai to abandon them and turn a blind eye to their suffering. In the Dark World, Judai abandons his other friends continually in order to search for Johan, and they wind up suffering too.

While Judai doesn't sadistically enjoy hurting others as Yubel put it, there's an element of truth to Yubel's criticism. Judai does abandon people, Judai isn't as empathic as he seems to be. When Judai is subjected to the same kind of isolation and abandonment that Yubel has endured for the past ten years, Judai loses his mind a whole lot quicker and starts lashing out at everything around him the same way Yubel has. Judai without the love of his friends starts to hurt everyone around him in his lashing out, the same way that Yubel desperate for love starts to inflict pain on the people she loves. Even before the ritual happened, Judai was unwittingly hurting his friends with his own selfish behavior.

Yubel's stated criticism is "of Judai is "Anguish and sorrow born from loneliness. That is the nature of love as you taught it to me" and further beyond that "When you forgot about me, I suffered. It's hot. It hurts. I am in pain. Why? You know how much I love you? Why did you do this to me, Judai? In that moment I realized that was how you showed love. Because you loved me, you hurt me and made me suffer."

That sounds crazy, but hasn't Judai been hurting the people he loved for his own selfish reasons this entire arc? Is it that crazy then to conclude that neglect and abandonment must be how Judai treats everyone he loves, so surely he loves me.

One of the biggest criticisms of this arc is how Judai's behaviors impact his relationships, so of course his most personal villain and foil is his jilted ex nonbinary dragon lover. On a less joking note, when Yubel was displaying troubling behavior as a child, Judai's first response was to abandon them. Which is ironic for someone like Judai so paralyzingly afraid of being abandoned that he became everyone's workhorse and worked himself to death solving their problems for them. Who when abandoned by those friends finally, snaps just as hard as Yubel did when they were abandoned.

Do you see the parallel I'm drawing here? Judai is slotted into the spot of the protagonist who's friends with everyone he meets, who loves and fights for his Nakama. Yet under closer scrutiny he's shown that he doesn't really understand what love or friendship is or how to give and receive love from others in a healthy way. His antagonist is his former childhood best friend, who is obsessed with love and demands that Judai love them back. Judai's lack of understanding of relationships and love takes a dark twist with Yubel, their shadow, foil and antagonist.

These are once again very personal challenges to Judai, society doesn't really factor into this equation. Though, Judai is somewhat challenged as a hero because there's an irony to Judai plunging into the world to save his best friend Johan who he's known for like three weeks, but not really lifting a finger to save the antagonist of the arc Yubel who he's known since childhood and is personal responsible for putting through torture.

That hypocrisy there too, is a personal challenge to Judai that paints him in a less heroic light. He wants to save Johan and ignore Yubel because it's easier, because saving Johan relieves him of his guilt. He doesn't even know what to do about Yubel, so he doesn't try and falls back on his previously established behavior of playing the hero.

The hero is really just a mask for Judai at this point, something the story has ripped right off of his face by the time it comes to face Yubel.

There are two ways in which Yubel serves as an ultimate foil to Judai.

Yubel acts like a callout post to all of Judai's flaws

Yubel represents a dark path Judai could have taken.

This second one is what Shigaraki and Deku have in Common with Judai + Yubel. There's something deeply tragic about the idea that while Deku was making friends, getting taught by a loving teacher like All Might, Shigaraki was all alone being pushed by a ruthless manipulator like AFO into becoming the worst villain.

Judai and Yubel's lives follow the same tragic parallel path. They began in the same place as childhood friends, but after abandoning Yubel, Judai spent the next ten years growing up, making friends in a healthy and safe envirnoment while Yubel the one who was abandoned was alone in space desperately crying for Judai to come save them only to be ignored because Judai has long forgotten them.

However, there's a striking difference there too. Yubel is created directly by Judai's neglect and actions. Whereas Shigaraki is created by the neglect of all of society, it's not Deku's fault directly.

#1 Shigaraki acting as a callout post to Deku's Flaws

However, this is where Shigaraki's callout post comes in. Shigaraki gives a long speech on how the existence of heroes itself, creates villains like him.

"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 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. It's a corrupt, vicious, cycle. Everything I've witnessed. This whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I take power for myself. Simple enough, yeah? You don't understand because you can't understand, that's what makes us heroes and villains."

To break it down simply, heroes look away from the faults in their society, they intentionally ignore the people they cannot save, and when those people turn into villains the heroes beat them down hard. The villain attacks then convince the common people of the need for heroes, and the cycle perpetuates itself. This is all powered by the people's blind, uncritical faith in heroes.

Deku is a person who has that same blind, uncritical faith in hereoes, and until this point has never thought of Shigaraki as anything more than a villain to be punched until he stops. Which is why this is still a callout post that applies to Deku, because Deku's blind admiration for the Hero System is part of the problem that enables the very flawed hero system.

Deku does not understand darkness of the heart, therefore Deku does not understand that heroes could possibly be bad, and he could possibly be supporting a bad system until he's slapped in the face with it.

However, is there a lasting consequence for Deku's blind support of the hero system?

Nope.

I just described up above what could have been a consequence, if Lady Nagant refused to have faith in Deku since he didn't back his words up with action.

Deku also clearly does not want to break away from the corrupt hero system that created Shigaraki, because the heroes that he brought along to fight with him are Endeavor, Hawks and Jeanist, a child abuser, a state sponsored murderer, and a guy who makes bad puns. He doesn't change any of his bahavior that enables the corrupt system to stay in power.

Not teaming up with the Top 3 heroes, and deciding to go full vigilante would have at least have been breaking away from that system.

This circles around to a big underlying problem in this whole arc in that Deku isn't really doing anything different from what he was doing before, and he's not punished for his character stagnancy either.

So we're left with.

#2 Shigaraki represents a dark path that Deku could have Taken

This is where Judai / Yubel succeeds and Shigaraki / Deku falls flat on its face.

When pushed to his absolute limit after failing repeatedly, Judai snaps. With no friends left he decides that all that matters is power. This path seems natural for him because we've already seen what being abandoned and left alone can do to a person and how it twisted Yubel. The story hints again and again at Judai's blood knight tendencies, and that he thinks the only thing he has of value to offer others is strength by fighting for them.

He loses his friends and the fighting is all he has left.

At the point of despair he decides to just embrace power. If he cares about nothing more than strength, at least that will give him some sense of control over his life after the out of control tragedy that happened to him.

"Yuki Judai. In order to defeat evil, one must become evil. In a world with the law of the jungle at work, one must rule with power." "Power? I don't have that kind of power." "In your hand lies the super polymerization card. Defeat any spirits who may oppose you, and combine their lives into it to perfect the card."

Supreme King is just a villain persona that Judai adopts to as a protetive blanket for all the hurt and pain they've gone through, just like ding, ding, ding, the villain persona Shigaraki Tomura is for Shimura Tenko.

Judai snapping under such intense pressure shows us that if even the faultless hero can snap, then how much can we blame the villain for snapping under similar circumstances? Maybe the reason both the hero and the villain fell is because they're both equally human and to fall down is human.

Deku never falls down as hard as Judai does. He doesn't even fall down and scrape his knee. There's no instance where he fails to save anyone. There's no instance where his actions hurt anyone. There's no instance where he takes things too far and hurts a villain. I kow it's unlikely for Deku to turn into a villain, but he could have at least gotten so frustrated he turned into a punisher style vigilante! Is that too much to ask?

There's not even a single moment where Deku goes too hard in a fight and injures or even kills a villain. They could have pulled an "I thought you were stronger" moment like in Invincible.

I don't know why this is called the Dark Deku arc because there's no darkness in Deku's heart for him to exploit, nor is he actually called to better his understanding of the darkness in others hearts. Judai understands Yubel's darkness because by the end of his personal arc he's been there, he's not the hero he's the atoner. He can either punish Yubel, or hold a hand out to help Yubel atone.

Deku's arc might as well be called the "My Little Pony Friendship is Magic Arc" because he never does or confronts anything dark. His worst crime is not showering. All that isolation and his repeatd failures in hunting AFO down should have worn Deku down, but it didn't because he's just that special of a boy!

Deku's hero complex also is completely uncriticized from beginning to finish. Judai's hero complex is an unhealthy behavior that utterly destroys him. Deku's hero complex is a job interview flaw.

FRIENDSHIP IS MAGIC

Just to hammer my point in I'd like to compare these two scenes. One is in the middle of the Supreme King Arc, the sacrifice ritual scene where all of Judai's friends are blaming him for the fact that they're about to be sacrificed while he's still trying to save them.

The second is the climax of the Dark Deku arc, where all of Deku's friends are showing up to fight him and convincing him to accept their help.

Just look at how vastly different these two shows treat their shonen protagonists when it comes to his flaws.

For the ritual sacrifice scene. This is immediately after Manjoume wakes up to find that he has been chained and kidnapped with Judai standing right there.

Judai: Sit tight! I'll save you soon! Manjoume: Wait, is he dueling? JUdai you damned idiot! Weren't you going to save Johan with us!? Getting yourself all flared up. You didn't even stop to think about us at all, did you? Judai: That's not it. Manjoume: That's just how you are! You were the only one in your kingdom from the get-go. We were the idiots for getting all motivated with you and feeling some sense of friendship with you being like that!

Then Judai watches helplessly as Manjoume dies. His other friends don't fare much better.

Kenzan: Big Bro? Why'd you want to save Freed's comrades when it meant sacrificing us-don!? Judai: You're wrong. That's not it. Fubuki: It's painful. This pain isn't just physical. It's the pain of a friends' betrayal that I have tearing my soul. apart. Asuka: I'm being betrayed and sent away by you. To think that I'll have to bear a sadness like this.

All of Judai's friends die spitting on him and telling him what a terrible friend he is and that this is all his fault. Which it is, because his decision to abandon them got them captured and led up to the sacrifice ritual.

Now, what scathing criticisms do our heroes have to give Deku after he left them all behind to fight Shigaraki alone?

Denki: Midoriya! We get that all for one is really importnat but you got something even more important in your life! Me and you we aint'g otta ton in common, but you're still a friend! Even if we gotta force this friendship down your throat. TodorokI: What a look you have on your face. Is this resposnibility so much that you can't let yourself cry? Seems like a burden you should share with the rest of us. Uraraka: The thing is Deku, we don't want to be protected by you and reject who you are and what you're doing, we just want to be with you (this part is narration).

Deku is told that none of his friends are mad, they want to be by his side no matter what, and that it's okay for him to cry.

I should also mention how underdeveloped this supposed nakama group is in the manga itself. The entirety of Season 3 of GX is tha the bond between Judai and his friends are more shallow then it appears, but he's also spent two whole seasons bonding with a group that consists of: Asuka, Sho, Kenzan, Fubuki, Manjoume. That's six people total including Judai who serve as is primary friend group. Their friendship is more unhealthy than it appears, but Judai has spent the past two seasons hanging out with one small friendgroup.

Meanwhile the entirety of Class 1-A shows up to tell Deku how much they love him and how much he means to them, and Deku's hung out with maybe like... four of them?

You have one bond shown to be how shallow it is, and one shallow bond treated like it's the deepest, most loving friend group in all of fiction. Deku doesn't even receive some lgiht criticism for how inftantalizing it was for him to abandon them for their own protection, because no one resents Deku or is capable of holding any negative or critical emotions towards him whatsoever. He's just told how much everyone loves him and wants him to come home.

And yes, Judai also does get two characters sacrificing themselves to try to reach him when he's the Supreme King.

However, as I stated above Jim sacrifices himself to help Judai because that's who JIm is as a person. Austin does it after Jim fails, both to honor his friendship with Jim, and also because of someone who got scared and ran he feels like he has to confront the darkness of the heart.

Jim and Austin O'brien's sacrifice is also a sacrifice. They died trying to save Judai, and Judai has to wake up with the knowledge that not only did he kill a bunch of people in his quest for power, he killed two more friends who were only trying to help him.

At the end of the arc, Judai has woken up with the knowledge that he has done bad things that can't be taken back and he's barely better than Yubel at this point.

At the end of the Dark Deku arc, Deku gets a speech from Uraraka about how amazing and selfless he is, and how he never gives up and how he always pushes forward, and how everyone at the UA shelter should appreciate him more.

The Supreme King arc exists to criticize Judai. The Dark Deku arc does nothing but flatter Deku from beginning to end.

Judai's hero mask is ripped off and he's forced to be a person. Deku's hero mask stays on, his hero complex is unchallenged, and he's praised for being teh greatest hero evarz.

I often get accused of not liking MHA simply because I expect it to be a different story than what it is. That I want it to be darker, when it's a more optimistic shonen manga.

However, here's my secret. I hate edgy superheroes. I don't like watching stuff like The Boys because it gets too dark for me. The oly reason I read invincible is because my friend told me that Omni-Man got a redemption arc. My favorite DC Superhero is Superman. My favorite Superhero of ALL TIME is Spiderman.

The thing about Spiderman though, is that it is hard to be Spiderman. The entire point of Peter Parker's character is that he has a terrible work/life balance and constantly loses people around him because being Spiderman is a sacrifice. The story doesn't bend over backwards to praise Spiderman as being a selfless hero, in fact it points out what a loser he is constantly. Peter Parker's friends are always frustrated with him and he's a wreck of a person.

Yet, the fact that being Spiderman is such a sacrifice and he keeps choosing to make it, shows what kind of person Peter Parker is, and that's just a person who does whatever he can to help out.

Even Peter Parker, the nicest, most well-intentioned boy ever has the Symbiote arc. One of the most famous arcs in comics dealing with Peter is when he lets Venom graft onto his suit, and even though the symbiote makes him violent, and makes his behavior change he spends the longest time not wanting to peel it off because the power boost the symbiote suit gave him made his life that much easier.

Dark Deku is an obvious reference to the Venom Suit, but a completely shallow reference because Dark Deku acts exactly the same as regular Deku the only reason he looks like that is he forgot to take a shower.

Superhero stories don't need to be Dark Deconstrutions, but they do need to be SOMETHING. They need to say something about the character. The problem with the Dark Deku arc isn't that Deku didn't experience a villain arc.

It's that nothing of consequence happened in the entire arc. Nothing changed. The story asked us if Deku's hero complex was a bad thing, and then it didn't deliver any answer. The story asked us if Deku needs to understand darkness better and then didn't answer that.

These are ideas that the audience promised were going to get answered. We were told Deku was going to get his development this arc that he was going to be pushed to the edge. The entire premise of this arc was that it was supposed to better help Deku understand Shigaraki and Hero Society only for Deku to not learn about either of those things.

Deku's learned nothing. We've learned nothing. Nothing has changed in the story itself. The only thing we've accomplished was wasting a lot of time that we could have been using watching Yu-Gi-Oh GX!

#mha meta #ygo gx meta #yu gi oh gx #yuki judai #judai yuki #supreme king haou #supreme king jaden #supreme king judai #yu gi oh gx meta #dark deku #ygo #ygx meta #ygo meta

[antimony-medusa]

The thing with RPF

Okay, I don't tend to engage much with RPF. I have read it, but only when recommended by someone whose taste I trust (I think it's all supernatural aus that I've read, to-date), and my intention is not to write it. Not really my scene.

However, I really think this fandom could stand to stop treating RPF like it is the devil.

If you engage only with someone in the form of like an hour a week of video of them performing for an audience, particularly if that video is edited, like, when you start mentally rotating characters to create with, your brain isn't gonna draw a huge difference between the guy from the scripted thing you watched, and the person from, idk, mythbusters. Love to see my guy make a big explosion.

In both situations, you don't know them as people, you know them as like, personas, characters. You are essentially engaging with them as fictional characters, cause you only see the small segment of their lives that they put into the video, and whatever story they're telling with that. You don't know them as people, because how could you? So your brain going "hehe what if hunger games au" is just one of the ways brains work.

And idk, as long as you know you're doing that, I think that's fine.

It's fiction. You're writing/reading fiction. It's in the name. You know that it's not true, you're dealing with fictionalized versions of like, stage personas, or teaching methodologies, or historical records, and you can make your little fictions, and you show it to the eight people who are also really into *spins wheel* Ancient Egyptian RPF or *spins other wheel* Taskmaster UK TV RPF or *continues to spin the wheel* Polygon (web series) RPF. You all shake each other's hands and go "man I really like [person/character] and I think about them a lot" and someone else goes "I also think about [person/character] a lot and I think that if he was a warrior cat he would be a kittypet" and someone else goes "I think if [peson/character] would boil an egg the egg would explode cause he's really bad at boiling eggs" and you go "go on". You are all silly together, and you are all doing fiction, and you go on your merry way.

Like that is A Thing People Do On The Internet, and that stays in its its designated space, and that's fine. Might not be your jam but it's fine. That is not more weird than inventing an elaborate imaginary religion for a minecraft world, or working out the emotional nuance of an arranged marrige au between fictional detectives, or carefully making an elaborate interlocking series of stories where someone from a children's cartoon is horribly tortured, rescued, recovers, and gets their vengance. All of that looks weird from the outside, and is a fine and honourable thing to do in your little circles on the internet.

The part where this becomes a problem is when you take your fiction (lies we tell recreationally) out of the designated circle of people enjoying the fictions, and you shove it in the face of the person it's based on, and go "do you like this" or "is this okay" or "I found this and I think it's bad is it bad".

When you are doing the fiction you are engaging with the person as a character which is like, fine, and a truthful reflection of how much you actually know them (not at all, you don't know them), but in shoving it in their face you are going "I don't know you but I want you to react to this for my entertainment/justification, because I think this reflects on you, and apparently I think I deserve your time and attention, and also I think I already know how you're gonna react and I'm gonna use it for my callout posts", which is like, so much ruder than just making fictions about people you don't actually know.

Like writing a superhero au about the person you watch video game speedrun— based. Love the imagination. That is making something from nothing, a great creative act. I could not do that at all but I salute you.

Telling the speedrunner about it? No were you raised in a barn. You are not writing it for the person to approve of— they don"t know you— you are writing it for fun and the enjoyment of other speedrunner enjoyers. Keep it locked down.

As long as we're all aware that RPF is fiction, and we keep it in circles where we're circulating it as fiction— ao3 archive locks exist for a reason! this is not something you want to show up on a google search!— this is just a thing people do for entertainment. Don't bring it up to the person it's about, and you're fine.

And I've been thinking about this because like, I don't think what I'm writing is RPF, but BOY from the outside people seem to think it is! Including the creators! Which means that even while I'm doing my best to adhere to character beats from the story and not just streamer personas, and differentiate between the dude in england and the dude in 3rd life, also I should be aware that if the creator hits it, he's probably gonna think that I'm just writing this about him.

Things go SO MUCH BETTER if the creator only finds it if he goes "huh I wonder what people are writing about me" and deliberately goes to look for it, not if he's just going along thinking about disney movies and someone comes screaming into his field of view like "people are writing about you on the internet". And then he's gotta deal with the ways he's percieved, and whatever weird warrior cat situation people were putting him in, and the fact that people don't know him but think he can't boil an egg, and the 3rd life cannibalism aus, and and and— it's a mess. Please don't do that.

All of this to say A) RPF is fine actually that's just like one of the ways storytelling works— we're not writing RPF but it isn't the devil either. B) STOP TELLING PEOPLE ABOUT FANFICTION.

#discourse #rpf #I had to sit through people ask phil TWICE on friday what his favourite fics are #and I could have bitten through the screen #fandom meta

[writingwithfolklore]

When your Antagonist is Also your Protagonist

                If there’s one thing humans are all really good at, it’s getting in our own way. Most stories have at least some element of protagonist against themselves—we create this block between our protagonist and what they want when we create their flaw.

                However, stories that rely on this conflict with self have to do a bit extra work. Internal motivations and antagonists are a bit more challenging, but still a valid way to introduce conflict into a story. Here’s three considerations for when your antagonist is also your protagonist:

1. What is preventing them from what they want?

This is the same question we ask ourselves when creating character flaws, but I think it deserves repeating here. There has to be something you can name that is standing in the way of your character, or this won’t work. It must be deeply ingrained, difficult to overcome, and effective in preventing them from getting what they want.

Maybe what they want is to ask out their crush, but they’re horribly shy. Or they want to take down their evil ruler, but they’re secretly in love with them. It’s important these are traits they can’t just snap their fingers and fix. Like, if your character really wants to win a weightlifting contest, the thing standing in their way can’t be that they’re just too weak, because people can work out and become stronger—that doesn’t make for a very compelling story, and it also doesn’t explain why they couldn’t have just done that sooner.

There’s a reason your character doesn’t already have what they want.

2. How will you use that to introduce conflict?

In order to be effective, this trait has to act as the antagonist, which means at every turn, they have to be thwarted by themselves. Maybe your character comes face to face with their crush and physically can’t talk and it comes off as awkward and weird. Or they’re approaching their evil ruler and can’t seem to pull the trigger.

Their inability to get over their trait should be frustrating and challenging for them. If it helps, think of it like a little invisible guy hovering over their shoulder and forcing them to do the opposite of what they want to do.

3. Other ways of standing in their own way

Characters can also be thwarted by their own minds in other ways. Some stories take the route of reality being unreliable, whether through drugs, mental illness, or a magical/fictional reason. Memento, the movie, is sort of an example of this, where because of Leonard’s memory condition, he’s unable to know who to trust or what the truth is, and what's a lie.

One of my favourite video games is Fran Bow, where the distorting of reality is both the problem and sometimes the answer.

                What are some other ways the protagonist can act as their own antagonist?

#when your antagonist is also your protagonist #writing #creative writing #writers #screenwriting #writing community #writing inspiration #filmmaking #books #film #writing advice #antagonists #writing antagonists

[maximumkillshot]

Home

Warnings: There are a lot with this one and it hits close to home. Mentions of S/A. The R word is used, sobbing, anxiety and mental episode. mentions of self harm, mentions victim blaming and slut shaming. MDNI. There is fluff spattered around.

Pairing: BangChanxReader

Characters: Bang Chan, Reader, mention of the person who S/A, people Slut Shaming and Victim Blaming. 

A/N:  Okay so this one is heavy. The things you are about to read have happened to me. I had a mental episode a while back. I wrote most of this during said episode. This is what I think Chan would do for his S/O if they went through and go through what I did. This blog has always been a safe space. I use my fictions to entertain as well as a platform to have safe conversations. If you need me as always I will hang around after drop.

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“YN?” Your husband called out to you. You couldn't hear him from the pressure of today. It created a seething pool of frustration and anger as you kneeled at the foot of the bed, wanting to pray, but now that you think about it the pain of being on the floor was a sweet torture in and of itself. 

Usually, anger like this wouldn't be a problem for you. You would go down to the basement and punch granite with your poorly taped hands, yes you were only a kid then, not knowing how else to get the anger out only stopping when you'd hear a crunch. Yes, that was the start of negative coping mechanisms, and yes you are trying to either bury that anger or let it consume you fast before Chris gets home. He's dealt with enough, we don't need to add on to it.  

Now you're no longer a child… as a matter of fact, you are now an adult, an adult with a hairpin trigger vaguely yet expertly disguised as comedic sarcasm. Depression that you don't remember not having… maybe when you were 8? You weren't sure. Not to mention a cast made of a myriad of physical and mental health issues…. Disabilities… and the cast of characters just keep growing! You have the medicine and the “coping techniques”, they called it, for success! Even those fail. 

Trying to talk it out just made you more angry, the injustice looking more and more ludicrous by the second. Okay, let's try breathing. Yeah no. That didn't work either, it just gave your brain more oxygen, so your brain went from quantum computer speed to Sonic the fucking Hedgehog. Oh… ok oh oh! Let's try soundboarding. You know, talk to people, not yourself. That ended in yet another game of useless catch phrases like “calm down” and “you shouldn't be thinking of that.” 

TELL ME SOMETHING I DON'T FUCKING KNOW THANK YOU! Oh, and I almost forgot the “Your method of thought isn't changing because you don't want to change '' DO YOU THINK I AM POKED ALL DAY AND SAY TO MYSELF…

‘OH I WANT TO FEEL MORE LIKE SHIT… I KNOW LET ME RUN MY FACE INTO A BRICK WALL OF ANXIETY REPEATEDLY UNTIL I CAN'T CONTROL MYSELF ANYMORE.’

You reverted to hurting the people around you due to your anger and frustration, plus you darkened the mood, you've always been a multitasker. My friends were right. I'm depressing, I was only kept around because of my ex. That was before they kicked me out… because they didn't want to believe he assaulted me. You go back to that night often… 

“I didn’t want to do that, I felt icky” You told him after he came back from cleaning himself up in the bathroom, while you were left to clean the traces of himself from your own mouth. No aftercare, no thought about you. The ghost of a boy who used you, who was an on and off friend of almost 10 years…

“I know.” he answered with no emotion.

“Then… why?” You asked, your head cocked to the side.

“Because I really wanted it.” He puts his hand on your shoulder, “But I’m sorry you feel that way. Shit now I feel bad.”

Then it switched to those friends, on another night… “ I just don’t buy it. That DID NOT HAPPEN, I know him better than you.”

“I mean you did it anyway so you must’ve wanted it.”

You tried to explain that you were assaulted, it’s called coercive consent and it’s the most common form of assault. You were raped. You didn’t want to do it and he knew that but you wanted to make him happy. You tried to explain, to educate. They weren’t having it.This conversation at times whirls in your head. Making you itch to pull a trigger, do something to make the torture stop.

“You always overreact and you’re so annoying why don’t you just go the fuck away!”

“You’re so depressing just fucking go away! We only tolerated you because you are his girlfriend, just go the fuck away!” The intent in her voice. The reality. You trusted her most out of the entire group. She helped you emotionally… Now shaming you, blaming you.

Her boyfriend rendered you speachless when you called it what it was, it was rape via coercive consent:

“Oh I get the kind of person you are, you’re the type of person who gets felt up in the middle of the night by their significant other because they’re trying to get laid and you call it rape.”

You know the right method to take now, right… Yeah you do.

Isolate… process… torture yourself…cry… alone. Contain the monster, so it doesn't hurt anyone else… You're just a monster parading as a human. Don't forget it. This happens when you forget Y/N… stop being reckless. Always so fucking reckless… 

You started clenching your hands one over the other, wanting to rake the top of your hands until they bled, trying to ground yourself. Until subconsciously, you did. You rocked as you did it, trying to soothe yourself.

Sometimes you swear people don't see you drowning right in front of their fucking eyes. You know how to swim, you know how to get out, to scream, punch, fight. You want to swim, you really do. But you can only do so much in a rip current. The lifeguard sees you. But instead of helping they yell “PADDLE! JUST PADDLE YOU'LL BE FINE!” It's a different level of patronization. It just makes you want to let the tides swallow you. Because why fight when the waters are so warm?

“Y/N?!” Chris yelled as he saw your bag tossed haphazardly on the couch, never where you put it. He stopped and listened carefully. He thought back to the last text you sent him. “Shit hit the fan at work …I don't want to feel right now. I'll see you at home.” 

That middle sentence made his heart stop. He knows you… something was up. He tried texting you back, sending words of encouragement, calling, and leaving cute messages when you didn't pick up, and nothing was heard from you. As soon as he could get away from schedules he did. When he looked at the clock you had sent that message three hours beforehand, he never raced home faster. 

He knows what your mind does to you. He sees the battles every day. When he’d compliment you and you would look down, not shy, but contradictory. When he’d pick you up you would freeze and he’d remind you that you aren’t too heavy, that he loves you in every single way that you think is impossible to love you. He’d always encourage you to wear what you want, do what you want. He would caress every single curve, never being able to keep his hands off of you. Whispering into your ear in public as he tilts your head up gently after asking for permission. He’d kiss you so delicately in front of a sea of people. On the red carpet, on stage, it didn’t matter. You were and are his person, and he loved showing you off. He couldn’t win the war in your mind for you, but he damn sure would fight those battles with you.

He would fight away those negative thoughts, he’d wrap his arms around you and sing to you to will those images, the anxiety and fear away. Until those thoughts were rendered useless. He’d wrestle with them for control, as soon as he won your mind back he gave it to you. He reminded you that you are here with him for a reason. He adores you, and nothing would change that. 

It was something he promised you when he saw you breakdown while doing your medicines. You told him that you were ashamed of it all. All the illnesses, that you weren’t perfect and that you’d understand if he didn’t want you. He looked at you and helped with your medicines, learned about each of them, and their dosages. He was so gentle, smiling at you, wiping your tears. He looked at all the medicines and said, anything that keeps you alive is nothing to be ashamed of. You aren’t something to be ashamed of. He knows that sometimes you can’t hear him until he’s right in your ear. Now looked like that case.

You couldn't hear him calling out to you, your mind too loud, too vicious, bloodthirsty. When pain and self-deprecation are your main moods, all others seem like an abnormal concept. Something that is stolen, was it even real in the first place? You know one thing that was real… Chris. You hated being this… the medications, the constant fires in your mind, the barrage of hate aimed at yourself, of unbridled strength turned inward to rip yourself apart for no reason other than things piling up. He didn't deserve that. He deserves peace, the best… just like what he demands of himself, perfection. 

You got through the gauntlet at your job. People undermining your authority, people on a power trip of their own. Sending others to try to intimidate, embarrass you into submission… as if you weren't a bloodthirsty wolf that could snap any second, biting their heads clean off. “An Alpha through and through,” that's what Chris would say, “Even Alphas have to bite their tongue, Love.” 

That made you cry more because at this point you don't even know if your tongue is still existent, or if you swallowed the damn thing after you bit it off. Or worse… you still have it… but you lost your voice. You know that can't be it, we're too fucking stubborn for that.

But the hits didn't stop coming, traffic happened, then going to the doctor who said that the physical therapy you needed would eat into your personal time, your time to write, to cook for Channie and the boys, to spend time with Channie and the boys.. then you forgot the doctors note so you had to walk back in for it. Then you had to go home while you tried to talk about everything… and well now here we are. 

Even now you try to problem solve, try to nitpick at yourself, the person he loves so much. You collapsed more on the floor of your shared bedroom, cross-legged thinking of the ocean, the violent, dangerous, tumultuous ocean… something simultaneously so beautiful and scary. You want to say you are like an ocean, but you don't see beauty in yourself, only a beast. That's all we'll ever be.

Chris freezes in the hallway hearing a sob break loose from you. He hadn't heard a sob like that before, it chilled his core. How does he approach this? He sees the doctor's note thrown next to your purse… He was happy you were approved for physical therapy, you really were in a lot of pain daily from the muscle and tendon weakness, but he looked at the times…

He looked to the hallway, “Oh…Baby Girl.” He had one piece of the puzzle. He knew you loved to cook for him and the boys but this schedule meant you couldn't do that for the foreseeable future. You enjoyed seeing the boys eating, and staying fueled, knowing without that they'd opt for less healthy options. Then he saw the paper right under it. A typed log… a leger of interactions throughout your day… “No…” 

Right there, in black and white, was what you went through today, everything down to the sarcastic smirk your coworker had as you were barraged with pressure to break the rules… and you didn't break. He never would've expected you to. You are the strongest person he knows. Even under these conditions, Chris himself would break. In front of fifty plus people being berated, pushed to do something you knew you couldn’t do. 

Right at the end of it was a line, written in plain ink by hand. “Vacation not given as described by supervisor. No week off.” With tear stains smudging the ink. 

Chris started walking down the hall to the shared bedroom. As he walked closer he heard you mumbling as you sobbed. Things like “stop crying” and “it's nothing.” But one made him freeze right before he opened the door, “Chris is going to worry. You already take too much from him, get it together so he won't worry. It’ll hurt him. Stop hurting the people you love. You’re a monster.”

That made his eyes sting, you were worried about him above all else. He slowly opened the door and you couldn't find it in you to look up. You knew who it was. The aura you know and love, like salve on the holes you ripped into yourself. The small steps were only weighed down by his sneakers as he slowly spoke. 

“Hey…Baby Girl?” The tone was even more soothing. We don't deserve that. “Can you look at me please?” You just shook your head. Too embarrassed at the shambling mess you are. The real you that you hide. 

Before you knew it you saw two big hands undoing the laces on his sneakers, shortly after he toed them off. Slowly he sat in front of you groaning “Oooooookay criss-cross applesauce it is…” making you smirk as you wiped your nose with the inside of the collar of your shirt. Finally, as he settled he said “aaaaaughh” with a big puff of air… 

You just tucked your head into your chest as you hid as much as you could. He waited for a few minutes, until he said, “We can address what happened in a few minutes. But you need to know. You don't take from me.” 

Your tears kept falling as you listened, his tone calming the raging currents in your mind.

He looked at the engagement and wedding band on your left hand. He watched the tears fall, he saw the holes in you. He wanted to lunge at you, take that emotional knife away from you, smother you in affection. Hold you, his heart burned for it. Needle and thread ready to patch you up. To heal you.

 He spoke softly, “You are my everything, Y/N. You aren't a burden, a disappointment, you aren't a chore, the only thing you took from me was my heart, but you had that before I even heard your voice. The second I saw you… I gave it to you. I don't want it back either.” 

You hiccuped breaths as you listened. He scooted a little closer and he put his hands out, palm up into your vision… asking for your hands. That was when you realized you were scratching at them again. 

You unfurled them from one another, hissing where one nail was slightly deeper, the tiny droplet of blood following soon after.

He looked at your hands, humming in the back of his throat, “One second.” He didn’t want to show it, but he was worried. You feel so much and he just wants to be there to hold you, to love you. 

Then popped up and left. He came back with a first aid kit, “Oooooookay heeaarr we goar again... criss-cross.” That made you giggle the tiniest bit. Chris always loved to hear your laugh. Your laugh is infectious and it always never fails to brighten his day. He knew he was making progress.

You couldn't see it but Chris was smirking at your tiny cute form. And hearing that little giggle made him want to channel Changbin and squeal at the cuteness overload. 

“Okay my Koala Bear… hands.” When you both had started dating, he noticed you always hung on to him. You explained that he was warm and you were always frozen, especially in the colder months. You asked if it was okay for you to hold on to him like that. Internally he was trying his best not to giggle like a school boy at the prospect of you holding on to him like this naturally. He looked at you and said, “It’s no problem, you just remind me of a Koala Bear, so cute and tiny. Can I call you that? My Koala Bear?” And you nodded blushing. Since then, you’ve been his Koala Bear. 

You presented your hands to him wincing at the stretch of the new scratches and he said “So tiny… so cute. Okay tiny sting” he cleaned the bigger scratch and put a bandage on it, and checked the rest. Once he deemed it all good to have your hands back. He kissed them then returned them to your lap. “Thank you for letting me clean them.” 

You nodded and hummed. The voices slowed down. They always slowed down around him. He always was your safe place. Like home base in a baseball game. If you made it there, you’re safe. You’re home. That thought made you sad, surprisingly. How are you safe with only one person? You should have security in yourself not in someone else. Your brain was waiting to start assaulting you again. 

“Is it loud in there?” Chris asked. You've told him about all of this before, this is the first time he's seen it this bad though. The voices, memories attack you. You explained to him that sometimes your brain will do this, you try to hold it back but sometimes it just can’t be helped.

“Mhmm”

“People don't help… right?”

“mhmm”

“Can you tell me what's going on in there?”

You told him. Some.. not all. You also told him about that pesky intrusive thought about your ex and your friends. 

His body went rigid as he said, “No… they're the ones that are wrong, not you. Your ex…” He wanted to choose his words carefully. He knew that you blame yourself at times. The memory of you explaining why you were hesitant to go further when you were dating. He assured you there was no pressure. That he loved you for you, the rage boiled in him and it still does because you were never at fault for this. Especially when you trusted that asshole enough to experiment with him. He was going to be your first for everything but after what he did. The trust was gone, rightfully so.

Chris continued, “He took advantage of you, and coerced you into consent, that is not love. That is not okay? That is sexual assault. The way that your friends acted was disgusting, the way he acted was sub-human… You are not depressing, you are one of the most beautiful, talented, funny, caring, loving people I have…” his voice gave out and he cleared his throat, “You are one of the most amazing people I've ever met in my life. I love you so much and I know you feel like you're a burden on me but being with you has been the most amazing thing I've ever experienced.”

He tilted your head up and you let him, he had tears in his eyes as he said, “You have never been nor will you ever be a monster.” Your tears picked up as you looked into his eyes. You could tell, Chris doesn’t lie. He’ll tell you the truth. His tears started falling as you leaned forward, reaching for him, needing contact. When you saw him you needed his warmth, you need him to heal you. You were losing hope, faith, everything as you watched the holes in you. Seeing him holding the needle and thread. By holding you, being with you, just being himself, it heals you. You whimpered, “Need you…” As your tears switched from self-hate to desperation… you needed him and he could tell. 

He untangled his legs and scooped you up, cradling you in his arms as he rocked you petting your hair back, “You are my inspiration, my eternal love, you are the best part of my past, my present, and my future. You are the future mother to my children, the woman I'm going to grow old with, my forever and always. You are my Y/N, and I am never going to let you forget who you are and why I love you, okay?” He started crying, shielding you in his chest, protecting you. Stitching you together as you heard his heartbeat. You cried on him, relieved that you were with him.

You pulled back from him nodding. He tried to kiss your lips but you said “I'm all snotty” and he giggled. Leave it to you to be worried about snotty kisses. You looked so adorable, cheeks and nose red, nose running, tears stopping, the twinkle coming back into your eyes as he looked at you. 

“Are you denying me my snotty kisses?” He giggled as he said “Okay fine. There's no snot on your forehead” he pecked your forehead, “none on your cheeks”, and laid another peck, this pattern continued for any expanse of skin he could get his lips on as you giggled at him and his barrage of affection. When he stopped he wiped your nose with his sleeve and he kissed you gently on the lips. He savored moments like this, being able to heal you, to pick you up. He looked into your eyes as he said, “now I am thinking I’ll draw up a bath for us and I’ll give you a nice massage. After that we order take away, from your favorite place, then we watch something, Hm?” He looked at you for an answer as he kept wiping tears.

You nodded and gently, he placed you back where you were and went to get the bath ready. You'll always have hard days, but those days turn into amazing nights with Chris. Your home.

----------------------------------------------------------------------------

LIKE MY WRITING? WANT MORE? Tell me so! Want in on the tags?? Shoot me an ask and consider it done!

#stray kids #stray kids fanfic #stray kids x reader #stray kids imagines #skz fanfic #skz imagines #skz #stray kids x you #stray kids smut #bangchan #bang chan x reader #bangchan x reader #bang chan imagines #skz lee know #lee know smut #lee know #lee minho #changbin #changbin smut #seo changbin #bang chan #seungmin #jeongin #hyunjin #changbin scenarios #stray kids angst #skz angst #Mentions of S/A. #sobbing #anxiety

[utilitycaster]

Part of why it’s tough to talk about the most recent episodes is that I feel a lot of people treat party dynamics, culpability vs. victimhood, and overall character focus on the show, based on an idea of a zero sum game, and I find that fallacious.

It’s really valid for everyone to be furious at Ashton, and I don’t think anyone has behaved wildly inappropriately towards them. I don’t think Bells Hells behaved in a therapy-approved manner either, but as is frequently discussed this is fiction and not real life and therapy-approved discussions are so boring and unnatural in, to be honest, either fiction or real life, that this is not a metric anyone whose opinion I respect would use.

It’s also extremely understandable how Ashton got here. As Taliesin said on 4SD, and now in-game and in-character, the fact that nothing good had ever really happened to Ashton means that they jumped at the first sign that they might be special and ran with it. The Ashton and FCG parallels continue; the past week has been a bunch of important people telling him how unique and cool he is. Jumping into the lava even worked out well for them! And so, riding high on that hubris, and with the knowledge that the rest of the party would probably stop them, they deliberately deceived everyone but Fearne. He even admits that the fact that “very smart people” (Evontra’vir, Allura, arguably Percy) advised against it was part of why he made the decision he did. It was perfectly in character, it did come from their trauma, and it still was a choice that was harmful to them, to the rest of the party, and to a vitally important mission. Ashton covers the situation well: they wanted someone else to blame, but in the end it was their fault.

Ashton is both deeply traumatized and also responsible for a number of their own problems. To be honest, I think this can be said to an extent about everyone in the party, but that’s beside the point. Within the fandom, swinging entirely to one side (They are a horrible selfish monster who ruined everything and are lucky the party is still talking to them) or the other (He has had a very hard life and exploding hurt a lot and everyone should be nice to him as a result) is an incomplete picture at best and a realization of the post author’s unexamined bias at worst.

It’s much easier to cover the other kind of zero sum: that of the show’s, and the fandom’s focus. The show is telling a story. In a good story, everyone will get their time in the sun, but if you’re counting how many minutes each person talks you have quite literally lost the plot. If your favorite isn’t getting the time you wish they did, it’s worth considering what sort of actions they take. Rarely do I find a main PC to actually be sidelined; more frequently, they just have a more subtle plot and the actor playing them realizes this. And in the case of the fandom’s focus; I’d be a hypocrite if I said complaining wasn’t valid, but you’ll achieve far more by making good posts about an underrated character than whining that other characters exist. People can enjoy multiple things at once, and frequently do.

#i've been trying to write something else like this re: mean-spiritedness #which is an EVEN BIGGER turnoff #but honestly that one either requires very specific examples or just being like. hey. learn the difference. #learn how to be a hater and an asshole without being mean-spirited. it's not hard. #cr spoilers

[topaz-mutiny]

I think the fans are underestimating how differently people can process things.

I am consistently seeing posts say "Ashton/Tal were repeatedly warned the shard was not for them/will 100% kill them", when this was absolutely not the case, and, more importantly, it is very likely for groups of people to completely misinterpret the warnings. Even if they've known each other and loved each other for a decade.

I certainly thought the warnings were not clear or frequent enough so I was shocked like lightning in the latest episode that they were meant to be absolute death flags.

Please note that I'll mostly refer to the fictional characters, I don't want to bring the people behind the characters too much into this.

First, I would like to point out, the show takes place over weeks and months with plenty of breaks and interruptions. That is plenty of time and opportunity for memories to get faded, muddled, crossed-over with other memories, etc.

The "warnings" happened two weeks to a month ago. And even when they were fresh on the cast's mind, here are the warnings verbatim (bold is my emphasis):

But be warned, holding the strength of the two in one vessel might sunder it. You bear the dormant strength of the empress. Find and bestow the might of the emperor.

- Evontra'vir, episode 74, aired October 5th. The conversations move on to unrelated things with no followup.

Ashton: He also said it might be dangerous for these two shards to intermingle. Or he didn't say dangerous, he said that-- it could destroy me. Orym: --A chance the vessel could break. Laudna: --The vessel <air quotes> could break. Fearne: Wasn't there something if you put them together with the right thing that it'll be okay? Ashton: It might come together and be okay, yeah. -- Dancer: Maybe if it were to meet one of its own ilk, it could awaken. Allura: What you said as a point of warning likely is true. To have both within a singular vessel, it's possible one could survive, but it's also highly possible that it would rend you into a thousand pieces. -- Allura: We're in a strange area of experimentation and unknown knowledge. -- (after finding out Ashton has a fascimile of a Luxon beacon in their brain) FCG: So he's got two things in him or them? Allura: It would seem, which is why I'm a bit--Well, you're either the greatest weapon we could hope for in this time, or will be our end. I couldn't tell you. Orym: Boy, maybe we don't add a third thing. Ashton: I was put together by bits and pieces. This was not an intentional thing and it, I honestly shouldn't have survived it. It was, literally, I was put together with junk. Allura: In an odd way, your fragmented nature might be what keeps all of this in check. ... Perhaps we don't put another powerful entity within your form.

- Various, episode 76, aired October 19th.

To me, these warnings were not clear in the slightest.

To me, these warnings were interspersed with so many words like "possible", "might", and "chance" that I completely misinterpreted the situation as "For Ashton it is dangerous but doable" instead of "The Game Master is telling you Ashton's character sheet will be ripped up."

This is the problem with using in-character voices and using descriptors that imply chance or flexibility. They can drastically weaken the meaning of a phrase such that people like me will mistake it for something else.

Because that's how my brain works. "May", "chance", "perhaps" suggest to me a reasonable set of odds for an action and does not come across as the grave warning a game master would want.

And as a reminder, these muddled warnings were weeks apart and weeks away, which can make remembering the meaning even worse if you've already misinterpreted them. That's why I was 100% on board with Ashton taking the shard. It seemed reasonable but dangerous, so when Matt said "I warned you." in that grave tone and with that grave look I was thrown for a loop. I went "oh no! those were serious warnings!?" and the panic started setting in.

Also a contributing factor was the pressure and lack of communication from Bells Hells.

Fearne did not want the shard, and finally stated that thought aloud to Ashton. For Fearne and Ashton, that meant the only choice left was Ashton, because, for one reason or another, the 5 other people in Bells Hells repeatedly assumed and pushed the shard onto Fearne and wrote themselves out of the equasion. FIVE characters absolved themselves of being active participants. Once the idea of Fearne came to mind and this Emperor Fearne/Empress Ashton/Callowmoore shipping dicotomy, Bells Hells just stopped talking about it and never once considered if any of them should take the shard should Fearne refuse.

So... yeah that's how my brain works.

#critical role #cr spoilers #critical role spoilers #c3e77 #ashton greymoore #fearne calloway #bells hells #evontra'vir #taliesin jaffe #matthew mercer #communication breakdown #tl;dr Bells Hells needs to talk to each other more instead of just assuming how things will be #do you want explosions and dead PCs? that's how you get explosions and dead PCs. #people will think differently and can misinterpret what you say #even this loving group of 8 people can misinterpret each other despite being together for like a decade #tbh I thought the shard going to Orym would've been ideal #I might repost this for the Monday crew idk

[open-sketchbook]

on satire

that satire requires clarity of purpose thing fucking broke some people's brains i swear

like i know why it exists, its because some people will use 'its satire' as a blanket defence against criticism, but the problem here is you're having the wrong argument. you shouldn't be trying to say 'no, its not satire', because that is accepting the framing that if it were satire, then holding shitty positions would be acceptable, when the reality is that satire which holds shitty positions still fucking sucks!

but on the other side, like, you can in fact satirize or critique shitty positions through portraying them, its a normal thing that fiction does, there is no such thing as art which can perfectly convey its meaning to everyone because everyone is such a huge fucking category and, get this, people have different views about things

so often, if you portray an accurate vision of a bad thing to show why it is bad, the people who like the bad thing will like it because it portrays the thing they like, and the think the negative consequences of the thing are actually good, even when everyone not them understands it is not

and there's no way to write a thing that will get around that! its not how humans work!

a really good example of this is helldivers 2; the vast majority of normal people understand that the game portrays a fascist state, and does so because the nature of the gameplay involves dying a lot in silly ways, so they made you play unsympathetic idiot assholes so when it happens to you its funny

fascists like super-earth not because they didn't do a good enough job showing how awful super-earth is (it is a constant and blatant theme woven into basically every single mission, tutorial, and line of dialog) but because the things about super earth that are awful are things that they like

there's no clarity of purpose that defeats "i know you are showing me a bad thing, but i am a bad person who likes bad things", or, similarly "i know you are showing me the negative consequences of the thing i like, but i will simply ignore that part"

similarly, if you portray misogyny in something, and your portrayal of misogyny is accurate, misogynists will like it! this is not a flaw of the work, its a flaw of the misogynists!

the idea that this isn't true relies on the delusion that the reason people are fascists or misogynists is because they are ignorant of the consequences, and if shown the consequences, they will stop being fascists and misogynists. this is liberal garbage; they like the consequences.

misogynists think that men making women suffer is good, because it means that men have the unrestricted power over women to make them suffer, and they are in favour of having unrestricted power over women. you cannot portray it bad enough that they go 'oh i get it now'

fascists think that dying stupidly for their country is good, because it means their country is properly engaging in the never-ending darwinistic struggle between people groups they believe in and is unafraid of the consequences, and they are in favour of the never-ending darwinistic struggle because it appeals to their aesthetic sensibilities. you cannot portray it bad enough that they go 'oh i get it now'

portraying either of those things so that normal people understand what it looks like and can have discussions about it is still a valid thing that media can do! like, why the fuck are you allowing various strains of bigots final say in deciding if something acceptably portrays them?

[autistichalsin]

I'm going to go off here just because I'm so frustrated.

So this drama all started when someone- a self-identified anti- posted a rant that I "wrote Halsin rape fantasy fiction." I was annoyed, as anyone would be, but even more because such a fiction didn't exist! But also, it sounded like a great fic, Halsin using a rape fantasy/consensual nonconsent to work through his Underdark traumas. So I said "you know what, I can't let the fake version of me you invented be cooler than the real me, can I?" And then I set to work plotting out Too Many Burdens to Bear, which would take about another month to be ready to post after that.

The group were angry at this, and soon after, they started a callout, cancelled me, harassed me, whatever word you want to use for this nonsense. They couldn't keep their story straight, from the start. Some of them claimed it was the simple fact that the fic was CNC that was wrong. Others, who were okay with CNC themselves but still wanted to have a reason to hate me, said my fic WASN'T CNC, and obviously that was the problem, it would be different "if" it was just CNC. (Then, when they were corrected, they....... never changed their tune.) Another said I was planning to write a fic about "Halsin being raped again" and had said "getting raped would help Halsin heal from his traumas."

It's like they're playing a game of telephone, but instead of changing a single word, the goal is to change the entire sentence.

Others insisted the problem was that I wrote it to "spite" the person who "only said they were uncomfortable with rape" (lol, then don't read it, you fucking dumbass!!!) I got told I was retraumatizing myself and others, that I didn't care about/fetishized rape, etc. They have since gone on to claim I posted the fic untagged, hoping to trigger the anti who started this.

These are the tags on the fic in question, which they would know if they bothered to LOOK at what they were criticizing.

Could this possibly be ANY better tagged? I even had someone who is squicked by PIV sex reach out to thank me because no one EVER warns for that. That's how above and beyond I went in avoiding squicking anyone.

Like, literally everything this group claimed about my actions being problematic falls apart with the most cursory check at the ACTUALITY of what has been posted.

And these people, who claim care SO much about rape, who care SO MUCH about survivors? Yesterday, Mish made a post about Neil (as in, Astarion's actor) getting sexually harassed, and one of these people replied that it was "hypocritical" to say so while supporting me, who writes CNC. When someone replied that this was about a real human, not fiction, they literally said they DIDN'T CARE. They care more about defending the honor of Halsin, a fictional survivor of rape, than they care about the real person who played Astarion, who is a REAL survivor of rape.

When Mish and I said we are both survivors of rape and sexual abuse, respectively, these people said we were "playing the survivor card" (an utterly vile thing to say). I received an anon questioning whether I was really sexually abused.

They also, at the same time as the initial bout of drama over my CNC fic, began calling me a pedophile because of an omegaverse Halsin headcanon I made. For those unaware, omegaverse is an AU with many related tropes. Which ones get used vary by the author, but they always include heats and animalistic behavior, and often include knotting, mpreg, themes of subjugation based on gender, breeding kink, and others. However, while the trope started as a kink one, it has since branched out, and some write fics without smut at all, instead focusing on gender dynamics, kidfic, or other aspects of the universe.

I made a headcanon that Halsin, who in that universe I headcanon as an omega- who, in omegaverse stories, can get pregnant, and have heats- would want children of his own. I headcanoned that after taking care of children at his commune after the ending, that this might trigger a heat for him.

A normal person would look at this and go "aw, Halsin has baby fever! Cute!"

These are not normal people, so they looked at it and went "ewww, this pedo thinks Halsin gets turned on by being around kids!"

They literally said this. While also admitting that they do not read omegaverse stories. Multiple people who do read them tried to explain that it's just how reproduction works in that AU, but this person just stuck their fingers in their ears and yelled "lalala HEATS ARE HORNY IF YOU WRITE HEATS IT'S ONLY TO BE HORNY HORNY HORNY! NOT LISTENING!"

After they accused me of being a pedophile for this, I fired back and said "if you can look at this headcanon and think it has anything to do with attraction to children, you're the pedophile." I should not have called them one back, and I apologize for it, but this person has since gone on to lie and play the victim, saying "I just said their tweet was a bit sus and they called me a pedophile FOR NO REASON." They also said that they "wouldn't have been so quick to call it pedo if [I] wasn't so open about being a proshipper."

If I wasn't so open about saying that fiction is not morality, you wouldn't have been so quick to say that my fiction represented my morality? Hmmm.

If you notice, their posts all have the same formulaic deception and manipulative slant to them: they will say something about the fiction I write/enjoy, or the characters I don't like, etc, with a personal attack against my character. When I respond, they will then claim to have been attacked, violently and without provocation, "just because" they (x), where (x) is the most blatant glossing over of their actions. Them calling me a pedophile became "just saying their tweet was sus." Them harassing me for weeks over a CNC fic that HADN'T EVEN BEEN WRITTEN YET was "just saying we aren't comfortable with rape." So uncomfortable with rape, remember, that they said they DIDN'T CARE about Neil being harassed, because CNC about Halsin was worse.

You would think these two things alone would be enough to utterly destroy this group's credibility; they are either blatant liars, or their perception of reality is so poor that nothing they say is to be trusted. Anyone who prioritizes a fictional character's rape over a real person's is not living in reality. Anyone who thinks baby fever is pedophilia should not be trusted on, well, anything. It would be like trusting a flat-earther to give geography lessons.

But unfortunately, people wanted to listen to them over Mish and I, and sadly, it's easy to see why. The antis positioned themselves so that if you disagreed with their harassment, you were "pro rape". And no one wants a label that toxic associated with them, so they jumped ship on principle. Even though Mish is the nicest person in the entire fandom and has never hurt anyone at all, even though Mish is an IRL advocate for rape survivors and against gender-based violence in her country and has thus done more for rape survivors than these people ever have or will. It doesn't matter to them.

Other equally bizarre accusations have been lobbed at us; I'm "lesbophobic" and "called all lesbians TERFs" (I called the rhetoric from a group of like five people TERF-ish, but since they think they represent all lesbians, they claimed it was against all lesbians- WHICH, by the way, is my identity as well. They are calling me a self-hating lesbian over this.)

This group has a history of starting harassment against people, then cry-bullying that the pushback they get is a form of lesbophoia; for example, a few months ago, they harassed a bi woman off of Twitter who asked them to stop being biphobic by calling it gross to ship Shadowheart, a canonically bisexual woman, with men. They branded this user lesbophobic and harassed her until she permanently deactivated. They posted that it was gross to ship Karlach with Dammon, too, and when a user, who is herself lesbian, headcanons Karlach as a lesbian, and doesn't ship her with Dammon chimed in to say why OTHERS ship it, they attacked her too. They attacked the actor for Rolan for sharing/supporting a fan petition for Rolan to be romanceable. They called Dave, Halsin's actor, a creep for sharing NSFW art of Halsin on his page, and tried to insinuate he was a pedophile (saying they wouldn't be surprised if he had a scandal like "that Genshin actor," who, for those who don't know, was found to have groomed a child online.)

They claimed that I "called everyone who doesn't like Halsin ableist", when what was actually said was that IF we call everyone who doesn't like Minthara lesbophobic because a lot of her fans are lesbians (which is a thing that one of them had just said), THEN using the same logic, we could say that hating Halsin is ableist because a lot of his fans are autistic. (Sidenote: this group of people repeatedly mocked my special interest (making meta essays) after being told it was my special interest, which is pretty gross, to me.)

It genuinely boggles my mind that a group of people can be so toxic to the actors and still given a platform in the fandom. This is entirely new behavior to me- even in the most toxic fandom's I've been in or rubbernecked on, harassing the actors was always considered the line not to cross and would make you persona non grata. It was the one thing everyone could agree on as unacceptable. Yet these people are openly attacking Dave's character and are still not only listened to when they make up allegations against people, but they are well-respected in the fandom. Either people don't think harassing an actor is a big deal anymore, these fans secretly AGREE with the harassment and slander against him, or (most generous explanation) they don't know who they're actually supporting here.

These people gleefully mocked my abuse from my mother. I said that some of Minthara's abusive actions (poisoning a romanced player without her consent) reminded me of similar actions my mom did, and are part of my aversion to the character. I posted this untagged- I even censored Minthara's name so that her fans wouldn't find it. But because they were cyberstalking me so obsessively, they QRTed it and proceeded to bring it up multiple times to snark about "the essential oils". When someone called them out and asked if they really thought it was funny, they answered, without hesitation, yes. They said that I had already "mocked my own abuse" by bringing up how Minthara triggers memories of her, so they therefore had every right to laugh at the bodily harm I faced when my mother would deliberately cause me asthma attacks by forcing me to inhale essential oils. Because I said that a fictional character's similar actions triggered memories of it. That was worthy of mocking to them.

So they support survivors of rape and abuse who have triggers related to fiction, unless that survivor is a survivor of child abuse who is triggered by their favorite character, in which case they deserve to be mocked. I guess they don't believe in supporting survivors who have trigger reactions to fiction after all... what a surprise. Almost like they never cared about anything they claimed to.

They're actually remarkably transparent about not actually caring about ANY issue they claim to champion. They claim to be fighting for rape survivors while harassing not one but two survivors from the fandom into mental breakdowns (the tweet about my mom was so bad it made me have a flashback, and their harassment of Mish did similar to her) and saying they DON'T CARE about Neil's sexual harassment because fiction about Halsin is more important. They claim to oppose lesbophobia while repeatedly attacking lesbians who disagree with them on anything from shipping to whether queer male sexuality is inherently predatory. I could go on.

Somehow, no matter how blatant it is that they don't actually care about anything, and are just using fake moralizing as a vehicle for sadism, people still keep taking them at face value. Again, I get it. They have positioned themselves as fighting against rape and abuse, so by extension, they have positioned it so that anyone who is against them is liable to be accused of supporting rape and abuse. It's a great system for them, really; bullying is a behavior that would otherwise be reviled, but by framing everyone they don't like as a bad person, as an existential threat to marginalized communities (who, conveniently, always have their own marginalized identities ignored until it becomes convenient to bring it up again to harass them for it), they turn their bullying into not only something acceptable, but into a moral act to be commended. A moral obligation, even, because don't pedos deserve to be hunted for sport? (This is the same reason why the alt-right is obsessively pedojacketing the entire LGBT community as they move to censor queer fiction, for the record.)

I don't know what else to say besides that I really, really hope that people are waking up to that group's nonsense, or at least that they will soon, and will realize that fiction is not reality, and that that group of known disingenuous liars and manipulators are being... disingenuous liars and manipulators, yet again.

Unfortunately, it's too late since they've already chased Mish out of the fandom, and I will honestly never forgive that group of people and their enablers for it. But I have hope that maybe the rest of the fandom will come around, especially because, as all of us who have experience with antis know, they are never going to stop. They aren't going to stop targeting people for everything from making a harmless mod that turns Scratch into Astarion to saying it's okay to ship Karlach/Dammon or Shadowheart/men to writing a fic about Halsin using kink to explore his trauma from being enslaved to being an actor for the show who retweets NSFW art of his character to making a headcanon that Astarion wants to dance with Tav to making an omegaverse headcanon... I could go on and on.

Sorry for the novel, and I hope this is the last post I make about this drama, but I am so beyond tired and frustrated. This hurt Mish deeply- the nicest person in the entire fandom- and seeing the raw sadism from her bullies, sadism that is being praised, makes me feel physically ill, honestly.

I won't be using any fandom tags for this post, but I will be tagging this with various proship related things since I feel this is relevant.

#proship #proshipper #proshippers please interact #discourse

[wyvernwriterparttwo]

How to Design a Large Cast of Characters

Note: While this advice can be applied to all forms of fiction writing, I will be primarily focused on helping you design casts of *playable* characters for games similar to Fire Emblem or other SRPGs. Also, this is mostly going to be the weird ramblings explaining how I personally design large casts, so if these tips don't work for you, don't worry about it.

Something you should know about me is... I love a large cast of characters. Specifically in games like FE. I love looking into the lives of the units who I use in battle and watching them grow stronger, and watching their character arcs. If their villains or otherwise important characters, I love seeing how they influence the narrative outside of my influence and how they can aid or help the main party.

For anyone who's designing games with large playable casts of fun characters or making a large cast for any other project, I feel like this guide will help you a lot.

Step 1: Make Some Characters

This is the easiest step, at least for me. Take a world that you made, and think about characters you want to use for this world. Main characters, side characters, villains, etc.

They do not have to be the most fleshed out, at least at the beginning. They can be a concept you think would be neat for this world to explore. They could be simple concepts you'd want to write or neat ideas you think would be fun to design. Hell, it could even be a character from a story that either died or got cut.

Step 2: Cut and Assign Roles

For this step, you must have a set number of characters you want to have in your playable main cast. For Fire Emblem games, this number usually ranges around 30-40.l playable units.

About now, you should also begin to flesh them out, making them more than just concepts.

You must also consider the themes and world of your story. Who in your list of characters could best explore those themes in some way. Note that not every character has to be important to the plot or masterfully explore the themes of the game.

Once you've gotten a range of main/playable characters, pick the best ones, or thr ones you like the most, and bench the others, and congrats, you have yourself a cast of good guya. Do the same for some of the NPCs or villains, but on a smaller scale, and you have a pretty good list of characters.

Step 3: Make Them Interact

There is one major problem with making large casts...and that is that they are large. There are a lot of characters you must keep an eye on, and they should all do something in the story.

If you focus ONLY on the main character(s), you risk making the characters bland, boring plot devices, or meatshields that add nothing to the story. On the other hand, if you write all characters as if they are important, you risk bloating your story with names and dialog and making the story take too long.

Important characters should be in the spotlight most of the time, but it I'd a good idea to spread it around. Show how some of the more minor characters feel about this situation, maybe have them talk with each other outside of danger, give them relationships with each other. Give em enough for people to want to latch on to

#writblr #writeblr #creative writing #writing #writers on tumblr #writing tips #game development #gamedev

[txttletale]

having thoughts about your point that players/the gm shouldn’t have to design anything for a good ttrpg and wondering if i’m thinking of the gm’s role using inaccurate terms. what would you call the gm’s responses to uncertain mechanical situations in a given game (e.g. a mixed success in pbta - the onus is on the gm to come up with what that means, following some guidance from the rules.)

it seems like something that people find comforting about d&d is that even though the rules are overly complex (and often confusing), many of the common mechanics have clearcut (and boring) outcomes (such as save or suck, hit or miss, etc), meaning the gm doesn’t have to produce/interpret a result themselves. is the other approach (i.e. rules-light) putting more “design” weight on the gm? or is that thinking of it too formally?

otherwise, good design being the gm’s responsibility seems like it just falls under the umbrella of playing in good faith - whatever the situation, it’s bad faith to create untenable/insoluble scenarios that the players can’t meaningfully navigate

yeah, i mean--PBtA games have a list of GM moves, right? when a player has a mixed success, usually that means they succeed and the GM makes a GM move. and obviously those moves have choices and stuff the GM needs to come up with -- something like Monster of the Week's "Put someone in trouble" or "Separate them" definitely require the GM to think of how that works in the fiction -- but that isn't game design, right? the mechanical aspect of that has been handled by the game's rules text. so i think that if there's more weight on the GM i think it's strictly creative weight rather than design weight, unlike the 5e GM who is forced to mechanize anything they might want to make up and is often left without any mechanical guidance

and i mean, i think in general 5e (and dnd more broadly) give the GM absolutely fucking nothing to work with. there are literally no GM-facing mechanical levels other than enemy statblocks (which also, unlike something like Lancer or even fucking 4th Edition, come with no guidance on how to use them or how to assemble combat encounters with them). it's much, much easier to GM a game with GM moves, because then you have an actual set of mechanical levers available to you--and of course, like the aforementioned "Separate them", these levers automatically lend themselves to telling the sort of stories the game advertise for their genre. here's some GM moves from other PBtA systems that, just by seeing them as a mechanical lever, can push the story into the genre and tone directions the game wants to emulate:

Put innocents in danger (Masks, teenage superhero drama)

Reveal an unwelcome truth (Fellowship, high fantasy adventure)

Make honour and shame real (Sagas of the Icelanders, saga-era viking drama)

Bring their gender into it (Night Witches, Soviet airwomen war story)

Make them teach a class (Pigsmoke, magic-school cutthroat academia)

and one of the absolute best things about GM moves (and similar mechanics, like BitD's consequences, or BOB's setting sheet moves) is that because they are clearly delineated and restricted, there's no self-policing. because a dnd 5th edition DM can, rules as written, say at any point "100 ogres appear and beat you to death", they always have to be navigating a series of unspoken social contracts, creating threats but never threats which can win, introducing problems and consequences at a rate that keeps stakes up but is also fundamentally winnable, make everythign feel 'fair'. and dnd players have learned to accept this all as just the table stakes of a GM role, but it doesn't have to be. because all that is game design, and in a better game, that design is taken care of. GM moves say 'look, we've already thought about pacing and fairness, here's the levers we've pre-designed for you to pull, go nuts and tell a story with them'.

so in my opinion PBtA mixed successes represent a lot less onus on the GM to design the game for the designers than anything that happens in 5th edition outside of individual clearly resolvable combat actions--and it's one of the reasons i started having much more fun with TTRPGs once i stopped GMing 5e and realized that other games gave me actual tools and support to work with instead of expecting me to do all that bull shit

#ask #ttrpg

[blackautmedia]

The Problem with the Gerudo | Orientalism in Legend of Zelda

EDIT: Because I made an updated and more in-depth version of this now that Tears of the Kingdom has been out longer, I've posted the updated link here in place of the original.

With the release of Tears of the Kingdom, we have to have this discussion again. The desert vai outfit was racist, not that the game removed it to address that, but the Gerudo are built entirely on orientalist tropes that go beyond just the outfit. We also talk about orientalism as shown in works like Aladdin and Ducktales.

Some Excerpts:

I'm not saying to abandon the idea of queering Link entirely, but only to understand that Legend of Zelda relies very heavily on a number of euro-fantasy tropes that rely on presenting numerous non-white people as exotic playthings and to consider the position that puts queer non-white folks in.

The entire scene of Link getting the Vai outfit and questioning the man giving it to him is built on transphobia.

This isn't queer expression, it's racial exoticism. They're not imagined as people with a society that makes sense, everything around them being so fixated on finding men and having Link and other white guys infiltrating their space.

Orientalism at its core is an imagined vision of real oppressed people by a dominant group in a way that excludes them from their own portrayal and reinforces real-world systemic oppression.

Entire fictional groups in Zelda such as the Rito, Twili, Zonai, Gorons, and Deku Scrubs to name a few incorporate racial coding in addition to the Gerudo. That recontextualizes how we look at say how the Deku are portrayed in Majora's Mask where they're jungle dwelling savages boiling this monkey alive because they think he kidnapped their princess. This is where racial coding comes into play because Nintendo is using a racial trope commonly used to depict Black and several native indigenous people as barbaric.

The Gerudo in Ocarina of Time are depicted as a race of desert-dwelling thieves. You're formally introduced gameplay wise when you have to sneak around their hideout and free these men who were seduced by what the game presents to us as dangerous but irresistible women. Despite being a group of almost entirely women, their society is patriarchal as the in-game lore states the lone man born every century is destined to be their leader. The Gerudo also go out into Hyrule to go find boyfriends.

Ocarina of Time is one of the earliest Zelda games to portray a human or human-like version of Ganon, the man of the desert he's repeatedly called, but they use racial coding with his human counterpart and make him an Arab man with some other cultures mashed in, which they also conflated with Islam to characterize him as evil and dangerous.

Ocarina of Time goes a step further as the recurring symbol of the Gerudo shown here is an altered version as seen on the mirror shield obtained in the spirit temple. The original symbol is a crescent moon and star very closely resembling the symbol of Islam. A common orientalist trope that does this is the conflation of Arabs with the religious faith of Islam. This was changed alongside prayer chanting used in music for the fire temple on some N64 cartridges and subsequent ports and the DS remake of Ocarina of Time.

The fact that Nintendo is a Japanese company doesn't magically make them immune to these issues, especially because 1) orientalism doesn't only encompass Asian people and 2) Even the term "Asian" encompasses countless subcommunities each with very distinct histories.

#legend of zelda #tloz #tears of the kingdom #orientalism #gerudo #zonai #twilight princess #ocarina of time #wind waker #tloz oot #oot #ww #totk #vai outfit #ganondorf #phantom ganon #loz ganon #calamity ganon #arabic #egypt #aladdin #disney #ducktales #ducktales 2017 #dt17 #link #totk link #zelda #princess zelda #totk zelda

[purplefangirl42]

You're My Favorite

Summary: Silco is a bit insecure about your interest in others, but you're quick to ease his mind.

Pairing: Silco/GN!Reader

A/N: This was part of a gift exchange for my lovely friend @deny-the-issue. Love you lots and lots Jasper 💜

Tags/Warnings: Modern AU, Fluff, Silco being jealous, Themes of Insecurity Divider by saradika

A soft huff of annoyance was the sound that greeted you when you entered Silco’s office, which was not exactly what you were expecting. He was usually very happy to see you, as it meant he would have a small distraction from his busy work day.

“Something wrong?” you asked as you sank into the armchair across from his desk.

Silco peered at you over the edge of his laptop screen, the skin between his eyes crinkled as he furrowed his brows at you. Before you could ask again what his problem was, he turned the computer to face you.

You leaned forward to look at what he was showing you and discovered he had the purchase history open for his online shopping account. The list contained many purchases from Jinx, but also a number from yourself. The latest was a set of merchandise for a game you enjoyed, specifically for the character you were a big fan of.

“If you’re upset I used your account, I can pay you back,” you said, trying to not let your own annoyance seep into your tone. “I didn’t think you’d mind me using it though. I’ve used it plenty of times before.”

Silco sat back in his desk chair, turning the computer back around.

“It’s not the money that bothers me, it’s the content,” he said. “Everything has this man’s face on it. As if the big poster at home that I have to walk by every day wasn’t bad enough, now his face will be staring back at me from your clothing?”

Confusion filled your mind at his reaction. He had never expressed an issue with this subject matter before, so you had no idea where this was coming from. 

“At least tell me this one has some flaws,” he continued. “That last character you were fawning over from that TV show was a near perfect human specimen.”

Silco’s last comment echoed through your mind for a few moments before you realized what the problem was. He was feeling self-conscious about his looks and comparing himself to others you showed attraction to. 

This was not the first time something like this had happened. Around the time the two of you started dating, he had expressed concern about your ability to find someone better than him. Someone younger and better looking. Though you had assured him that he was the one you wanted, it seemed that those doubts still lingered to an extent.

You stood up from your chair and made your way around to his side of the desk. He was pointedly not looking at you, focusing on the screen in front of him. When you stopped at his side, you gently placed your hand on the side of his face to turn it towards you.

“Silco? Are you feeling jealous?” you asked.

Silco scowled and let out another huff in response. 

“Of fictional characters? Don’t be ridiculous.”

You raised your eyebrows at him, giving him a chance to change his answer to the correct one. After a moment, his face relaxed and he gave a resigned sigh.

“I will admit, it’s a bit discouraging to see you so infatuated with these people,” he said. “It just reminds me of what I’m lacking.”

He gestured to the computer screen again and to the phone in your front pocket.

“You surround me with these images and as hard as I try to ignore it, it lingers in my mind.”

You reached into your pocket and pulled out your phone. The case had a piece of art featuring the character you had just purchased merch for. You turned the phone over and placed it down on the desk so the case was hidden from his view.

“I’m sorry, darling,” Silco said. “I know I’m being ridiculous about something so unimportant. Forget this conversation ever happened.”

You leaned down to be at his level and gently stroked his cheek.

“Silco, you don’t need to apologize for expressing your feelings.”

“You deserve to enjoy things, to go all out. If having these things makes you happy, then I will deal with Mr. What’s-his-name staring at me from every angle.”

You laughed softly at Silco calling the character ‘Mr. What’s-his name’ and reached for your phone again, turning on the screen.

“While he may be all over the place, do you know who I have as my lock screen?” you asked, turning the phone so he could see.

Silco leaned over and looked at the phone and you could see the embarrassed look on his expression fade into something softer. The image on the screen was a picture of the two of you together. Jinx had taken it for you at one of Silco's company parties. She had said the two of you looked cute together, and you had agreed and immediately made it your lock screen. 

“I may enjoy all these beautiful, FICTIONAL, characters,” you said, emphasizing the fact that they were not real. “But you are still my favorite, Silco. You always will be.”

You leaned in and placed a gentle kiss on his cheek before pulling away and placing the phone back in your pocket. Silco looked up at you with a look of adoration that made your heart swell. You gave him a soft smile and pointed at the screen.

“I’m still getting those by the way, they were a great deal.”

Silco rolled his good eye and you could swear you saw the hint of a smirk on his lips. 

“Yes, darling. I will simply pretend that they do not exist. For you.”

To make things easier for Silco, you placed the items you purchased in your office as soon as they arrived. You had even moved the poster so he wouldn’t have to see it every day. When you watched him walk past the spot the following day, you saw him hesitate and look at the empty wall. He turned his gaze to you with a raised brow, which you responded to with a smile before coming over to wrap your arms around him.

“What happened to What’s-his-name?” Silco asked. “I was just starting to get used to him.”

“He lives in my office now so you don’t have to see him staring at you every day.”

You felt Silco’s arms tighten around you for a few moments before he released you. He placed a gentle kiss on your forehead and went about his normal routine. You knew he had many things to get done before the holiday break, so you let him go without further conversation.

You started going about doing your own things, getting the house ready for the upcoming holiday. Jinx was going to be coming home from school for two weeks and you wanted the house to look magical when she arrived. Silco wasn’t much help when it came to the decorating process, so it was probably better that he was busy while you did this.

Just as you were putting the finishing touches on one of your decorations, you heard the front door burst open. Before you could turn around, you felt a body slam into you, nearly knocking you to the floor. Blue and pink tipped fingers were visible at the ends of the arms wrapped around your midsection, which gave away the identity of your attacker, as if you didn’t already know.

“Welcome home, Jinx,” you said, patting her hands. “Did you have a good trip here?”

“I don’t think she stopped talking the entire way here from the airport,” came an annoyed grumble behind you.

Turning around in your daughter’s tight grasp, you looked over her head to see a very grumpy looking Sevika standing in the doorway holding Jinx’s paint splattered bags. She dropped them to the floor and held up her hands.

“She’s your problem now,” she said, turning to leave.

“Thank you, Sevika!” you called after her as she departed.

You spent the rest of the afternoon with Jinx, listening to her stories about the past semester. You all had plans to go out for dinner once Silco came home from work, so when the time got closer, you disappeared into the bedroom to get ready. You were surprised to find Silco standing there waiting for you.

“When did you get home? I never saw you come in!” you said, walking towards your closest.

“That’s because I told Jinx to distract you so you wouldn’t notice. It would have ruined the surprise.”

“What surprise?”

You stopped in your tracks at the sight of a box sitting on the end table beside the door to the closet. It was long and red with a white bow on top. You reached out for the box and picked it up carefully before turning to face Silco.

“What’s this?”

Silco crossed the room to stand in front of you, his hands clasped behind his back and the hint of a smile lifting the corner of his mouth. He pointed his chin in the direction of the box in your hands, clearly wanting you to open it.

Doing as he wished, you pulled at the white bow, undoing the knot. Lifting the lid from the box, you revealed the contents inside. A beautiful gold bracelet sat inside, nestled in black velvet. You let out a soft gasp as you carefully extracted it from the box, placing the box back down on the end table.

“Silco, this is beautiful!,” you exclaimed. “But, Christmas isn’t for another week!”

“I thought you could wear it tonight when you go for dinner,” he said, stepping closer and taking it from your hands and turning it over. “Look on the back.” 

You looked at where he indicated and saw an engraving that looked very similar to Silco’s handwriting. Your eyes scanned over the words on the metal and you felt your heart skip a beat.

You’re my favorite too. Always have been, always will be.

Your vision blurred slightly as tears began to form in the corners of your eyes. You looked up to meet Silco’s gaze as the first drop ran down your cheek. Throwing yourself in his direction, you wrapped your arms around his neck and buried your face in his shoulder. 

“I’m glad you like it, darling,” Silco said, returning your embrace.

“Like it? I love it!”

Silco pulled back from the embrace and took your hand in his to guide it to a position where he could attach your gift. Once it was securely in place, he lifted your hand to his lips and placed a gentle kiss on your knuckles.

“It is just a small token of my love for you. I wanted to ensure that you knew your sentiment was returned.”

“I didn’t need a bracelet to tell me, but it is nice to have it there as a reminder.”

You closed the distance between you once again, kissing Silco softly on the lips. You felt him smile into the kiss and wrap his arms around you to pull you tightly against him. You hoped he truly understood how much you loved him and how important he was to you. Much more than anyone else you could ever meet.

A/N: Give this a like, comment, and reblog and let me know what you think!

#silco #silco arcane #lol silco #silco x reader #arcane league of legends #arcane #gift fic

[clavissionary-position]

What Emma Would Do

Ignore me. This is just me working through my own thoughts and feelings on this. Also I'm an idiot.

***BIG EDIT: I misread and misinterpreted. Azel was nearly drugged and SA'd, so his reaction, however cruel, makes complete sense to me. If he was real I couldn't apologize to him enough.

Moving @/caffedrine's billion-dollar comments up here.

My original, misguided post is below the cut if you're interested.

I have to ask myself what Emma would do. Within reason. And only within the scope of this fictional game, because I'm not about to touch this topic as it exists in the real world. That's for people much smarter than me.

But for the game, my dismissing of Azel as a cruel misogynist without seeing his circumstances and worldview shuts down the conversation the same way it does when Azel dismisses a woman as a slut without seeing her circumstances and worldview.

(Did he actually use the word 'slut' or did google just translate 痴女 like that for me... I should double-check... edit: oh my bad, he calls her a "female molester", which... I can't say he's wrong considering she tried to give him an aphrodisiac...? The word also means "stupid woman", so he could very well have meant it that way too, especially for some reasons I get into later in the post.)

Soooo, he didn't actually call her a slut. I'm an idiot 😌 I'm sorry, Azel. Dunno if any of my points below mean anything, but I'll leave it here anyway:

The running theme in Ikepri is to look beyond the beast and see the human inside. To meet them halfway. To see their heart. And that heart is always so very terribly scarred. All these guys have gone through their own traumas and come out the other end behaving in ways designed to be armor, to protect themselves from any further pain.

I can only speculate about Azel this early in his story arc, but being showered with the same adoration and reverence that people only show a god, day in and day out, probably fucks with your mentality a bit if you are still only human at the end of the day. Having women try to seduce you only because you're The Living God, well, we saw what that kind of shallow treatment did to Silvio. Women see you as an object and so women become objects to you. You want to be loved, but you don't want to be hurt.

That might only be scratching the surface with Azel, though. He's also clearly jaded from listening to the same old interpersonal problems people have when in relationships. Love is actual trash to him, not even worth a single penny. It's trash because the very people who follow him prove it to him on a daily basis, I imagine.

Yet that's still not the full picture. I mean, we obviously won't have the full picture until his main route drops, but there's another key factor to consider with Azel.

He quotes Pascal in Licht's sequel. "Man is only a reed, the weakest thing in nature; but he is a thinking reed." The full quote goes onto say:

"All our dignity consists, then, in thought. This is the basis on which we must raise ourselves, and not space and time, which we would not know how to fill. Let us make it our task, then, to think well: here is the principle of morality.”

(Did I read the entire context of the quote? HA! What do you take me for? A scholar or something?)

Free will and independent thought is arguably the most important thing to Azel. He has no respect for the sheep who flock to him for direction (though he'll happily take their money and tributes). Even with the dancer who tried to seduce him in the prologue, when he tells her to lick up the food she dropped after he tripped her, he presents it as a choice. Nevermind that the staggeringly unequal power dynamics at play made it so this was nothing short of coercion in the end; there was no way the dancer was in a position to stand up for herself and say no, even if that's exactly what Azel wanted. But from his perspective, defiance would have been welcome. That's why he phrased it as a choice. That she started licking up the food only solidified in Azel's mind that this woman is an unthinking reed without dignity. If you're going to act like trash, he'll treat you like trash... maybe that was part of his thinking.

On a slightly different note, I think another reason he hates the idea of love so much is because love makes people lose their ability to reason, to think. I believe he outright says as much, iirc.

In the end, I don't know from where exactly Azel's fury and cruelty comes from. It could be all of these things, it might be something else entirely. All I can think is, you can't be 'God' everyday and not be scarred by humans.

In conclusion, I can't excuse Azel's behavior. I don't excuse it. But I think Emma would try to understand the why of it, like she does in any other route. The other running theme in Ikepri is that, as a certain someone would put it, the essence of all people is love. It's their environment that twists them. Somewhere in Azel is the purest kind of love. A kind that would make any god look away in shame. That's what I want to believe in, anyhow.

Also, I need stress that I was SO wrong about whether he actually called the dancer a slut or not. Google fucked me over by translating it that way! Ah, Azel, I'm so sorry!

#ikepri jp spoilers #ikepri azel #ikemen prince