thinbking about urahara shoten during tybw again.. wonder if tessai has to convince ururu and jinta that kisuke’ll come back safe.. wonder if he has to tell them that kisuke will help stop yhwach from destroying all three worlds.. wonder if ururu, being spiritually sensitive as she is, has nightmares about the war and seeing the people she’s come to know as friends and family almost die :(
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when tesla and einstein don't call him sovereign or welt or even joachim but just.. the boy ,, he is their boy,, I love them so mfuh
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new dad Bakugou who’s going back to work full time almost a full year after his daughter his born and he now has to grapple with the fact that….goddamn, he’s spoiled the shit outta her.
well, he doesn’t think it was spoiling her. in actuality, he just created a routine with her, gave her every bit of his attention, held her when she cried, scolded her (yes just at eight months) whenever she’d babble for more puffs even though she’s had enough already. it wasn’t spoiling, it wasn’t. he vowed to never be that dad, to raise a snot nosed brat, one similar to himself.
but here he is, on a Tuesday morning three weeks after her first birthday. he’s standing halfway between the front door and the living room in full uniform, with his still sleepy baby and her even sleepier mama. she’s gripping his neck like he promised to abandon her, wailing and crying so loud and dramatically, that you can’t help but chuckle at her antics and how he wavers ever so slightly.
“You promised you’d go back to work,” you scold him gently, rubbing at your daughters quivering back when she whines again the moment he acts like he’s gonna pull her off. Bakugou frowns at you, and you shrug, smoothing her unruly blond curls away from her sticky forehead.
“But you guys need me.” He pouts, eyebrows downturned as he pulls her away enough to wipe at her wet face. she blubbers again, whimpering out a small dadaaaa noooo, that absolutely breaks his heart.
“And so does the world.” You smile at him, gently pulling your daughter away from the matching glassy red eyes who watch her go. “We’ll be fine, my love. Promise.”
Bakugou looks unconvinced, especially since your daughter reaches for him with another cry of his name. you don’t say anything when he sniffles discreetly, quickly reaching down to the coffee table to snatch up his utility belt that he dropped when she waddled out of her room in tears. he snaps it on wordlessly, and you go to turn to the kitchen when he wraps you both up in his arms.
“Love you,” he whispers against your forehead before pecking it, leaning down to kiss your lips next, and then your daughter’s fat little cheeks. He whispers another love you to her, and wipes away at her rosy cheeks when she pouts at him.
“Rub you.” your daughter pouts, the both of you freezing in shock.
“Oh my god,” you whisper, grinning. “She said I love you back!” Bakugou matches your grin, laughing under his breath as he presses another torrent of kisses all of her face. for the first time since she’s opened her eyes today, she laughs, loud and joyous and familiar. he thinks that maybe going back in today won’t be so bad after all. not if this is what he’ll be coming home to.
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I’ve ranted on the sniper part like three times and yet I want to continue to do so and repeat everything this whole fandom has already discussed. To sit on a cloud in the sky and take a fucking megaphone and just shout about it. How wordless it is. How their communication has already hit that point. HOW HE WAS SO. FUCKING. ZONED IN ON HER. ONLY ON HER. NOTHING ELSE WAS AROUND. IT WAS COMPLETE TUNNEL VISION ON HER AND HER ALONE. How he knows where she’s going and knows every infected to hit to keep her safe and clear her path. How he sits and waits and watches the van for any infected that would dare get close to her. How he started shaking when that clicker got in the van. How he was so full of debilitating fear over her life. His hands sweating, tense shoulders, the hitched and short breaths, and obviously a sky-rocketed heartbeat (and probably blood pressure). How he relaxes when he sees she got out of the van. How he never missed a single shot, despite what he tells her in episode 3- “happens more often than you think.” How he knows she’s going after Henry and Sam and he slightly nods and that’s her sign to move and how Joel takes out every infected in her path on her way there. How his breathing has steadied because he can see her now. He can protect her now. How it’s all just complete dad behavior and he’s still going to try and pull his stunt next episode 🤡 baby you’re in love already, please just accept it
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Fakir's theme (Beethoven's Coriolan Overture) always struck me as funny because it stands apart from the other character's themes. Mytho has the delicate Dance of the Sugar Plum Fairy, Rue the somber Gymnopedie No 1, Duck the cheerful Nutcracker Oveture etc... while Fakir's theme is well... LOUD.
It characterizes his most aggressive moments, mainly playing in scenes where he antagonizes Mytho and Duck.
This always sat a little weird with me as it is a very surface-level character theme for such a complex character. In contrast, Rue's theme tells us something about her motivations under the Kraehe persona. Fakir's on the other hand tells us that he's mean and aggressive... something any viewer who's gotten to a scene where the song plays already knows.
On one of my rewatches, though, I noticed that he has another song that functions as a sort of secondary theme: an excerpt from Scheherazade.
This song plays most notably throughout most of episode 12, while he is bonding with Duck. It shows up a few times later in season 2, mainly in scenes concerning Fakir's struggle to write. As such, I view it as a complementary theme to the Coriolan Overture.
Listening to the song, it feels much more in line with Fakir we've come to know him. The song can be a little delicate and a little sad with gentle wind solos that lead into loud, grand orchestral sections. The repetitiveness, tempo, and use of dramatic brass and strings give these louder sections a gallant, almost desperate tone. It's super fitting that this is the song that plays throughout the episode where we get the best sense of Fakir's natural personality when he isn't putting on the cold persona.
I don't really have a deeper analysis here I just think it's really fun that as his character develops he gets an additional theme. If you think about it the music in Tutu functions as a sort of jukebox musical--the world and characters are built around the songs. Once we start to get to know who Fakir really is, the music that represents him changes to reflect him better.
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Red Hood Characterization
This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.
I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?
This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!
tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.
Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.
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