another one for the road

anonymous asked:

please. tell us more about your 'folk bangers' playlist. that sounds relevant to all of my interests. (folks and banging)

if you want a playlist for banging folks this probably isn’t the one for you, but if you want to Go Off, Historically then WHAT’S UP 

🤘🏻

Being a fan of The Beatles is great. However; being a Beatles Fan is miserable.


#seriously take me back to before I knew about all the stuff cos it’s just one heartbreak after another and it hurts I wanna just be non the wiser again…


Originally posted by gypsyastronaut

Talking with a friend at conbust about how frustrating it is when cars don’t notice motorcycles because they don’t think to notice them, like it doesn’t occur to them to register not-car shaped objects one the road.
Another friend pointed out she’d heard people discussing this issue, saying road games like Punch Buggy have people always subconsciously on the lookout for VW Bugs. So the proposed solution is to teach little kids to punch each other when they see motorcycles instead of Beetles, so they can’t help but look for them for the rest of their lives.

And it’s like, man that’s fukken genius. Go make your kids play Punch-Bikey or whatever you wanna call it.

The Signs and Space III:

Aries: An elevator that seems to be taking far too long. No music is playing.

Taurus: A small shop you’re sure went out of business a couple years back. It just keeps showing up again whenever it closes down.

Gemini: A public park that’s always bigger than you previously thought. There are always things peeking out of the grass, rusted and old.

Cancer: The four lane highway that runs off into the mountians. You never see cars comming or going. Where does it lead?

Leo: The rickety taco truck that hangs out in the legal district. The prices change a lot. You think you saw your house rep there once.

Virgo: The long road to the nearest national park. You saw a fox dart across the road to snag a bird out of the air.

Libra: The weekly farmers market. You always walk out with bags full of things you don’t remember buying.

Scorpio: An intersection at 11pm. For just a moment you saw the streetlight flash a thousand different colors.

Ophiuchus: The nice part of town. The lawns here are bigger than your whole house. All the homes seem connected in some way or another.

Sagittarius: The turn you never take into that odd one lane road. You took it one day and found that it just loops back around.

Capricorn: The local community center. You’re not sure what it’s for. Huge empty rooms gone unused.

Aquarius: The bus stop by your house. You always see people waiting, but never any busses.

Pisces: The local barber shop. There is one chair.

On Fury Road and the value of non-threatening male heroes

So I’ve been re-watching Fury Road and something struck me;

Tom Hardy’s Max is just really non-threatening. Now, that’s weird on a surface level because in story he’s presented as very dangerous. But here’s the thing about the kind of men we’re used to seeing in action movie; They are threatening in their masculinity.

The capitol A Action hero is a fixture in our cultural awareness. Almost without fail this hero is a man (if you have a woman in the role of action hero, it’s almost always proceeded by her gender. She can’t just be the action hero, she is very clearly cast as a FEMALE action hero.) So our male Action hero  is a badass. He’s dangerous, he’s brooding, he’s tough as nails. Sometimes he’s sarcastic and witty, sometimes he’s a moody stud. Point is, despite cultural changes that we see with our Action heroes as different pop culture trends change the flavoring, these men are all pretty much cut from the same mold. And here’s the thing about your typical Action hero; They have this underlying current of threatening masculinity. To put it bluntly, your typical Action hero is really all about cock. They’re intimidating to both their male peers and the women who are cast opposite them. They are toxic masculinity distilled onto our screens.

Now, in recent years we’ve been seeing more varity in our Action heroes. More emotion. Of course, there have always been exceptions (Luke Skywalker is one of the most note worthy male heroes to break this mold, and I think it’s worth noting that he’s often called whiny. Hell, when I was a little kid I loved him, but as a young teenager I thought he was lame. Now I realize that this might well have been because he wasn’t acting like your typical male hero. Maybe that scared me on some level) Anyway, let’s get back to Hardy’s Max. In story he  starts out as frightening, but he is never threatening in the way of your usual Action hero. He’s feral, dangerous, and unpredictable at the start of our story, but he doesn’t have any of that toxic masculinity.  So, we have a mad Max who is dangerous, and seems mad, as it were.  But there’s none of that hyper male Action hero posturing.

Hardy’s Max is a flawed man whose past has almost driven him past the point of no return. To the other characters in the movies he initially seems to be  feral (they don’t have the benefit of hearing his inner thoughts) Max is a frightening, but he’s not a masculine he-man. In fact, the characters in the movie who fall close to what we’re used to seeing in Action heroes are the warboys and their leader. The culture espoused by Immortan Joe is hyper masculine and toxic. The young men who idolize him seem like extreme versions of what we’re used to with our heroes. They’re brainwashed into a society built on toxic masculinity and objectification, and the heroes of the story are the ones fighting against this idea. Interestingly, Furiosa has a lot of traits of your traditional Action hero, but it’s coupled with compassion and self reflection, not because she’s a woman, but because  she’s  a person. Like Max, she is fighting to regain her humanity through helping a group of young women fight for their freedom from a world of toxic masculinity.

So, again back to Max himself. As the movie goes on he regains his sense of self. A big theme int he movie is the objectification and commodification of human life. We see this with Immortan Joe’s ‘wives” as well as with the brainwashed warboys and the use living humans as ‘bloodbags’ and ‘milkers’ Max starts the movie literally strapped to the hood of a car as a hood ornament/living blood bag.  Max is reluctant to help Furiosa and the ‘wives’ at first, but we see him change in a brief period of time. He  regains his humanity through helping others and coming to terms with his own demons. Hardy’s Max is dangerous, but he’s also vulnerable, undeniably so. We see his fear, we see what haunts him, and we see him struggle to survive, and then struggle to come to terms with his past in order to help others have a future. This sets him apart from Mel Gibson’s Max, and in my opinion makes him the better of the two. By the time Max starts really showing his human side, we see a man who is compassionate and half broken, a man who relearns himself by helping others.

Another notable aspect of Max is his relationship with Furiosa. Usually when your typical Action hero is paired with a STRONG INDEPENDENT WOMAN in a movie, there’s this ongoing dynamic of ‘but you’re a girlllllll’ There isn’t respect, because the heroes of the story are acting out the deeply felt internalized misogyny of our own society. They can’t interact as equals because in our cultural minds they are inherently unequal. They are defined by their rigid gender rules, and they act this out like they’re children on a playground crying about cooties. And of course, there’s usually the sexual element, with the heroes constantly griping at/disrespecting one another while it’s played off as repressed attraction all along.Fury Road never once does this. Max and Furiosa are two flawed and broken people trying to survive. There isn’t a split second where Max stops to wonder how a GIRL can be so tough. Once they’re established as allies, they immediately move into a working relationship built on mutual respect and trust. Two scenes come to mind. Firstly, the initial canon chase when Max first shows himself as an ally. There’s one notable moment where Furiosa is standing up out of the roof and Max hands her a gun. That doesn’t seem important, but there’s something about that gesture that’s very c cinematically important. It shows us that they’re a team now, and it shows us that they trust each other. The second notable scene is the “Don’t breathe” moment in the night bog. Max has previously seen that Furiosa is a good shot. He knows that she is the one to trust with this task, so he hands her the gun and lets her use him as a rifle stand. It’s a moment with no dialogue that speaks volumes.

All of this goes to Max as a nonthreatening hero. He never objectifies, disrespects, or distrusts his counterpart. He’s never an alpha male. He’s part of a story that he doesn’t need to dominate with his manly male maleness. Hardy’s Max is a dangerous, vulnerable, and quietly compassionate man who gives respect and trust where it’s due. He has no need to parade and prove his masculinity. In fact, the people doing that are the villains, and isn’t that telling?

anonymous asked:

So what do you think of Bakugou and Midoriya's relationships? You've finally watched/read BnHA and I cant help but wonder about your meta!! (Gotta go away from Kaneki harem mood lmao)

I wanted to write a meta about those two for a while, so thank you for giving me a push in that direction :D There’s a lot that can be said about them, so prepare for a lengthy reply. 

Disclaimers: this post is meant as an analysis of their dynamic, not something written to condone Bakugou for his (frankly shitty) behaviour or to make excuses for him. It will touch upon complicated feelings and unsolved issues (you all know which ones), so if you’re not comfortable with that kind of topics, I advise you stop reading here. 

As a side note, please keep in mind that I will discuss the manga as a whole, so for those who only follow the anime, BEWARE OF THE MANGA SPOILERS AHEAD.

So, without further ado, let’s dig into it!

1. Necessary introduction: differences in approaches.

First and foremost, something that needs to be addressed is the opposite way in which Midoriya and Bakugou deal with strong emotions. 

Midoriya is the type who wears his heart on his sleeve: when he’s sad, he’s not afraid of crying; when he’s happy, he vibrates with his whole body; when he’s got a problem with someone, he always tries to address it and talk it out. Midoriya is not afraid of his emotions, and instead wears them as a weapon. He’s in control of them. 

Bakugou, on the other hand, has never known how to deal with them. When Bakugo feels, he always feels strongly (even more so than Midoriya, perhaps). He doesn’t do anything half-heartedly, not even emotions.  

So he chooses avoidance. He ignores his feelings, shoves them deep into a recess of his mind not to think about them, and tries to move on. But all those pent-up emotions wear him down on the long run, manifesting as frustration the longer he doesn’t do anything about them, and that frustration festers until it manifests as rage. 

While Midoriya prefers a more straightforward approach, Bakugou has never been able to follow. So venting became his coping mechanism, because he didn’t know how to properly talk things out with Deku. 

2. Before Midoriya acquired a Quirk.

I said that Bakugou doesn’t know how to follow, but it’s actually more complicated than that. In a sense, it’s almost like Bakugou is scared of, intimidated by the ease with which Midoriya seems to be in touch with his emotions. 

Quirkless, “useless” Deku is always the first to rush in headfirst into trouble to “save” Kacchan. 

That, the selfless drive to just dive into danger to help someone else, is perhaps the only hero skill that Bakugou lacks. Remember the provisional licence arc and how Bakugou failed the exam? He failed because he rescued no one. 
I mean, that is not to say that he doesn’t have it in him to become a great hero. But to him, heroics is all about raw strength, and how that’s the only necessary tool to defeat villains. 

So how does this come into play with his relationship with Midoriya? The answer is his inferiority complex. 

Keep reading

[TRANS] THE LAST OATH
A sadly beautiful youth
In the repeated time where the end is not visible
In a contingent and completed space
If we have walked together,
and fought together,
we have grown beautifully
in front of a newly opened road,
we swear to bet our all,
and protect the next
one, to find what we lost
one, to fill the empty hearts
one, to find another road to move forward
one, to never throw each other away
we’ll become one like that,
to protect the X Clan

translated by kinghyungwon ϟ take out with full credit.

Life is complex. Each one of us must make his own path through life. There are no self-help manuals, no formulas, no easy answers. The right road for one is the wrong road for another…The journey of life is not brightly lit, and it has no road signs. It is a rocky path through the wilderness.
—  M. Scott Peck
Nine to Five (Part 1)

Pairing: Stiles x Reader

Summary: Father Stiles AU. All Y/n wants is to find a new family to care for, when she comes across an AD in the newspaper, she couldn’t be happier. Stiles hires a new nanny for his daughter, but he soon realizes that he hired someone that would soon become much more than just a nanny.

Do let me know what you think about this, pretty please. Feedback is always wanted. I remember reading something similar to this and I couldn’t get the idea out of my head; I really enjoyed writing it!

Part 2

Gif @darlingiminlove


“What about this one?” Lydia questioned, eyeing a small square at the corner of the newspaper. “Nine to Five nanny service needed in the Beacon Hills area, must have experience with children under six years old. Email your resume… Short, straight to the point.” She mused, showing you the ad. You shrugged your shoulders, nodding at her to tell her to send your resume. With a few clicks on her computer, she smiled at you and took a sip of her coffee.

Being without a job for the last two weeks felt amazing, you felt like a new person; refreshed and comfortable. You were sad to see the family you looked after move all the way to the United Kingdom, you always thought you’d see Lori and Brett growing up so your heart shattered when the news was broke to you, but after a couple of days, you accepted it and it was time to move on. Except every ad in the newspaper was either taken or two hours away.

Keep reading

HoO characters as sayings/quotes:

Percy: “It takes a great deal of bravery to stand up to our enemies, but just as much to stand up to our friends”


Annabeth: “When you aim for perfection, you discover it’s a moving target”


Jason: “There is no flying without wings”


Piper: “Better to be strong than pretty and useless”


Frank: “After a while, you learn to ignore the names people call you and just trust who you are”


Hazel: “If you don’t like the road you’re walking, start paving another one”


Leo: “In every success story, you will find someone who has made a courageous decision”


Nico: “Some of us think holding on makes us strong; but sometimes it is letting go”


Reyna: “Keep your fears to yourself, but share your courage with others”

The Great Mall adventure -Bruce Wayne/Batfamily x Reader

Love the mall idea :-), and because I thought it might be redundant to write another story about shopping things, I joined two requests together, the mall thing, and @dannysanime​‘s request. Again, I feel like it’s “meh”, like I could write better…it’s really one of those months you know, Hope you guys will still like it

(My masterlist blog here : https://ella-ravenwood-archives.tumblr.com)

_______________________________________________________________________

-Dick, I swear to the gods, if you do not make up your mind right now, we’re leaving you here. You’ll have to sleep in beds from Ikea, and rely on people’s charity to eat every day. We’ll come visit you sometimes though. 

Your husband laughed at your words, but immediately glared at some paparazzi taking pictures from a corner. Those people always thought they were so damn sneaky, while flashing you right in the face with their cameras. Idiots. Under the famous “bat-glare” (or “Wayne-glare” for that matter), the two paparazzis slowly backed away, but Bruce knew they’d come back. 

-But moooom ! How can I choose so fast ? I don’t know if I like the blue suit or the black suit, or the white and black, or the…

-So fast ? We’ve been here for three hours Dick ! 

-Mom, buying a suit is serious business, you can’t expect me to choose one in less than…five hours ! 

-Let’s just buy them all then ! So we’re finally done with it. I’m hungry. You know I get mean when I’m hungry boy. Especially in my current condition !!

Bruce smiled at you, and wrapped an arm around your waist, his free hand resting lightly on your swollen belly, and laid a kiss on your forehead. You calmed down a bit, but your other sons looked at Dick, a slight panic in their eyes. You were kinda mean when hungry normally, but now that you were pregnant and had to eat for two…they weren’t up for your constant sarcasms right now. Your oldest kid got the message, taking all of the suits he pre-selected in his arms. He stopped in front of his father, and Bruce slipped his debit card in his mouth (since his arms were full you know). 

-Heeeere we go, now come on every body, let’s go let’s go let’s go !

Keep reading

ok but rich girl’s parents are out of town and instead of throwing a party she orders a pizza and gets ready to spend the night alone stuffing her face… while she’s waiting for her food to arrive, weird news reports start popping up about people eating people/crazy attacks in her city. the pizza guy shows up and rings her doorbell furiously begging for her to let him in because a walker is after him. they end up staying together partly because he’s terrified to go back out there and partly because she doesn’t want to be alone. they end up sticking together and bonding in the big mansion as the world falls apart around them, but then they’re forced to go out on the road and protect themselves/one another because they’ve started to really care about one another and !!!!! 

10


Art series:
10 Sins of Miden
Bad sides of ‘Miden’ main characters. They should overcome those ‘sins’ by the end of story.
[Addition information for those who want to read/are not lazy]

Selfishness – Putting own interests over community interests. Renji is always more concerned with his own opinions, desired and benefits. He doesn’t care about other points of view, because he’s totally sure he’s right. Wizard is too focused on his love towards Rukia, that he couldn’t care less about her opinion. He only listens to himself. That’s why feelings of other even very close people are unimportant to him, if they oppose his own desires.

Obsession – Fixation. Desire to own. Desire to be needed. Tender feeling became something terrifying and deformed. Even thou Cian has human heart, her snake instincts of higher beast infect her mind. When human will open his heart for Sung Sun her soul will drawn in the storm of madness. Love is like the Devil.

Vanity – urge to became famous, loved and honored. Desire to be worshiped by whole nation. Impossible dream, followed by paranoia, hypocrisy and sanctimony. Kaien wants to be someone he is not destined to be. Someone as who he wasn’t born. That’s why he wears thousands of faces, trying to fulfill his dream.

Addiction - Compulsive need. Self distracting habitude. Grimmjaw was trying to escape his past so hard he became drag addict. Hi was drawn in his new way of life. Finally he was distracted from painful memories by his awful lifestyle dynamics. But one way or another this road will lead him to mental disability and craze in full splendor.

Avarice – Desire to achieve personal gain. Riruka doesn’t only seek financial gain. Jewels and money are only a small part of all the things she wants. This girl could do any infamy to be happy. She could even ruin lives of people she finds interesting. Everything will be just like doll house. It will go according her plan, as if it is a pretty picture.

Cowardice – Weakness of the soulwhen person sees something scary. Orihime is terrified whe she sees blood. Enchantress should help those who are wounded, but this girl could only cry for help and tremble in fear. With all her awesome talents, she is helpless and useless. Pathetic crybaby right before enemies. Heavy burden to her friend. 

Snobbery – Isida is all about manners, art and high society. He pretends to be an intellectual, a man of delicate taste, but he is haughty to all of those who are ‘unworthy’. And he considers as an unworthy almost everyone. Like a pitiful rats the come to his feet. But he himself is doesn’t deserve to be worthy. He is just a rat with butt soaked in wine.

Meticulousness – Bothering about smallest things. Toshiro is very pernickety and peery boy. But it’s not a pure curiosity. His sin could make him search for the forbidden knowledge that might burn his soul. The Truth could be found only if all pieces form a stained-glass window. But what sacrifices and betrayals will it coast?

Scepticism – Doubt about existing of the Thuth. Rukia truly is a skeptic who denies unconfirmed thesis. Her thoughts are critical which is unforgiving for a girl temporally performs duties of a priestess. Guide of spirits should believe in celestial power of The Stars and in Great Stream of Astral River. But Kuchiki denies all of that. Her mind is a bleached out blemish on the black canvas. Pure inference. No superstitions or prejudices. But as pity as it is – her mindset is a worst sin for a priestess.

Cruelty – Without mercy. Without heart. Hichigo lost most of his soul. He has not enough control over his mind. Whirlwind of feelings makes him impulsive and furious. All the pain that cave in his soul during his wanderings want to make it way out in a form of barbarities and sadism. And abyss is devouring his sympathy toward others. Completely. And remain of a human soul becomes… hollow.

/Atypical sins! Not a clichéd seven! :D/

Writing Series #2: Plotting

Everyone has their own strategy for this one, but it’s also probably the aspect of writing that we ask each other about most of the time: what do you do to figure out your plot? How do you stick to a plot? How do you know where a story is going? How do you stay interested long enough to finish? How do you keep from getting lost? For first time writers, this is particularly daunting, as we tend to think of a book–all 80,000 words or so–as overwhelming and more than we know how to accomplish, as something too big or unattainable. 

Some writers sit down with a single idea and go from there, letting the story come as it may and waiting for the ideas to strike as they write. For many writers, this works. For me, it doesn’t. 

My process looks a lot more like this:

  1. Wait for an idea to strike (and I mean strike; it has to come to me, haunt me, bug me, until I’m sure I can do nothing but write it)
  2. Plot. Plan out everything. Write it all down, outlining each chapter–what will happen in each and how many there will be.
  3. Write. 
  4. Edit. 
  5. Edit again. 

Step One: There are lots of good ideas out there, and my notebooks are filled with ideas; ideas that occurred to me in the middle of the night, ideas I thought up after witnessing something in a park or listening to a good song. New ideas are exciting and can lead to great things, but I won’t turn any of them into a book until I’m sure the idea won’t go away. 

I don’t write it down. That’s the first test; if I haven’t forgotten it the next day, or the next, or the next, then I know it might actually lead somewhere, that it’s not a fleeting idea that will tempt me and then leave me hanging. I let this go on for a month–yes, a whole month–and if at the end of that month, I still can’t let that idea go, if it’s still rolling around in my head, waiting to be explored, then I move onto step two. By then, I know that the idea and me are long-term, that we’re in this for the long run. 

Step Two: I plot. I plot everything. 

  • I start with the main arc: where do I want the story to start, and where do I want it to finish. In my most recent story, for example, I knew that I wanted the main character to begin cynical of love and relationships, and I wanted the story to end with him opening his heart to the possibility (even if he wasn’t yet in a relationship–that bit I’d find out later). I knew I wanted the three strangers at the beginning of the story to be best friends by the end. I knew they’d all start with some trauma, and I wanted them all to successfully be on the path to recovery and healing by the end. 
  • Then I looked to time: I believe it’s important to know just how much ground, chronologically speaking, a book is going to cover. I needed to know how long my characters would have to experience the emotional growth mentioned above (the less time, the more the plot would have to directly affect them, the more intense that plot would need to be). I gave them the summer. Just three months to learn and get to know each other, which meant every day was going to count, and I wasn’t going to be writing a lot of moments skipping ahead in time. (If the story was to last five years, for example, I’d have a lot more room to build these relationships, and so things could unfold more subtly and with large chunks of time between.)
  • Then I look to characters: I write down all the main and minor characters (naming them is a good first step, though this can change later) and I write down both their emotional state when the story starts and what they’re actively doing with their lives, and their emotional state when the story ends and where they’re at/going with their lives then. 

As you’ll see, there’s a pattern here: I figure out point A and point B. Then I make a list of little things I want to happen, different scenes that have begun to play out in my head, interactions I want the characters to have, pitstops no the way from A to B. And slowly, I build the story around them. I begin to figure out how we get there, which road the story is going to take, and little by little, the story comes together until I have an outline that looks a bit like this:

Chapter One: Opens in [setting]. Character A talks to Character B about [topic] They meet Character C. Ends with Character A realizing [topic]. 

And so on, until we get to the last chapter. In a way, this outline becomes a script, my go-to plan. 

Do I always stick to the script? No. But when I begin to write, I keep that list pulled up beside my new blank word document, and I read it from time to time. Sometimes, once I get writing, once I begin to know the characters a bit more, and once the story finds a voice of its own, I go off script, and the story takes me places I wouldn’t have expected. But I always make sure I refer back, make sure that one way or another, I come back to to road map. It’s okay to take a pitstop on the path, to go off on a tangent, but the plot map allows me to find my way back to what’s relevant, to what I know has to happen to get from A to B. 

For any writers out there who worry about making their stories big enough, who have trouble thinking of side plots, this is also a good way to map that out and see where your story has room to grow and what it can encapsulate. It lets you see just how big the story will become and if it belongs in novel format or if, perhaps, the idea is better suited for a short story. 

To all the writers out there: how do you plot? Are you a planner or a wing-it sort of writer, or is there some way to write in between? Feel free to comment her or message with your go-to tips!

anonymous asked:

I'm so glad that you also ship BakuDeku! Can you give us an insight as to why you love/ship them? I love reading why people love them! 💖

Oh, my God. 

First off, ah. I just. *Incoherent stuttering.* I’m very, very particular and choosy with ships. I either ship one specific couple per fandom or no one at all. So far I have only two OTPs and I adore both for entirely different reasons: KilluGon from Hunter X Hunter and BakuDeku from Boku No Hero Academia.

I’m. So. Excited. To. Talk. About. This.

This is gonna be long, Anon. I hope you’re ready for it. 

Alright. 

Why do I love BakuDeku? 

Or, why do I love the Katsuki/Izuku dynamic in general? 

Such a loaded question for quite a lot of reasons… 

I’ll do my best to articulate my scrambled thoughts and put them all down here and make sense with them. To start off with, when it comes to ships, I usually have to be drawn to both characters individually. I don’t really like the concept of one character feeling “incomplete” without the other, necessarily. 

In this case, I related to Izuku Midoriya almost instantly, and then, surprisingly, found very similar traits in Katsuki Bakugou that I couldn’t ignore or even want to ignore. I respect both characters individually and absolutely adore their dynamic; the creative potential in portraying them both together and apart is so vast and endless that it just spurs the creative mind with no limits.

To explain this better, I tend to theorize and analyze potential relationships in anime/movies/books/television shows based on their clear connection through flaws, personality compatibility, ambitions, strengths and weaknesses. 

I understand that this factor is applicable to every ship in existence, pretty much, but I firmly believe that, since each mind is unique with its own preference, that the actual conclusion one can come to when applying these principles to their chosen ships can yield multiple different results.

So, back to BakuDeku with this. 

Katsuki Bakugou and Izuku Midoriya are foils of each other. 

To clear some questions regarding the usage of the word “foil” here, I’m speaking of the traditional literary term. 

A foil in literature is a character that exhibits qualities that highlight and contrast with another character as means of highlighting the traits of that particular character through their personality, actions, etc. 

Usually this is the case with the rival of the protagonist, and so forth. 

Think Draco Malfoy and Harry Potter, for example. They are a very typical example of character foils. 

Alright, so. With this in mind…

I value the complexities in character dynamics and the more introspective basis of relationships above everything else when deciding whether or not I ship two characters. So, the contrast between Izuku and Katsuki’s personalities and ambitions are fascinating to me, and as a result, I fell in love with their dynamic as characters outside of the realm of romantic potential.

I’ll get more into the “romantic potential” part later. But, honestly, that part of the context is only the footnote to what I love about these two.

Katsuki and Izuku, despite their differences, are essentially quite similar in what they wish to achieve as characters in their universe. 

I’ll go through both characters individually with their bullet point contrasts that I can think of at the moment.

Katsuki Bakugou is…

  • He is egotistical, yet insecure. 
  • He is reckless, yet he is methodical. 
  • He’s aggressive, yet he’s meticulous. 
  • He appears like a typical delinquent, but he’s undoubtedly very intelligent. 
  • He’s straightforward and brash, yet standoffish and focused. 
  • He is entitled, yet an extremely hard worker. 
  • He’s presumptuous and self-indulgent, and believes his skills and himself are all he needs.
  • He is, essentially, the most insecure when it comes to Izuku due to their connection and history. His pride is, ultimately, his downfall.

Now, by contrast, we have Izuku.

Izuku Midoriya is…

  • He is selfless, yet insecure. 
  • He is analytical, yet he, too, can be reckless. 
  • He lacks self-preservation, but sees it as a necessary strength, rather than a roadblock. 
  • He is emotional, yet also quite meticulous. 
  • He is an extremely hard worker, yet doesn’t believe he deserves anything worthy of praise. 
  • He believes his achievements are based on luck rather than skill, and that he can only achieve his dreams based on what others have done for him.
  • He is too damaging to his own self-confidence for his own good and far too willing to appraise the ego of characters like Katsuki to allow himself room to appreciate his own accomplishments.

Ah. There are many, many more to choose from than just these. I could go on about that particular listing for hours. But, I won’t.

With this all being said, Izuku is constantly chasing after Katsuki in the beginning. He yearns for his approval, for his attention, because of his intense admiration and fondness of his friend. Katsuki, however, could not care less and bullies Izuku on top of saying honestly the most horrible things.

There is one thing I want to make clear about this particular ship. I understand the concerns with the abusive context and I’m never going to defend Katsuki’s actions towards Izuku because they are, most definitely, extreme. 

It’s tragic, actually, how Izuku is willing to be patient with Katsuki and still consider him to be a valuable person in his life and even a close friend. Which, at this moment, they are not. 

That being said… I find it tragic, but all the more admirable of a character like Izuku to ultimately admit that what Katsuki has said and done is truly horrible (taken in context from both the manga and anime) and that he is willing to acknowledge Katsuki as a “jerk,” but also as someone who is, despite all of that, very talented and driven.

Izuku is, himself, driven and ambitious. His reasonings for becoming a hero and Katsuki wishing to become a hero are on polar opposite ends, yet their drives, their passion, their vigor are so incredibly similar in length that I can hardly see that matched in any way by other character dynamics in this series.

And that’s what I love the most about them in general, romantic context aside.

Now, still, the extremely damaged history is also what makes this ship so incredibly complicated. And I love that about it. 

What I want in this ship is to see growth, forgiveness, change, reluctant acceptance, and understanding between two characters who have always been on the same spectrum, but have never acquired the true level of insight to reach that same wavelength.

Katsuki and Izuku could never have a successful relationship at their current age, under their current circumstances, and without any forgiveness or acceptance taking place. 

The road to trusting and respecting one another is long, torturous, and riddled with pain and learning. It takes time, it takes energy, and by applying the romantic context to these two characters outside of their already marvelous and fascinating (albeit saddening) dynamic, it allows a new perspective to take place.

This, my friend, is a perspective that requires no easy path. 

I love that Izuku has such incredible faith in Katsuki and will always want to protect him or defend him at the drop of a hat. I love that we’re slowly seeing Katsuki’s growing respect and acceptance of Izuku as a person in the series, and the incredibly slow and (dare I say, explosive) build to their potential friendship. I love that we’re able to see the unfolding complexities and hurt and anger and passion that have driven them apart with blinded perspectives on both sides. 

I could go on for hours about this, Anon, but I think I kind of summed up most of what I can in one sitting without this going on for too long. 

I hope this satisfies you for now, Anon! Thank you so much for the ask. :)