close-combat

Each of the warrior shifters are evaluated on their strengths by Magath this chapter, similar to how Keith Shadis evaluates the 104th trainees. Instead of this happening during a training exercise, it takes place on an actual battlefield. Aside from giving a basic rundown on what each titan is assigned for, it’s explained why each pilot was given their titan…with the exception of Bertolt.

Annie’s fighting skills made her ideal for the all-purpose Female Titan, best for close combat.

Reiner’s dedication to his mission made him suited for the titan meant to take heavy blows and charge headfirst into battle, the Armored Titan.

Marcel’s wit and strength worked well with the smaller-sized and swift Jaw Titan.

Pieck’s intelligence and judgement were needed for the Cart Titan, a titan that isn’t suited as well for fighting like the others and is instead better for longer missions.

Zeke’s strength and throwing skills make the most out of the Beast Titan, with the addition of his royal blood granting him the power to control titans injected with his spinal fluid.

But Bert? 

There’s nothing on the reason behind giving him the Colossal Titan – the “God of Destruction,” according to Magath. What kind of person would the military consider suited for such a role? 

Bert is the only one of the original warrior trio without as much backstory info, like his home life and family. We’re getting a lot about Reiner now, and we already knew a bit about Annie’s background (her relationship with her father) well before the Marley chapters. So I’m wondering if there’s more about Bert we’ve yet to learn that Isayama is planning to tell. Plus, these chapters focus a lot on Reiner, who was closest with Bert. It would be odd for him to not think much about the guy, especially after losing him in such a traumatic way. 

Well if these next chapters show more RBA flashbacks, starting with the attack on Wall Maria from their perspective, that would be a good time to indulge in that info.

Ok but can we talk about how the Paladin’s bayards don’t just suit them, but actually ARE them? THE BAYARD PICKS THE PALADIN, MR. POTTER.

The bayards are frankly the coolest metaphorical device happening in this show and I haven’t seen anyone talk about it yet (I’m sure someone has, but I feel like it’s not really… a thing??), and if my major has taught me any(useless)thing it’s to get stuck on functional motifs in storytelling so

Keith

I mean this is just fun. You’re probably not surprised that he gets the big blade because he’s main-character-red and the emo/possibly-Asian-one, but let’s consider a few things: 

The fact that it’s sharp on both sides acts as a physical reminder of the duality happening within his character (he cuts others down, but internally he’s cutting himself down just as much: a double-edged sword). 

Furthermore, that double edge reminds us that it’s a loner’s weapon: he needs to be able to attack with each swing, in any direction, because no one’s coming to back him up. It may be space, but dude is clearly rockin’ the lone wolf/samurai vibe. The length backs that up a bit as well–it keeps everyone he sees as an ‘enemy’ or a ‘rival’ at a distance (//side-eye @ lance). 

What’s even more interesting is that if you look at Keith’s relationship with his bayard compared to his Marmora blade, they represent his hidden and public selves: who people see him as/expect him to be vs. who he truly is and wants to be (is afraid to be) himself. 

Most people only see his bayard, a classic warrior/knight weapon that represents strength and grace and leadership. Keith brings this out in battle, in front of his friends, before enemies, etc. But when he’s alone at night or when he’s holed up in the desert, the blade on his mind and in his hand is his Marmora dagger. Despite being a secret for so long, it is actually this blade (and not the bayard he got from Voltron) which Keith always keeps close to him (and which he keeps strictly concealed). 

He covers up the mark on the hilt as if to cover his own hidden thoughts and feelings (and maybe even dubious past). In public, he feels he can proudly show his bayard but doesn’t want anyone to know he has the dagger, even before he himself knows what it might mean. 

Even more interestingly, this blade also represents close combat–letting people get close to you–and the desire to protect others, showing that these are things Keith thinks about, feels, and even wants, but is afraid to show to those around him. What’s more, while the obvious skills and general cool-dude-ness associated with the bayard are something Keith has earned/achieved by his own merit, the Marmora dagger (and all the things it represents) were something he was born with; something inherently part of him. Ironically, once Keith learns more about his dagger and what it represents, it becomes longer–it adds distance, just as the truth about his past puts distance between him and the other paladins.

Like, I could literally (gladly) write an entire essay just on the symbolism of how Keith treats these blades, but you get the idea. 

I was gonna do Shiro next but his is even sadder than Keith’s so let’s do

Pidge

So some things about this are obvious: it bears a (kind of adorable similarity) in shape to her head. It’s small, she’s small, but if you underestimate either of them you will be sorry. It’s an incredibly quick/nimble weapon (a great parallel for her stinging wit). Her bayard is designed for quick, surgically precise movements, which is exactly how Pidge works (both mentally and metaphorically).

However, while it has great attack capabilities, that’s clearly not the bayard’s (or Pidge’s) main purpose; it’s a necessary consequence in the pursuit of other goals. Rather, the transformative and flexible uses of Pidge’s bayard emphasize the desire to be useful and to solve problems over attacking. This is belied by the fact that Pidge forms Voltron’s shield. Pidge would much rather think her way out of/around a problem than charge in head-first

Her bayard is a reflection of that. Pidge’s bayard is also the most technically complicated, which is another great parallel for her mind. Furthermore, the grappling hook function of her bayard echoes her desire to find things out of reach, and cast out into space and bring those things close to her, or herself to them (*cough*MATT*cough*). 

TL;DR: it’s an all-purpose, unassuming weapon meant to perform multiple tasks in an efficient, creative way, and it focuses on problem solving/extraction more than brute attack (though it packs plenty of punch when cornered). And, of course, though she be but little, she is fierce.

Lance

As his swagger (and even his name, like talk about being on the nose) suggests, Lance is totally in-your-face, up-in-your-business blabbermouth who seems pretty simple to understand. So why does he have the weapon that arguably requires the most finesse, patience, and also has a long range? Because that’s what Lance is really like under all that talk. It may seem like Lance lives with the words “are we there yet” on his tongue, but consider this: Lance wanted to be a pilot, but was originally relegated to commercial-class ranks. Did that stop him? Nope. He kept at it until he made it to the top of those ranks (it’s safe to assume that if they only promoted one pilot to fighter-class after Keith’s expulsion, it would be the top of the commercial-class students). That’s more patience than any of the other paladins have shown.

As a gun in a team that has close-combat weapons, Lance’s bayard automatically assumes a supportive role (despite all his talk about beating Keith and being the best), and we see this multiple times throughout the show. His first day as a fighter-class pilot, what does Lance do? Talks to his team and says they should stick together. How does he find out about Shiro? He’s following Pidge and asking about what she’s up to–crazy theories that others wouldn’t care to hear out. There are a lot of other examples of this (notably, when he throws himself in front of Coran), but from the get-go we’re slyly shown that Lance actually cares about and pays attention to those around him (even though he keeps talking about kicking their butts and being #1). It makes sense, then, that his weapon would be one designed to support and provide cover for others. In fact, we see Lance doing exactly this in the first episode when Pidge mouths off and he rushes in to cover for her.

Sadly, as one of the longer-range weapons, Lance’s bayard is also one of the loneliest metaphors in the group, and we see the reason for this just as much in VLD: Lance doesn’t feel appreciated (or sometimes even accepted) by the people around him. He often feels distant, though not by choice. He may shoot (ha) his mouth off a lot, but at the end of the day it’s pretty apparent that this boy craves love and attention, almost as much as he wants to be perceived as a ‘top gun’ (double ha) within the group.

A gun–especially the rapid-fire type that Lance has–further mirrors his tendency to be impulsive (and even impetuous) rather than controlled and thoughtful. On the bright side, though, it is exactly that willingness to pull the trigger that has catapulted the gang forward on a number of occasions.

Shiro

Between Shiro’s arm and his bayard there are so many different things going on here I don’t even know how I can touch on all of them. If I could write an essay on Keith’s weapons, I could write a BOOK on Shiro’s.

First, let’s talk about Shiro’s actual bayard. In Zarkon’s hands, you can read this as a physical extension of Shiro’s freedom, or even as Shiro himself: Zarkon took the bayard–something meant to be used for good–from another world, and then warped it in the hopes of using it to cause destruction. 

The good news is that both Shiro and the bayard escape Zarkon’s clutches because of Voltron, and though Zarkon intended to use them, they instead become the strongest weapons to fight against him. They will always feel the effects of Zarkon’s influence and ownership–the bayard because of Zarkon’s former paladin connections, and Shiro because of his arm and PTSD–but they still fight. In the end, it is Zarkon’s obsession with them as his former ‘possessions’ that becomes his downfall. So deep is his trauma that Shiro actually waits until it looks like they’re about to die (when Voltron is in an electric headlock) to activate his bayard. Why? Because he doesn’t trust his arm, he doesn’t trust his hold on the bayard or the lion (don’t even get me STARTED on how the lion–down it’s right-hand weapon and still somewhat under Zarkon’s control–represents Shiro himself), and as a result he doesn’t trust himself to be stronger than Zarkon. 

Even when Shiro finally gets the bayard back, he doesn’t call it his bayard, or the black bayard; he calls it Zarkon’s bayard (and it looks the part). This can be seen as a mirror for how Shiro sees himself: even though it’s a bayard, Zarkon tainted it, and now it doesn’t belong to him even though it’s rightfully his and he has it in his hands (which, ironically, is still technically Zarkon’s hand… you get the picture).

However, as Keith corrects him (”you’ve got your bayard”), the bayard rejects the changes Zarkon forced upon it, and reverts to a form that matches Shiro and the other paladins (likely how it looked before Zarkon started using it for evil). Just as the paladins healed Shiro by rescuing him and making him part of Voltron, Shiro does the same for the black bayard. Indeed, he only pulls out the power necessary to retrieve the black bayard once he wakes up to find the team fighting to protect him. It might be telling symbolically that Shiro leaves his bayard behind when he goes missing at the end of the season–perhaps he’s won his freedom only to have it taken once again.

 Which leads me to… 

The black bayard could also represent Shiro’s memories: both are known to exist, and we get hints/flashes/teases throughout the show, but both are initially “lost”. Slowly, it is revealed just how both Shiro’s bayard and his memories have been taken/corrupted by Zarkon. We see this in the way Shiro’s memories haunt him, only to frustratingly elude  him when he needs them. When Shiro finally tries to find out more about why Zarkon has the bayard, he’s also facing his own mind–his memories, his insecurities, and his apprehension at what fate awaits him–as well.  In this sense, when Shiro reclaims the black bayard, he is also reclaiming so much more: the hold/fear Zarkon held over him, the insufficiency and anxiety he felt because of it, etc. 

You can also read the bayard as a mirror for Shiro’s arm: Zarkon took Shiro’s arm and replaced it with something Galran. Shiro joins Voltron only to find that Zarkon also has his metaphorical right hand–his weapon. Shiro can’t use the weapon he should be holding (in a hand he doesn’t have because of Zarkon) because Zarkon took it. Talk about a vicious cycle. This symbolism is supported all through season 1 and parts of season 2 where we see Shiro simultaneously struggle with controlling Zarkon’s lasting effects on Voltron and coming to grips (ha) with controlling his arm. It’s hinted–both during battle and through PTSD–that if Shiro doesn’t control his arm, it will control him, just as Zarkon demonstrates that if Shiro can’t reclaim the bayard, Zarkon will use it to kill him (we see a similar parallel with his memories). 

I’m just going to stop here because the black bayard and Shiro’s arm can represent so many different things that it totally distracts me and I can only really do it justice by literally sitting down and writing out a full on dissertation on it.

But TL;DR: Shiro’s arm and his bayard are in a crazy, soap-opera drama with Zarkon on so many different levels and it is symbolistically incredible.

Hunk

Hunk’s bayard, much like Hunk, is pretty straight-forward and simple. Physically, it’s a big weapon. A big, hulking (Hunking????) weapon. It looks incredibly imposing, but its chief function isn’t destruction, but preventing destruction. Just as Hunk likes to avoid violence, his canon is mostly used to disable enemy weapons as part of Voltron, and individually Hunk uses it to provide long-range cover fire for his team (when he tries to use it in a more actively combative role, he just ends up almost shooting Pidge… gg, Hunk). 

Unlike Lance’s more nimble and quick-fire weapon, Hunk’s takes a lot of strength to move around and a long time to power up–this mirrors Hunk’s own well-rooted stance (he’s not easily swayed), and his cautious nature. He doesn’t do things off-the-cuff or on a whim; he thinks them through first. Indeed, it’s almost always Hunk warning the others of the possible outcomes of their proposed escapades. 

He’s also slow to anger, just as his weapon is slow to fire. However, once he has decided to take a shot, his firepower is incredible, just as when he does decide to take action (like with the Balmerans), his will is unstoppable. 

I could go on for days, guys. I have so much stuff I had to cut out because even the hardcorest Voltron fans don’t care about underlying motifs this much, I know, but AGH. GUYS. GUYS. THE BEAUTY??? OF THIS WRITING??? IN A KIDS’ SHOW????? 

Bless.

PS this is long I didn’t proof read it SO SUE ME

Ok but consider Zelda as a playable character

  • can’t run quite as fast as Link but has more stamina so can run for longer
  • ditto swimming, less likely to straight up fkn drown  
  • ditto climbing, can’t do the jumpy thing either 
  • not as good with close combat/melee weapons but does more damage and is faster/more accurate with a bow and arrow 
  • HOWEVER she does some SERIOUS damage if you Flurry Rush and her backflip is graceful as fuck
  • not unlike the Master Sword, the Bow of Light doesn’t break, just needs time to recharge 
  • doesn’t have any of the champions’ abilities (those were intended for Link and will stay that way) but her sacred power has attack, shielding and healing elements depending on the situation in which it is used 
  • elixirs last twice as long cos U KNOW SHE’S BETTER AT MAKING THEM 
  • sneakier!!!! 
  • can wear Link’s armour without it magically moulding to her body and becoming Sexy Armour™ 
  • LOOKS FINE AS FUCK IN THE DESERT VAI OUTFIT THOUGH
  • s e l f i e s 

Jo’Rhirr and his best friend/boyfriend back from caravan days; argonian Bad-Aim who works as knife thrower. Just like his name suggests, Bad-Aim’s really bad at aiming and hence totally sucks at his job. Jo’Rhirr casts illusions on every performance to hide his boyfriend’s failures. Bad-Aim, however, is really good at gutting people with his knives in close combat and doesn’t mind doing that when their caravan needs protection. Or when Jo’Rhirr gets in trouble because of another scam of his.

And the Heavens Wept

Gather around my children and you shall hear of the most terrible, most implacable, most improbable friends ever met by our people. They came from the third planet of a tiny system, surrounded by desolate space. Not one sentient species for hundreds of lightyears, and they managed to propel themselves into space.

We watched from afar as they developed slowly. We watched as they warred among themselves, brutal and savage. We watched as they rendered regions of their planet uninhabitable to themselves, a hardy species able to adapt to even the most hostile of environments. We watched as suddenly and without warning they united under four banners, the rest falling by the wayside. We watched as they expanded into what we had begun to use as a buffer zone, to allow these humans to burn themselves out in.

But they did not burn themselves out. Despite their warring among themselves. Harsh people. Humankind is a race of warriors, do not be fooled by the eloquence of their diplomats. In their own words, “All diplomacy is a continuation of war by other means”. Their greatest artists and philosophers were born from blood and conflict. I had the privilege once to view a painting by one Pablo Picasso, entitled Guernica. It was a savage piece, with not a drop of color. It showed the horrors of war, and the irony of it all was that the painting hung in the office of one of humankind’s generals.

It was sudden, when they burst from the containment zone. When they realized they were not alone. And we, with heavy hearts, prepared to fight them bitterly and to the last. Imagine then, our surprise when humanity embraced us among the stars as long lost brothers. They were overjoyed to discover they were not alone in the darkness. Despite their brutal and warlike culture, despite their glorification of death and violence, their people do not seek out combat. An ancient general of theirs once put it thusly “Although a soldier by profession, I have never felt any sort of fondness for war, and I have never advocated it, except as a means of peace”.

For centuries humanity worked to better itself. They unified under a single Interstellar Empire, the Empire of Man, the Human Empire, however you called it. They enjoyed art and music. They became leisurely at home, exploratory in the field. Their weapons of war were long gone, beaten into plowshares as they say. Humanity was finally at peace. There was no conflict among them, a few border skirmishes for certain, and they kept a small standing military, but nothing more than that. We considered them domesticated.

At first we were surprised at their transformation, then overjoyed. We welcomed them into the fold of the cosmos, embraced them as they would embrace us. We thought we knew humanity then, that we had seen them at their best and their worst. We were wrong, so very wrong. We did not truly understand humanity until the Texar-Hakara came into the void between the stars.

Seemingly more brutal, more bloodthirsty than even the humans, they swept into our region of space like conquerors. They smashed whatever feeble resistance the Yungling managed to put up, took their planets, enslaved the survivors, and pressed on. The Junti were next, utterly destroyed. The four great races left, ourselves, the Itaxa, the Kukrama, and the Illnaa, banded together to try and stop them. In our arrogance, we did not include the humans in our pact. Too few in number, too weak in frame, too backwards in technology we thought.

The Texar-Hakara hit our borders like the great wave that sweeps life from the beach. We hardened our hearts and prepared for the worst. Seeming without pause they crushed our border defenses. They obliterated the first fleets we sent to them. The Itaxa fell to the Texar-Hakara, enslaved, killed, scattered to the corners of the galaxy. Then the humans sent us an offer, a request really. They asked to fight alongside us.

Bemused, we accepted. What else could we do? Deny them the right to fight with us for their very survival? We thought to assign them as rearguards, to ferry our people to safety after our fleets fell. We thought wrong.

Humanity swept into the stars with a fury unmatched by any other. Their fleets were not the heaviest. Their guns not the most accurate. Their soldiers however. Their sailors. Their warriors were unmatched by any others in the cosmos. I remember the first battle in which the humans fought the Texar-Hakara like it was but a single solar cycle ago. Our forces were on the brink of breaking and fleeing. Our ships were gutted ruins. Our fighters exhausted and out of missiles. Then humanity fell upon the flank of the enemy, and the full force of the Human Empire was unleashed in a single moment of utter fury. Landing craft spat across the distance in an instant, slamming into enemy hulls and disgorging humanity’s greatest weapon, their Marines. In close combat humanity is unstoppable, and so they took the vast distances of space combat out of the equation.

Their ships belched fire and plasma. Lasers crossed the vast distances in the blink of an eye. Half the Texar-Hakaran fleet was obliterated in minutes. The other half turned to face this new enemy, only to be wracked by internal explosions as the Marines did their work. Their greatest ships turned on the rest of the fleet, a handful of humans holding the bridge against waves of enemy attackers to turn the tide of battle.

The Interstellar War came to a screeching turnaround. The advance of the Texar-Hakara halted, like it had hit an immovable wall. In many ways that is what humanity is, an immovable, implacable wall. Then, with the ferocity humanity is alone capable of, they routed the Texar-Hakara. Not from that lone battle. They pushed them out of Itaxa space, liberating the slaves. The space of the Junti and the Yungling was swept clear of invaders. Then the Texar-Hakara committed the gravest of sins in humanity’s eyes. They warped a fleet to Earth, jewel of humanity’s empire. They burned that blue and green world. They destroyed it, and the trillion people it housed.

Humanity is a forgiving race my children. Even their most terrible of wars have resulted in lasting friendships between nations. When they left millions dead and broken on the muddly fields of their world, they rebuilt the aggressors. They raised them from the mud, dusted them off, and welcomed them back into the fold. But there is one thing that humanity cannot, will not, tolerate. It is abhorrent to them my children. To strike at their home, to strike where they raise their young ones. Where they leave their mates and non combatants. To strike there is to raise the ire of the human race, truly.

Humanity raged. Their attempts at obtaining the surrender of the Texar-Hakara halted. The war turned from a righteous war of liberation to a furious and hateful war of retribution. We begged the humans to stop, to leave what few planets the Texar-Hakara had alone. Our pleas went unanswered for months, until a single human ambassador came to us. His face was cold and emotionless. He told us, in no uncertain terms, that the Texar-Hakara had doomed themselves and that any trying to aid them would suffer the same fate. Quietly we watched then, as humanity wiped the Texar-Hakara from the stars. The Texar-Hakara pleaded for mercy. They offered their unconditional surrender. They came to us and begged on bent knee for us to reign in the mad dogs we had unwittingly unleashed into the universe. Humanity had for so long repressed their warrior culture. Tried to become better. Then we had given them back into the fires of war, and humanity had awakened it’s warrior past.

The Texar-Hakara ambassadors were taken from our halls by grim human Marines and thrust out airlocks. Finally there was but one planet left, and we came to the humans, we pointed to our own losses, our own dead friends some of whom had lived for longer than humanity had been among the stars, and we begged the humans not to take the last of the Texar-Hakara’s lives.

I watched, children, I watched as the Texar-Hakara’s world burned. As humanity left but one of their planets alive, a simple backwater colony of no more than ten million. Ten million, out of the trillions. Then the leader of the human military turned to me, and with no emotion in his voice, told me that humanity accepted the unconditional surrender of the Texar-Hakara, and walked off the bridge of my ship.

My children, the lesson here is that a warrior past is never truly gone. Only buried, mayhaps even wiped from living memory. But gone? Never. Humanity showed us that.

there's always an intense rivalry between:

-hanzos on opposite teams. they always have to kill each other. they’re competitive.

-enemy junkrats. it’s like they need to prove to each other that they are the superior fragger

-enemy reinhardts lmao, those 1v1 charge battles, it’s like the rest of the world doesn’t exist

-two dvas. sometimes baby leashed by a healer.

-a mccree and a Hanzo and I don’t mean that as a shipping thing, I’ve just noticed lots of mccrees wanna take advantage of Hanzo not being great at close combat shooting

-tracers and hanzos, for the same reason above

-tracers and GENJIS

-roadhog hooks and HEALERS you son of a bitch

-symmetras like to chase each other around from time to time

-lucio boop wars

Overwatch fan fic.

Hero type: Defense

left click: Switcher throw a horizontal beam with his sword that get larger the further it goes.

If close combat melee damage is added to the beam, but if Switcher does more than 4hits the sword break and need 4sec to fully regenerate.

Right Click: life switch

Switcher can switch his life with the enemy.

range : melee range

cool down: 16sec

E: Link

Switcher create a link between him or an ally and an enemy. 50% of the damage will be reflect to the enemy link.

cool down: 8sec

shift: Stealing life/Sharing Ultimate

Switcher can steal life with his attack and share it to his team with an AOE 15meters or to share away his percentage ultimate.

Ultimate: Transformation

Switcher creates a sphere around him with an AOE of 20meters for 3sec. any damages done in this area by the enemy is absorbed and turn into ultimate percentage for all teamates.

All About Writing Fight Scenes

@galaxies-are-my-ink asked,

“Do you have any advice on writing fight scenes? The type of scene I’m writing is mostly hand to hand combat between two experts. I’m definitely not an expert so when I try to write it, the scene ends up sounding repetitive and dull.”

Fore note: This post is coauthored by myself and one of my amazing critique partners, Barik S. Smith, who both writes fantastic fight scenes and teaches mixed martial arts, various artistic martial arts, and weapons classes.

I (Bryn) will tell you a secret: I trained MMA for seven years, and when I write authentic hand to hand fight scenes, they sound dull too. 

The problem with fight scenes in books is that trying to describe each punch and kick and movement (especially if it’s the only thing you’re describing) creates a fight that feels like it’s in slow motion. 

I write…

Lowering her center of gravity, she held her right hand tight to her face and threw a jab towards his chin. He shifted his weight, ducking under her punch. His hair brushed against her fist, and he stepped forward, launching a shovel hook into her exposed side.

But your brain can only read for fast. In real life that series of events would take an instant, but I needed a full eight seconds to read and comprehend it, which gave it an inherent lethargic feel. 

So, we have two primary problems:

  1. How do we describe this fight in a way the reader can understand and keep track of? 
  2. How do we maintain a fast paced, interesting fight once we’ve broken down the fight far enough for readers to understand it? 

(We will get back to these, I promise.) But for now, let’s look at…

Different types of “fight scenes:”

Keep reading

anonymous asked:

Now I'm a new follower so if you've answered an ask like this before I apologize, but why do you ship Kachako?

I ACTUALLY HAVE NOT ANSWERED AN ASK LIKE THIS BEFORE SO NO WORRIES

i actually haven’t posted why i enjoy Kacchako so much, tho i have spoken with a few friends about it. but OH MAN…. oh gosh where do i even start jkslg;ha;lghkal;ghskal

ok so. a big part of it comes from their relationship in canon. both characters have a large amount of respect for each other. they’ve only interacted a few times (including in the omake), but each time is fairly insightful to the characters, and particularly when said characters comment about each other to other characters.

but it’s also how their relationship has a lot of potential in the narrative to drive both character’s development further really interesting directions.

to start, their fight. their fight at the Sports Festival was the first time Bakugou ever actually noticed Uraraka. before she was just sorta that unnamed girl who hung around Izuku. 

Uraraka had noticed Bakugou before, but mostly she just wanted to stay out of his way (like with her line after the class president vote when Bakugou asks who voted for Deku, “I hope he doesn’t find out it was me…”)

but oh man. their fight. their fight is AMAZING on so many levels. it’s not just about Uraraka and Bakugou battling each other, there are many, many layers to it.

for example, the reason why Uraraka is fighting so hard in the first place. she wants to support her parents. her family grew up poor, and the whole reason she’s at UA, trying to become a hero, is because she wants to help support her parents financially. this fight is her proving just how far she’s willing to go in order to fulfill that goal.

she’s willing to go toe-to-toe against Bakugou, who never goes easy on anyone, in order to prove what she’s made of. hell, she even thanks Bakugou for not going easy on her.

and it’s not just that. right before this fight, she realized that she was riding on Izuku’s success without improving herself all that much. she thought she was being friendly, but she realized that she really was just hoping that Izuku would get her through the day again.

she feels shame for it. when Iida said that he wants to prove himself against Izuku, she feels shameful of her own actions.

so she decided to change. she decided to put her all into fighting Bakugou, proving that she can make it to the finals just like Deku. that she can do it by herself. she wanted to prove it to everyone. she wanted to prove it to herself that she could do it.

this fight gave Uraraka so much character development. before this fight, she was still sorta… there. we didn’t have much character motivation, and she was mostly just the happy, bubbly Love Interest/main female character. we heard that she was poor, but this fight put that motivation to the forefront of her character and proved just how much potential she has to grow and develop.

and on Bakugou’s end, it’s really interesting. right from the get-go he warns her that if she’s gonna forfeit she needs to do it now, because he won’t go easy on her. and through out the fight he proves just that–however, despite the pummeling Bakugou gave her over and over again, she continued to come back for more.

she refused to give up. nothing he did could put her down for long. she always got back up on her feet and kept running in for an attack. 

Aizawa says it here clearly: by refusing to go easy on her, he’s acknowledging her strength. he’s showing her respect as an opponent. she’s not just a fragile little girl being beaten up by the Big Bad Blasty-guy, they’re equals on the battleground, and Bakugou refuses to let his guard down around her because they’ve both made it this far.

Bakugou lost against Izuku in the first Heroes vs. Villains training arc, and it was largely because he underestimated Izuku, and overestimated himself. Bakugou learned his lesson, and is refusing to do the same thing here. 

Uraraka went through the same things he did at UA. she was there during his fight it Izuku, she was there when the villains invaded, she made it through the Sports Festival and met him as an opponent. clearly, she’s not someone to treat lightly.

what’s particularly interesting tho, is that at the end of the fight, Bakugou looks EXTREMELY EXCITED to keep fighting her. 

Uraraka landed her final attack, which failed (because Bakugou used his largest blast to blow it away–you can see his hands shaking afterwards). Bakugou is ready to keep going, and rushes at her, with this huge, excited grin on his face, and says her name for the first time.

she surprised him. she impressed him. she shocked him.

Bakugou doesn’t remember people’s names. he can’t be bothered. he calls everyone by degrading nicknames, like Drooly, or Soy-Sauce Face, Raccoon Eyes, Deku, etc. The only characters he calls by name are All Might, Kirishima, and Uraraka.

All Might, because he’s the person Bakugou looks up to the most.

Kirishima is interesting. Bakugou has known Kirishima fairly well since at least the USJ incident. he kept calling him Hair-for-Brains until the cavalry battle at the Sports Festival, which is the first time he calls Kirishima by his name.

Bakugou first met Uraraka at the Sports Festival, and fought her for half an hour, at best. at the beginning, he calls her Round-Face. however, in that time, she impressed him so much that he started calling her by her name mid-fight.

when Bakugou starts calling people by their names, he doesn’t go back from that. he keeps calling them by their names. it’s his personal form of respect, that’s very subtle and understated. 

what’s also really interesting about their fight is Bakugou’s reaction after Uraraka falls. 

he looks shocked, in a way that we haven’t ever seen before. she impressed him so much, but then she falls and he realizes that she has a limit. someone he admires and wants to fight, actually has a limit.

it’s similar to his shock when All Might’s true form is revealed for the first time.

and after it’s over, Bakugou actually confronts Izuku about Uraraka. he berates Izuku for giving Uraraka that dangerous, self-destructive plan. in other words: in a very backhanded way, he’s saying he cares for Uraraka’s safety and well being.

he’s reprimanding Izuku for giving her a dangerous plan. Bakugou knows Izuku has a notebook full of notes on heroes and the other kids. Izuku mentioned it to Bakugou in their first fight. it would be a no-brainer to figure out that Izuku must’ve come up with a plan for Uraraka. and Bakugou is right, Izuku was willing to let Uraraka use his notes.

except that Uraraka refused to use them.

Izuku tells Bakugou point-blank that all that Uraraka did on the battlefield was her own plan. he had nothing to do with it. It was all Uraraka.

when Kaminari starts nagging on Bakugou for hurting a “harmless little girl” like Uraraka, Bakugou mutters to himself that there isn’t anything fragile about her. 

this is the first time Bakugou has ever actually praised or defended anyone. he’s always been very much about himself. in the beginning of the manga, he would go on and on and on about how great he was, and how everyone else (in his own class) were all losers, and this attitude is still fairly prevalent. 

he couldn’t even be bothered to remember his own classmate’s quirks. he’s gotten better about being egotistic since his fight with Izuku (and from watching everyone else in the class–he even admits that he didn’t think he could beat Todoroki at one point), but only just.

but he remembered her name. he defended her against Kaminari’s words. he respected her as an equal and as an opponent. later on, during his fight with Todoroki, he even berates Todoroki for holding back against him, and the manga hovers over Uraraka for a second.

Bakugou says only those who try their damnedest to win are allowed to stand before him. he’s referring back to Uraraka. again, in a roundabout sort of way, he’s showing her a lot of respect and praise.

coming from someone like Bakugou, who’s had so many issues with self confidence, ego, and refusing to even acknowledge those around him, that is a lot.

this fight was amazing for both characters, because it gave them BOTH amazing character development. this fight showed just how far Uraraka was willing to go, just how strong her determination is, in fulfilling her goal. this fight was also the first time we’ve see Bakugou develop away from the ‘angry-rival.’ this is the first time we saw him compliment and respect someone else.

this fight is the catalyst for so many amazing things, and the development doesn’t stop there.

after the Sports Festival, when the kids are trying to figure out where they want to intern, Uraraka decides to go with Gunhead. largely because of her fight with Bakugou.

she realized that, while she wants to be a disaster relief hero, knowing how to fight in close combat is an invaluable skill that she should learn, and it’ll be a huge advantage to her. it was thanks to her fight with Bakugou that helped her come to this conclusion, and allowed her to improve herself more.

and to move on a bit, lets look at the Omake chapter [which you can find a translation for here]

oh man. this omake. THIS OMAKE.

Uraraka isn’t afraid of Bakugou anymore. not since their fight, in fact. she’s confident enough around him to willing to confront him face-to-face, about his issues with Izuku.

she sees through his act. she says that Bakugou was so cool during their fight, but when it comes to Izuku, Bakugou tries to push him away, as if he’s scared. and he is. he’s scared of Izuku’s progress. it terrifies him. but he’s in denial about it.

Uraraka confronts him about this, sees right fucking through Bakugou’s denial, fear, and pride, and tells him straight up that she thinks he should try to be friends with Izuku again. no other character has done this before. only Uraraka has been able to see through Bakugou so clearly.

Bakugou, presented with this tho, of course yells, goes into fighting stance, and challenges her to a fight (which she responds to immediately with her own battle cry and fighting stance, lmao). and then after Midnight makes them sit down again, Bakugou is back in denial.

however, he keeps calling her by her name. he’s calling her ‘Useless Uraraka’ in his head, but he’s still calling her by her name, which just continues to show his own respect for her, even as he’s pissed and angry.

this omake is fantastic because it gives us a hint into the characters and their relationships. Uraraka has clearly notices the issues between Izuku and Bakugou, and tried to mend them in her own way. Izuku is her friend, and Bakugou respected her as an equal in their fight, and she wants them to be friends again. and she even notices that Bakugou fears Izuku on some level, which is a fantastic bit of introspection from her end.

and later on, she continues to show that she understands Bakugou well. in fact, she’s one of the few people who understands him the best.

she says right here that Bakugou would probably view being rescued as a disgrace. and considering the last time he got rescued, she’s right. the only reason the rescue mission worked out in the end is because Kirishima was there.

with Kacchako, there’s just so much room for development. even now, each characters have been pushed further into growing thanks to each other’s actions, and they’ve both shown a remarkable amount of respect and understanding towards each other. 

there’s just so much self growth and positivity that could be had with this ship, and i would love to see more of these two interact in canon. if i had to choose a ship that i’d love to see in canon, it would definitely be this, because i think there’s a lot of opportunities for development and growth and for new and interesting places for the narrative to go.

particularly concerning Izuku. Uraraka saw through Bakugou and realized that he fears Izuku. i would love to see her try to become the common ground between them. she, along with Kirishima, could be the bridges that allow those two to mend their relationship in the long run.

again, there’s just so much potential for this ship, both for the characters, their growth, and the narrative.

AHH ANYWAY THIS GOT REALLY LONG BUT i hope that all makes sense!!!

related posts: [a meta about the omake] [a meta about Bakugou and Uraraka’s fight]

3

Battle-hardened and masters of close combat, warriors are pivotal to any group entering battle. As front-line fighters, they absorb the brunt of opponent attacks, steal enemy focus, and create an opening for deadly ranged assaults from other classes. While some warriors prefer visceral, sweeping damage, many are silverite-clad bulwarks, weathering any blows they don’t deflect with their shields.

Well, I mean, it IS the law

So let me set the scene. The dungeon the party was in was ruined to the point where the stone brick walls were starting to “melt”. The party of four had just reached a door when the elderly undead Warlock of the group holds up his hand to halt everyone. He points his scythe at the door and says “We need to watch our step, ‘cause whatevers behind this door is pulsin’ out magic somethin’ fierce”. The Rogue, in his drunken stupor, unlocked the door in an instant and the darkened corridor filled with the scent of blood and iron. As the party is shuffling silently into the room, the young Druid of the group pointed towards the center of the room where she could make out a dim glow that lay close to the ground. The Ranger began to panic a little, as she was a close combat fighter and recognized the glow. A full suit of Heavy Enchanted Armour sat in it’s eerie glow. The scene then played out a little something like this

Ranger: ooooOOOHHH, nopenopenope. I can’t deal with that, dude. Hooo, nope

Rogue: Ah, don’t'cha worry, ye wee lass. That thing there couldn’t hear a boulder- *uninteligable slurs as Skype gives out at the perfect time*

Rogue OOC: I’m gonna fuckin’ sneak past this bitch

DM: *withholds a loud snort* Bruh, do it you won’t

Rogue: *rolls an 18 and begins to sneak towards a door down the way*

The Armor: *Jolts up at full attention, bellowing* STOP, IN THE NAME OF THE LAW, CRIMINAL! *Charges at full speed towards him*

Rogue: WHAT’S THE CRIME? *In a drunken rage*

The Armor: * freezing in place, having never been asked this before* I-… UHM… THE CRIME IS LIVING, AND THE PUNISHMENT IS DEATH!!!

Warlock: *raising his hand* S'cuse me, sir, but I’m not alive, may I pass?

The Armor: …..PROCEED?

Band instruments ranked by how effective they'd be in a fight
  • Clarinet: hold it like a sword, easy. Nice and heavy but not too heavy to swing with one hand. Downside- weird bell shape at the end might get in the way of the wrist. 8/10
  • Trumpet: clunky. Could be used to deafen or swipe but only truly effective in close-combat. Seasoned band students will be completely unaffected by the noise. 4/10
  • Saxophone: neck straps really hinder movement. If they're not there, the instrument could be effectively used as a bludgeon, bit awkward handling though. A flawless performance of Careless Whisper could confuse or impress opponent enough for you to run away. 5/10
  • Bassoon: same good points as a clarinet, have to be stronger to swing it though. weird stabby mouthpiece is a blessing and a curse- great if it pokes the opponent, really not great if it pokes you. 8/10
  • French horn: you're too rare. You can't be spared. Use your abnormally circular instrument as a shield for your retreat and let someone else fight for you. N/A
  • Tuba: battering ram. Need I say more. Downside- really heavy, tuba players are also not used to doing much work since their parts are literally the easiest shit ever. It's more an issue with the fighter than the weapon. 3/10 to 7/10, depending on how angry you got reading that
  • Trombone: you'd think these would be great stabbing machines, and you'd be correct. Catch someone in the temple with this bitch? They're fucking dead. 8/10
  • Flute: excellent sword. Nothing's in the way. You have probably seen several flute players already playfighting like this. They are like baby lions. They are preparing for the time to fight for real. Their intense hatred of playing their instrument only worsens with age. If you irritate them or give them enough ridiculous runs to play they stop giving a fuck about dents. Incredibly dangerous. 9/10
  • Piccolo: kind of like a flute but wimpy. Too short to be effective in a fight but could probably blow your eardrums out at the right pitch. 3/10
  • Percussion: trickster gods. Have you seen the way they treat their instruments? They don't give a shit. Filled with arrogance and max-level dexterity. Every single one of them is a chaotic-something. They'll throw anything. They'll throw a mallet. They'll throw a cymbal. They'll throw the drum set. They'll throw each other. You'll never touch them. You'll have a trumpet mute shoved down your throat before you get close. Those don't even belong to them. 10/10
Keith unintentionally spies on Lance in the training room  ...

where the Blue Paladin is kicking ass. And Keith’s kind of mesmerized by it. Then he’s more than mesmerized — he’s freaking out because he’s actually kinda sorta into this brutally efficient soldier version of Lance.

Keith rubbed his sore neck and considered whether or not it was worth putting in his usual two hours on the training deck. He’d only just got out of the healing pod that morning, and then spent the rest of the day sleeping in a very uncomfortable position on his bed.

Really, if he missed out on one day of training would it be so … And his obsessive nature reared its ugly head and roared at him no, stop, go because if you slip up, you will feel guilty for days, I’ll make sure of it. 

So he stopped lingering outside and walked in, already mentally picking out which program he wanted to — except a program was already running. One of his custom battle simulations — he could tell because of the fortified positions the gladiators were taking. He tensed, but unless he was introduced as a combatant, the robot gladiators would not attack him.

Unlike Lance. Lance, who was sliding into cover, and then emerging to fire three precise shots, and taking down exactly three robots.

Keith stood off to the side, watching with amazement as Lance took on an incredibly difficult combat scenario Keith had designed. It forced him to use ranged weapons, since he couldn’t always rely on close-combat (though he usually ended up rushing the last few gladiators, taking them out with his sword and shield). The goal of the program wasn’t to eliminate all combatants, but to reach a specific point behind enemy lines.

And Lance was doing it. 

He was pushing forward even as the second phase of the battle sim kicked in, introducing reinforcements. Lance didn’t have his helmet on, his hair plastered to his forehead with sweat, and whenever he emerged from cover, he always hit what he aimed at — and in the exact same spot. Each gladiator went down to a headshot. 

Every single one. 

And Keith was not only impressed, but also vaguely alarmed. He had never seen Lance be this vicious in battle. This relentless. This merciless. But his dark blue eyes were narrowed, focused, and his mouth set in a grim line. Except when his shots hit. Then Keith could see a slight smirk lifting the corner of his mouth. 

For reasons unknown to the Red Paladin … he started to sweat. Keith wasn’t even doing anything other than standing there, slack-jawed, yet warmth was blossoming on his skin, moisture collecting at his temples. What the hell was happening?

Author’s note: More to come, maybe — this idea just hit me out of nowhere.

Author’s Edit: And now there’s a Part Two Here.

At some point (when this is finished?) I’ll gather it all up as one and post on my AO3 profile— thank you @etoari​ for encouraging me to do so :)

dirkjohn meet cute dirk is the weird guy selling swords in the dealers room at johns local anime convention. john calls every sword a katana. at first dirk does his standard “actually thats a wakizashi. a katana is generally twice as long, a wakizashi is for close combat” but john comes back every day and does the same thing up til sunday morning when he points at a shuriken and asks “how much for the little baby katanas” and dirk fucking lunges at him