hero confrontations

ML Drabble Idea : All bets are off.

Okay so Basically The entire Class has been akumatized, except for Marinette and Adrien. After a year, the class notices that the two haven’t been akumatized.

So a class pool has been going around on who is gonna get akumatized first. It is a big money pool. Chloe is pretty sure that Marinette is going to turn first, Alya is strongly on team Marinette. Nino reluctantly agrees with Chloe, He may know Mari, but he knows Adrien’s day-to-day, if he hasn’t changed now, nothing would akumatize him.

The class is split down the middle, as a rule, the class has made it so that no one can tell the two about the pool, as to not shift the odds, and that no one can intentionally try to akumatize them, without acting out of the ordinary. So Chloe basically acts the same, since if she held back, it would be suspicious. But when chloe is mean, team mari springs into action, which they would do even without the pool, but the money is more of an incentive.

Eventually Adrien actually finds out about it, and he is pissed. He immediately tells Marinette about it. (Since they are both heroes, this is pretty dark to them. But they don’t know the other is a hero.) But instead of confronting the class about it, they decided to basically play support if there is anything bothering them, to avoid akumatizing. Which brings them closer together, so now the two are always watching out for the other if something bad goes down. Marinette even gets more accustomed to being around Adrien.

This incidentally starts another pool, How long until they become a couple

anonymous asked:

Hey. Sorry to bother you. Virgil is an anti villain (like deadpool) and the others try to convince him to take more of a moral approach by becoming a superhero. Virgil's roommate Roman complains to him about the villain, neither one realising the other is the opposing force(?) sorry if this is confusing. Thank you! I love your writing!

Wow I love this??  I hope this is what you were looking for, thanks for the great prompt!


A Super Pain in the Ass

Fandom: Sanders Sides (superhero!au, college!au)
Pairings: Prinxiety (roommates and nemeses of sorts)
Warnings: Slight violence

Summary: Roman can fly and Virgil can teleport, but these heroes can’t even figure out that they’re a lot closer than they think.

Tagged: @existental-crises @jordisama @here-to-vent @irish-newzealand-idian-dutch @novagalaxy4real @thomas-must-get-to-sleep @emo-space-trash @evanisonfire @lollingtothemax @all-the-fand0mz


Roman was getting really sick of dealing with this guy.  He’d heard over the police scanners that there was a heist in progress and had flown over immediately only to find all of the bad guys strung upsidedown hanging from the bank’s lavish chandelier.  By the time he’d gotten there, the rope that was holding them up was nearly as thin as twine and ready to snap at any moment.  He’d hurriedly gotten them down and placed them safely on the floor.  Once he’d made sure that their bindings were fastened, he headed out, giving the police officers a polite nod as he took to the skies.

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Villain is intent on extinguishing all human life on Earth. Our heroes confront her in her lair, only to find out she’s a negative utilitarian and is just trying to minimise suffering. After an emotive scene where they convince her that life has value and her framing is wrong, she repents and decides to use her considerable resources for good.

In season 2, our heroes discover some mysterious entity sabotaging condom factories and spreading faulty birth control. It’s our villain again, convinced that life has inherent value, abstaining from creating life is equivalent to murder and she is doing everything she can to maximise number of people. Our heroes have to face her again, trying to explain that just life by itself is not enough and the happiness of that life is also important. They convince her of this, and also of not backsliding into her previous ways, and everything seems alright.

In season 3, people are going missing and eventually discovered in strange pods, blissed out on some drug cocktail and with wires stuck to their heads. Our heroes quickly deduce the villain is trying to maximise happiness, in her own way. Realising the predictable flaws of their straightforward approach, they know there’s no way around it: they need an actual complete theory of ethics!

The Story of Jon Snow as Told In One of Culture’s Most Popular Tales

As I think about the narrative arc of Jon Snow, one thing became clear: I’ve seen this before! Jon Snow’s literary reflection might be America’s most popular tale. What his arc says about the main themes of Game of Thrones tells me a few things:

1.) The Hero will be faced with a choice between Home and Heritage

2.) The Hero will be confronted face to face with the Ghosts of the Old World

3.) The Hero will not turn their back on Home

4.) The Antagonist to the Hero could very easily be seen as having noble intentions

To really illustrate this, I used non-specific terms to describe both story arcs. The first is filled in with images from Game of Thrones for the reader to easily identify how the story thread is present in Jon Snow. I then used the same exact language but images from this second story to show these parallel journeys.


ORIGINS OF THE HERO

A boy (”Hero”), born from an ancient line from a man believed to be the best hope before his life was ultimately cut shorter than expected (“Father”)

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A separate post from Toei’s blog. I didn’t translate all of it since it covers much of the same information that was translated by Tokusatsu Network, but I thought it was interesting. 

Mūnsaruto* of steel, Rabbit Tank! An unlikely combination from a new hero who confronts evil - his name is Kamen Rider Build!

(*I don’t know what the hell ムーンサルト is. The best I can figure is the wrestling move Moonsault. I guess we’ll see?)

Best match! Experimenting with rabbits and tanks? An unlikely combo from a new hero!

Each year, our national hero Kamen Rider has a huge impact with its debut. Right now, the critically acclaimed Kamen Rider Ex-Aid continues to air, with the new series debuting on September 3rd - it is called Kamen Rider Build.

The default form is Rabbit Tank Form, bringing together the jumping of a rabbit with the power of a tank. Bunnies and tanks, at first glance, are contrary to each other - but when their abilities combine, limitless power is born. That is what’s known as a best match!

At the moment of opening a mystery box found on Mars - Pandora’s Box - the story begins from a huge wall suddenly appearing. This “Sky Wall” divided Japan into three capital cities. Unidentified creatures called Smash have emerged in one of the cities - a young man stands before the Smash, a belt wrapped around his waist, and strange bottles in hand. “Transform!” The young brilliant physicist called out, transforming into Kamen Rider Build to take on the Smash!

Pokemon Black and White was a game like no other.

Throughout the story, there is constant clashing of morals and values, and some characters come to realize that the answer they have to a problem is no more right that the person they’re fighting against.

[To the Seven Sages] “I can empathize with some of what you say, but I can’t forgive the way you reject everything else!” ~Drayden

“It is the way of the universe to take from excess and fill emptiness. Taking Pokémon from people is restoring balance to nature!” ~Zinzolin

“Originally, Pokemon lived in the wild. So is it right to contain them like this?” ~The Ace Trainer

“You have two options. Challenge me to a fight you can’t win, or leave this place and watch the birth of a new world where Pokémon are free of people!” ~N

“Since I couldn’t become the hero and obtain the legendary Pokémon myself…I prepared someone for that purpose—N! He’s nothing more than a freak without a human heart.” ~Ghetsis

“Pokémon cannot speak. People may hurt Pokémon even more by imposing their selfish thoughts on them. But, no matter what, Pokémon and people believe in each other, need each other, and will continue to live together…” ~Drayden

“If the king of team plasma rules the world, battles will disappear, and disputes will end! Isn’t that a great vision?” ~a Team Plasma Grunt

A lot of them understand this in the end

[At Ghetsis] “HE is the one without a human heart!” ~Cheren

“Those who left Team Plasma and are behaving with respect and understanding toward Pokémon… Them, please forgive! However, those who won’t interact with Pokémon in a kind and honest way… Even I will never forgive them!” ~Bronius

“No matter how many battles I fight, I don’t know what strength is. Perhaps you can find the answer.” ~Brycen

“The legend of Unova is about Pokémon and people working together to build a new world! The message is that simple and that strong. If changing the world makes you a hero, anyone can become a hero. As each of us changes what is in our power to change, so the world itself changes.” ~Giallo

“Strength and strength alone is what matters in this world. So I believed, until I met Alder here [on Route 5]. But, winning in Pokémon battles isn’t all there is to life. Once I learned that lesson, my eyes were opened to many different things. We all have our own brand of strength, people and Pokémon both. The strength to make our dreams a reality, the strength to protect what we hold most dear… Why do I think this way now?” ~Cheren

“The longer my journey continued, the more unsure I became. All I kept meeting were Pokémon and people who communicated with one another and helped one another. That was why I needed to confirm my beliefs by battling with you. I wanted to confront you hero-to-hero. I needed that more than anything.” ~N

There’s symbolism hidden in almost every quote, even down to the most minute details

“This lighthouse shines with the light of freedom. Only authorized personnel may enter.” ~sign outside the Liberty Garden

“That room was the world that was provided to our lord N… I don’t feel anything, even when I go into the room… But you may feel something.” ~Shadow Triad

“‘Eyes brimming with dark flame, this man rejected everything other than himself in order to bring about one singular justice…’ That’s part of a novel I’m writing. I was inspired by the challenger who was just here, and somehow I got a little sad…“ ~Shauntal

Game Freak was working on generation five before HGSS, before Platinum. They wanted to make a Pokemon game that sent a message to fans, and made them think about the Pokemon world - and even ours - on a philosophical level. Unfortunately though, most people failed to notice the theme behind every word spoken in Black and White, to see the lesson taught in this masterpiece of a Pokemon game.

“We’re all different and we should do the things that we can do. There are as many truths and ideals as there are people and Pokémon.” ~Cheren

“Change your perspective– and the reality changes.” ~Child on Route 3

[To Bianca] “You know, there are many people in this world. There are people whose way of thinking may be completely different from yours. Sometimes, this means you may get hurt.” ~Elesa

“I couldn’t understand it. I couldn’t believe there were Pokémon that liked people. Because, up until that moment, I’d never known a Pokémon like that.” ~N

“N has been separated from people since he was young. He was brought up with Pokémon… Pokémon that were betrayed, mistreated, and hurt by bad people… Ghetsis deliberately brought only those poor Pokémon closer to N. N was touched by their plight, and started pursuing his ideal/truth, thinking only of Pokémon. N’s heart is pure and innocent. But there is nothing more beautiful or terrifying than innocence.” ~Concordia

If you’re one of those players who disliked generation five, go back and play now that you know what to look for. Go back and see that there is brutality in beauty, pain inside truth, difference within ideals, and that one simple question has many correct answers. Even something as simple as a Pokemon game has complexity.

Because when you face reality, nothing is ever truly Black and White.

About art in video games : NieR Automata - Simone Boss fight

I was quite surprised to discover that there weren’t that many analyses on Tumblr about video games, at least not enough into-depth analysis like you would find for any other medias.

Well, gamers and non-gamers, this is your day of luck, this post is the first of a series on video games and especially about all the forms of art in video games. Because games do not only represent a good ride for those in thirst for an adventure, games are multidimensional, they need all forms of art :

  • Graphic arts, may it be animation, scenery, character design… anything related to visuals. A scenery or an atmosphere can tell a story on its own, think about Little Nightmares : no dialogues, not a line of text, yet the visuals allow you to create or recreate a story.
  • Music and voice acting which contribute to the atmosphere and give life to everything. Ever felt boosted up by the music during a difficult boss fight ? Listening to Rivers in the desert makes you want to fight giants ? Every game soundtrack has its very specific power.
  • Story telling, you may not think this is an important aspect but a well-written story sometimes surpasses the most beautiful and realistic graphics, Undertale being a very good example of this.
  • Finally video games have the possibility to play with the player’s involvement in the game. This last parameter is what makes video games so unique, here again Undertale is a famous example but small games like One Shot can explore this aspect very cleverly.

Every parameter has a part to play but how does it all come together ? Good question reader and to understand that, nothing better than an example !

NieR Automata is the most recent game where all aspects really have a part to play. A complete analysis of this game will result in a three-hundred-page book so I will restrain to the fight against the Opera Singer Boss. Fear not, you don’t need to have played the game to enjoy this, if you know the general context of NieR you should be fine ! However, this is your warning of potential spoilers if you want to play the game by yourself.

This is where our heroes 2B and 9S confront the Opera Singer, also called Simone or Beauvoir. This machine lifeform is the boss of the Amusement Park area.

Let’s talk about the scenery. The entire fight takes place in a theater and more precisely in the auditorium. This location is extremely important regarding who Simone is. The scenery mirrors her and her struggles.

Simone defines herself by her appearance. As we learn from her memory data, she was a machine lifeform very similar to the others we met in the game, but she wanted to be noticed by another machine lifeform which is very likely to be Jean-Paul. She wanted to acquire some things to distinguish herself and soon became obsessed with beauty. Simone as we first saw her has a lot of ornaments on her, you can actually still see her base head.

Appareances are one of the aspects of theater : putting on a costume, showing yourself in front of others, playing a character, is the essence of theater, which is exactly what Simone did : by adding more and more ornaments, she became someone else, a beautiful person according to her, she wants to be this ideal beautiful persona. In her memory data, she keeps saying “he won’t look my way” over and again until she looses her mind and says “someone please look my way”. The verb look is very important as it is the central core of theater : theater comes from the ancient greek verb meaning to look. The location and what makes Simone’s essence are tied up closely. There is where the developpers are genuises, Simone is like the embodiment of theater : she literally has the symbolic red curtain on her. She also has the look expected for an opera singer : impressive skirt, the regal shape behind her head, she has the gestures and poses you would expect. Video games don’t come from nowhere, they are inspired by other arts and they use it in an ingenious manner.

Finally the theater mirrors Simone for it is the place where stories are told and where humanity exposes its strength and weaknesses. The fight stages her struggle for what she wants and it shows more and more as she takes hits from our heroes. Theater is the place where struggles are put in the light in front of everyone. And indeed this passage highlights a specific ambiguity at the center of the game.

Simone has the features of an Opera Singer and indeed she sings, the amazing soundtrack is triggered by her and it seems like she conducts it : the puppet-androids are the choir and she is the leading voice. This part is also very cleverly done for the music is in sinc with Simone’s attacks : the red rays with the entrance of the choir, the red balls with the bells for example. Moreover some of her attacks are inspired by sound vibrations.

It really shows how all aspects can be linked and in this case it is extremely well-thought and well-executed. Simone is very closely linked to music and more precisely to singing. Singing is known to be the way of expressing passion, of revealing yourself. This is why singing is usely a human attribute. Moreover, Simone is an opera singer, the opera being the place where everything is exposed through singing. Arias are a focus on a character who shows themselves and what makes them human.

According to this Simone should be human and there is no denying her emotions when she goes crazy at the end of the fight and when her backstory is revealed. 9S is actually surprised by this after the encounter and says : “it’s almost like it had actual emotion”  and 2B interrupts him and says in a rather harsh tone : “the machines don’t have feelings” This
should alert the player : 2B shows here that she is aware of the ambiguity and similarities between machine lifeforms and androids and their link to humanity. Simone’s memory data is yet another proof of this as she pondered and suffered from what she has done after Jean-Paul’s rejection :   “I gaze into the mirror. In its reflection, I see only my own meaningless. And so I scream.”
Simone is very human and this is yet another clever way to hint the deepest themes of the game : this story of machines is about humanity.

In a way Simone already makes 2B and 9S face their own contradictions : the second half of the fight brings in the controled androids. The theater here seems to be transformed into an arena where 2B and 9S have to battle their own kind. This twisted show is conducted by Simone as she is the one who closes the curtain to place the action elsewhere. Moroever, the camera switches to a high-angle shot during that second part and we can clearly see our main characters being followed by a spotlight.They are part of this play : the twisted show echoes throughout the entire game since 2B had to kill 9S over and over again and all the character seem trapped and unable to break free. As some players pointed out their blindfold can represent how they are blind to the world they live in and how they blind themselves. Which then again makes them very human.

None can talk about NieR Automata without saying a word on its philosophical dimension. Now I’m not a philosophy specialist but it is quite interesting to see how only machine lifeforms hold the names of great philosophers, Pascal or Simone (de Beauvoir) as we saw here whereas androids only have names which would normally be associated with machines, letters and numbers. Simone’s passionate and obsessed love for Jean-Paul is a reference to philosophers Simone de Beauvoir and Jean-Paul Sartre fusional love relationship. NieR Simone’s obsession for beauty might be a reference to de Beauvoir’s work on how society perceives women. I’m sure a lot of students, teachers and philosophy enthusiasts would have a lot to say on NieR Automata, too bad video games are still considered as second rate entertainement by the majority of people…
Forever salty about how video games are not seen as suitable examples in academic essays.

If you have questions, suggestions or if you want to see a particular game featured in the next issue, hit that ask button with all your might !

Finn The Human: A Journey of Growth (Redux)

     Finn the Human needs no introduction as a character on the hit Cartoon Network series Adventure Time.

     He can be considered the main character that the series revolves around and focuses most of its attention on. In a show with hundreds upon hundreds of colorful, strange, and outright weird characters, it’s important to have a character to connect to within the show: another human. And that’s where Finn comes in. He represents a human identity of growth and emotions while living in the magical world of Ooo. How Finn has grown and changed as a character is the most interesting and dynamic aspect of the show- in my opinion. This piece has less to do with the overall plot of the show in general, and more so with Finn as a character and how he has evolved within the world he lives in. For this analysis, its important understand Finn’s initial intentions as a character, what he was and where he has gone through years of adventures.

    Okay, I have a lot of ground to cover so bear with me for what you might already understand as I attempt to cover nearly 7 years of fighting demons and saving princesses in one contained thought.

    So in Finn’s eyes he started off as your everyday hero in the world of Ooo. In the first season, Finn can be seen as almost a “generic hero.” He has simple goals: adventure with his bro Jake and save princesses, but more specifically get the attention of Princess Bubblegum of the Candy Kingdom- the girl of his dreams. He sees nothing further than his current goals or what is going on in the “now.” It’s like Finn is the middle school kid trying to win the heart of the hot older girl from across the street. This marks the first stage of Finn’s character and where he will grow from here. The first major turning points of Finn’s character comes from the midst of literally crying over a piece of Bubblegum’s hair. He’s “all gummed up inside” after finally coming to the realization the PB is not interested in him at the end of season 3. 

You can feel the pain. It hurts. The only thing Finn wants is gone. He’s confronted with the fact that PB and him might be on two completely different levels. But in the wake of this grief, Finn would meet his match when the Princess of the Flame Kingdom came into his life.

     Wrapping up season 3 and starting season 4, the episodes “Incendium” and “Hot to the Touch” are the first encounters Finn has with Flame Princess. Little does he know how this relationship will begin to change Finn and shape the way he thinks about things. After time, a relationship begins to develop between Finn and FP and there’s another shift in Finn’s personality as a character. He’s growing up. It’s the same kid who couldn’t date the older girl but now, someone new who likes him enters his life.  

     Finn’s growth at this point is shown in the episode “Burning Low.” He’s worried about how he smells, about smoochin’, WHILE AVOIDING TIER 15. Never has Finn worried about stuff like this before. He’s growing into a teen trying to impress his first girlfriend. This rang true with my 16 year old self more than any episode of adventure time had before. He was dealing with older, more mature emotions as he was growing up. And with this new sense of maturity, come new thoughts and feelings. Feelings experienced before, feelings that would soon turn into a source of conflict.

     Again, fast-forwarding a bit, the relationship between Finn and FP lasts until their break-up in episode 30 of season 5, “Frost and Fire.” This is where Finn’s character once again begins to shift in a new and different way. Finn starts to have weird cosmic, emotional dreams about Flame Princess after seeing her beat up Ice King. In an attempt to recreate those emotions, he manipulates Flame Princess into fighting Ice King again. This moment forever marks a radical change in Finn’s character. Finn has always done the “right thing” and puts others before him, but now, in this moment, he gave into his own temptations and desires and did what HE wanted to with no regard for FP’s feelings or thought. One of the hardest results of this break-up is that Finn does not understand FP’s feelings and doesn’t fully understand WHY she is upset. For a time he foolishly thinks they will make up and everything will be alright, but its not.

Now, you can interpret Finn’s cosmic dreams however you’d like, but the main idea is what he did. Finn knew that wasn’t the right thing to do. But he did it anyway. After FP dumps him, as she RIGHTFULLY should, this is where Finn again begins to change in a drastic and depressing way.

     After his break-up Finn’s character’s growth, or what can be considered a lack thereof, is shown. Finn does what alot of people do after a long, nasty break-up: makes dumb decisions, contemplates life, and tries to rebound. A LOT. Like, immediately after in the episode “Too Old” where he gives one ditch effort with PB only to realize that they are STILL on completely different levels when it comes to maturity. It’s at this point Finn learns that it’s time for him to move on. He understand her emotions and knows it might be time understand his own feelings. Little does he know how much rougher his journey is about to become.

     Jumping forward, the two part season 6 opener is where Finn begins to hit a rough patch when his real dad, Martin, coming into his world. When he finally meets Martin, his expectations are immediately crushed with what a HORRIBLE guy Martin is. He clearly has no thought or care for any other character except himself. Martin can be seen as Finn at his worst, or even deeper, what Finn could become. This encounter literally tears Finn apart by his arm at the end of the episode. 

At this moment he was treated exactly as he treated Flame Princess in a way, and although he may not realize it, he knows it hurts. And so Finn begins season 6 lonely, devastated by the lack of love from his father, and armless. A traumatizing way to start a season. 

Following this, the episode, “The Tower” portrays a distant, lonely, and hurt Finn we haven’t seen before. He was torn apart by his dad, and his flower arm is a constant reminder of this. Again, he literally and emotionally lost a piece of himself. Finn had been through one of the roughest experiences in his entire life and with so much grief falling on him all at one time and he had to learn to deal with these emotions. 

     All of these different emotions come to a jarring climax in the episode “Breezy.” By this time, Finn’s emotional state is symbolized by his new flower arm that is beginning to die. He goes through the episode smooching random princesses at parties in attempt to fill his emotional void. The saddest thing Finn’s ever said was in this episode when he says he “doesn’t feel anything…” At this point, he’s officially “lost in the darkness.” He is lost and distant from the character he once was. This is a Finn who has truly hit rock bottom. This episode shows that Finn doesn’t know what he needs to make him feel better, but he knows he needs something.

     Again, you can take the actual meaning of this episode as whatever you want, it’s hard not to with the strongly hinted rape implications from two separate characters. But that’s for another discussion. Right now Finn is in a rut, and has tried doing anything it takes to feel better. At this point, Finn makes one of his last major changes to this point.  

      At the end of “Breezy”, Finn’s arm is returned with the help of Breezy’s love. In my opinion, this is how he gets his arm back. Breezy gave Finn the love he so desperately needed. In that selfless act he was able to feel again, he was able to feel- something. This is what restored his arm and “made him whole” in a way. Feeling this love is what Finn needed to be able to bounce back. Its that genuine love and care that gave Finn the push you need to get out of that rut and begin to laugh and feel again. He can begin to move forward. And so he does.

           Throughout the rest of season 6 Finn’s ready to change. Ready to grow. “The Mountain” is a great episodes that shows this. Finn is given a test of three choices: Flame Princess, Jake’s Finn Cakes, or a butterfly transport that clearly takes him further to his current goal. Finn chose the door he needed to go down instead of the one containing all his wants and desires. The door that literally leads forward. The episode “The Visitor” closes his emotional hang ups with his dad when he is subconsciously driven to Martin, who had crash landed on Ooo. This time, Finn does not give his father the power he did before. This is a Finn whose grown from his past experiences and learned how to deal with them in a a productive way. 

This encounter with Martin shows Finn that has to be the man that his father isn’t. He sees how Martin doesn’t care about anyone but himself, and he sees the path that leads someone down. He sees himself in Martin like he hadn’t before, his perspective has grown. Finn learns that he has to be the better person. And again, Finn moves forward.

     The end of season 6 and now in the midst of season 7, we see a Finn who has grown over the years from a generic hero to a young man with real emotions and thoughts. A real hero who has confronted his fears and doubts, and continues on past them to a better life. By this point he’s learned that life is full of temptation, pain, and heart-ache, but he also its full of friendship, happiness, and love. He is content with a life where he has to struggle for what he wants and he is willing to receive pain if it means he will also receive happiness. 

The season 6 finale, “The Comet” show Finns new perspective he’s got on life. The all-powerful comet gives Finn the choice of leaving this reality full of both negative and positive experiences; to leave them all behind, to be in a “new mode of existence” But Finn denies this opportunity. He has done so much growing and changing he is not so willing to throw that all away just for the offer of no more suffering.


    Finn has grown because he has earned his happiness. He has earned his title as a hero. He has not only seen what it means to be “the bad guy” but understands that life is not black and white. Its full of grays, blues, and magic. He lives in a world where he has to live with himself and make the tough choices. Not just for himself, but for everyone else. Season 7 now shows an older Finn. Take “The Hall of Egress” for example. 

At this point Finn is around 17 years old. He is not the same 12 year old boy who was gawking over Princess Bubblegum. One willing to adapt and learn in ways he never had before- to see the world through a different perspective. Finn lives on as a symbol: even if life gets you down, you keep moving forward and you stay open to new experiences, because you will always find the light within the darkness.


In the words of Jake,

BNA and Law vs Ethics

The BNH world has… a very oppressive law system. According to text; 80% of people have amazing abilities, but it’s literally illegal for most people to use them.  You’re allowed to use your Quirk in public if:

A) You’re a registered hero, or training to become one

or

B) ….. Nope, that’s it. 

There’s no option for your normal joe to use his super strength to help with construction, or for a guy who can manipulate cement like clay to make the most AMAZING architecture. 

No chance for someone who can harvest water vapor and condense it into pure water to go help out in a drought. 

No chance for a ‘Creator’ type to go produce food for a homeless shelter, or replicate medicines for the sick. 

No ‘Healing’ quirk can work at the Hospital. You have to rely on common medicine. 

All quirks are illegal unless you want to go to school to become a public servant AND work with the police.  (And even then, you cannot use your gift for “Selfish Reasons”) 

This sort of blatantly unfair (considering the physical mutation type especially) policy tends to push people who normally wouldn’t break the law at all, veer to criminal activity because “I’m breaking the law by existing so why not?" 

Criminal doesn’t necessarily mean evil. What is lawful isn’t always morally right, and what is illegal isn’t always morally wrong.

Normally “Hero” means "morally right” but in BNH the text says blatantly that Heroes are lawful, but not necessarily ethical. “Villains” may be unlawful, but they’re not necessarily ethically corrupt. (Example; in the manga a guy is stopped and ticketed for using his Quirk to move quickly and harmlessly through a crowd because he was late to work, but using it at all is illegal)

In BNH, the only difference i’ve seen between a “villain” and a “criminal” is if they have a Quirk or not, but the “villain” term implies they’re essentially evil, though the behavior is no different. The public still views them as an Evil entity. 

“Heroes” are public servants by canon’s own text, paid by the govt to work with the police. They’re not essentially “good” - they’re just doing their job, and hamming it up to get more funding.
When a hero confronts a villain, things tend to escalate quickly - heroes tend to leap in and punch, so of course people fight back.

(SPOILER ALERT) 
If you’re into the second season - I agree with Stain’s view of the world, though not his methods or conclusion for how to improve it.  (END OF SPOILER)

“Heroes” shouldn’t be on the pedestals they’re on. They’re peddling a false narrative of good vs evil - or perhaps the public is peddling it, and the people with Quirks are both perpetuating stereotypes and existing within the system. 

You’re either with us, using your Quirk to defend the public (and therefore ‘Good’), or you’re using it selfishly and against us - and therefore evil. And Heroes spend a lot of time doing PR and self-marketing, trying to stay high in the public’s ‘Rankings’ of heroes. 

How many Heroes have sabotaged other rising heroes to keep their own placement? How many people were arrested or threatened with legal action for trying to use their Quirk on the job? (For instance, helping your construction worker parents lift heavy things with your anti-gravity quirk~) 

How many people have been villified for years, peacefully struggling to exist until they finally snapped and became the monster everyone said they were? (A cornered mouse will bite)

Probably my absolute favorite character so far is the Mind Control guy. He can literally take over and tell you to do anything - and you do it. All his classmates constantly joke that he’s a danger, he’d be suited for a villian, “That’s definitely a Villain’s quirk” - But despite that, he still wants to be a Hero - Is still aiming to use his skill for good, simply because he wants to be a good person. (but how many people would bow to that kind of peer pressure? HAVE bowed to it?)

Idk man I have a lot of feelings about this. 

Endless Ship List
↳ Hilda/N - Pokémon Black and White
“I want to talk to you about something. It’s about when I first met you in Accumula Town. I was shocked when the I heard what your Pokémon was saying. I was shocked because that Pokémon said it liked you. It said it wanted to be with you. I couldn’t understand it. I couldn’t believe there were Pokémon that liked people. Because, up until that moment, I’d never known a Pokémon like that. The longer my journey continued, the more unsure I became. All I kept meeting were Pokémon and people who communicated with one another and helped one another. That was why I needed to confirm my beliefs by battling you. I wanted to confront you hero-to-hero. I needed that more than anything.”

Honestly, one of the things i loved the most about TLJ is how much this movie completed the reflexion initiated in Rogue One regarding the place and value of self-sacrifice and heroic martyrdom in the revolutionary ethos –a reflection which makes so much sense if you consider star wars as a modern take on the old epic genre.

Like –narratively speaking, the OT is pretty much in touch with the conception of heroism which is sustained in the ancient epics, and which George Lucas mixes with his own brand of christian ethics. ROTJ ends when Luke proves himself worthy of his hero status, by giving himself up and accepting death in order to save his father. It’s a pretty much christianized version of the greek aristeia –the homeric hero’s last stand, which allows him to reach legend through the inflation of the self, and more than often ends with his death. The «christian» part of it is that martial excellence is replaced by absolute selflessness and non-violent self-sacrifice ( “do not resist the one who is evil», «turn to him the other cheek» etc), and that its recompense isn’t the hero’s apotheosis through glorious death so much as the reversal of the logics of destructivity –Luke’s christic sacrifice allows him to mend the world, by redeeming his father’s sins and thus making redemption possible. It is a modulation on the forms of the epic narrative, rather than a questioning of it.

Now, Rogue one introduces a first disruption in this pattern. (and i’m not saying that the OT is less interesting at all. there are just different things to learn from those different narratives, and a different enjoyment to find in them). It exhibits a kind of… democratization of the concept of heroism, by embodying the traditional epic values (bravery, selflessness, martial excellence…) in a group of « nobodies » (literal nobodies in the scene of vader’s massacre), rather than in a lonesome exceptional individual. It also forces us to confront the gritty reality of said heroism by following it to its natural conclusion : death. As such, I think the narrative gains a new political meaning : those unsung, anonymous deaths do not participate in any kind of glorification/edification of the self and of the collectivity. They are not meaningful because they are things to be sung about, heroic deeds in a collective narrative ; they are valuable because they have a direct efficiency, because the plans are passed and hope rekindled. Rogue One is about the heroism of the unheroic (so the very opposite of traditional heroism), and how sometimes, there are causes that are actually worth dying for.

TLJ on the other hand also chips away at the old conception of heroism –at least from my perspective-, but in a rather different way. It takes three figures that the audience already identifies as heroic ones (the new epic trio!), and then puts them in situations where those heroic values dysfunction, or ought to be questioned. The conflict between Poe and Leia, for example, isn’t presented in such manichaean way. The first sequence of the movie is purely exhilarating ; we are made to side with Poe, with his youth, his passion and his bravery ; and Paige’s heroic sacrifice elicits both admiration and grief. But then the narrative slows down, and begins deconstructing the very logics of the scene we’ve just witnessed. What are the concrete consequences of this act of bravery? When is self-sacrifice legitimate, when is it useful or detrimental? It’s exactly the same questions Rose implicitly asks in the scene where she saves Finn, in a perhaps even more striking way. The scene perfectly illustrates the principle of the heroic aristeia –the lonely hero is confronted with the nameless collectivity of the enemies (embodied in the monstrous machine), and we both dread and wait for the supremely epic moment of the collision. But then Rose’s irruption abruptly breaks the tension, and forces us to question that (and god do i have feelings about the fact that Rose is the one who gets to articulate two of the most important lines of the movie, given what she stands for both within the narrative and on a meta level). Even Rey’s arc is about learning the limits of generous self-sacrifice, and the moments when one must learn to be selfish and to renounce great noble sentiments, because those simply won’t work anymore.

So idk… in the end i feel that part of the outrage expressed by the fandom simply comes from a knee-jerk reaction of anger at the undermining of those categories. And it’s a pain! because in my eyes it is actually rather bold to interrogate the prerequisites of our conception of heroism in a franchise which literally builds itself upon an epic frame. 

headcannon idea

sonic likes putting post-it notes on metal’s face where his mouth would be when he’s not looking much to metal’s flustered embarrassment 

so like imagine during sonic heroes at the confrontation with neo metal before he transforms everyone starts losing it because there’s a stickie note with the 3 mouth on him

Why the D-Reaper is the Best Villain in All of Digimon Canon (so far)

Ha HA! You thought I was bluffing about coming back to do more Tamers content! The last laugh is MINE!

Look at that. That right there? That, in my opinion, is the best villain in all of Digimon. And now I’m going to explain why.

Keep reading

stupid-altean-pools  asked:

So what were the certain serket-related events????? Not knowing is torturing me and knowing will probably torture me too but I GOTTA KNOW

((OOC: alrighty so some (all) of the events in this comic were kinda vague, so this is the disambiguation.

Vriska pushed Tavros off a ledge during a school field trip, which resulted in him being paralyzed. No one saw, but Aradia was Suspicious, so against the advice of Sollux to just leave well enough alone she interrogated Tavros on the matter and subtly recorded the conversation without his knowledge. As soon as she got the admission that it was Vriska she left and showed Sollux the recording. Sollux told her to anonymously send it to school administration and let them handle it, because he realized that if Vriska was willing to push someone off a cliff for pretty much no reason then she’d probably do a lot worse to avoid getting expelled. Aradia, however, was incredibly angry at Vriska, and she was determined to make sure Vriska knew it. She wanted to have her moment of revenge, basically. Sollux tried to convince her not to do that and the two of them had a big fat fight over it. Aradia proceeded to ignore this advice. After school, she trolled Vriska and tells her that she knows. Vriska then ducked into a supply closet so she could have a conversation with Aradia in private, and Aradia followed her. Aradia played the recording of Tavros, Vriska stole the phone, locked Aradia in the supply closet, and left.  Sollux, meanwhile, was trying to contact Aradia via the phone she no longer had over the next two days. His dialogue is kinda small, so in case you can’t read it, it’s reprinted after the summary. Anyway. Monday morning the janitors came back, unlocked the supply closet, and discovered Aradia passed out on the floor from dehydration. She got sent to the hospital. When she woke up, Aradia realized she didn’t have the recording of Tavros anymore, and that Vriska was going to get away with it (because Tavros wasn’t gonna fall for the same trick twice). This dealt a bit of a blow on her emotionally. When the cops came to talk to her about how she ended up locked in a closet over the weekend she refused to talk to them out of some belief that Vriska would find a way to wriggle out of it and that it was pointless to tell anyone. As a result, the school kind of assumed Aradia was just hanging out in the closet for shizzes and giggles and the janitors accidentally locked her in.

Aradia wasn’t exactly mad at Sollux anymore after that, but she also just wasn’t the same person anymore. Sollux blamed himself. It sabotaged their friendship and they just stopped talking to each other eventually. :) :) :)


Also, sorry this took so danged long. I don’t have an excuse. Please forgive me.


2:00 HOURS

-twinArmagedons[TA] has begun trolling you.-

TA: hey

TA: ii know youre probably 2tiill pii22ed off at me

TA: 2iince you diidnt come over twoday liike you u2ually do on friiday

TA: but ii ju2t want two 2ay iit2 not that ii dont agree with you

TA: iim up2et about what happened two, you know.

TA: ii wanna 2ee 2erket’2 2hiit get wrecked a2 much a2 anyone

TA: ii ju2t dont thiink you 2hould confront her diirectly

TA: iit2 two dangerou2

TA: ii care about you, okay?

TA: …okay ii know youre mad but iif you could bother two re2pond, thatd be great

9:00 HOURS

TA: you know what?

TA: fiine

TA: dont an2wer me

TA: 2tay mad forever, ii dont care

TA: go play hero and confront the viilliian 2o you can feel liike iindiiana jone2, miidle 2chool ediitiion, 2iince apparently that2 more iimportant two you than our friiend2hiip

TA: 2crew you, aradiia. and dont bother re2pondiing.

-twinArmagedons[TA] has stopped trolling you.-

16:00 HOURS

-twinArmagedons[TA] has begun trolling you.-

TA: okay AA where are you

TA: thii2 ii2nt funny anymore

TA: there are cop2 at your appartment, your mom ii2 fliipiing ouy you have two come back.

TA: look, iim 2orry, okay?!

TA: iim 2orry for tryiing to 2top you and then for gettiing mad

TA: but thii2 ii2nt funny anymore, you have two come back

TA: …

TA: dammiit AA, an2wer me!


TA: plea2e

38:00 HOURS

TA: you diid iit, diidnt you

TA: you confronted 2piiderbiitch and 2omethiing awful happened

TA: ii knew thii2 wa2 gonna

TA: …

TA: iim 2orry

TA: ii 2hould have triied harder two 2top you


TA: plea2e come back


Anyway. I’ll eventually get around to answering more of the leftover questions. Bear with me. Also I just realized I forgot to draw Aradia’s socks twice, gosh dangit oh well too late now.))

When I first started watching Broadchurch, I couldn’t help rolling my eyes at Alec Hardy, with his cold demeanour and his “broody bullshit schtick” as Ellie puts it. A handsome, brooding detective with a troubled past. Well that’s something I’ve seen a hundred times before.

But Chibnall’s writing cleverly undermines that trope in a hundred ways. Hardy is different. Under his apparent rough exterior, he is so emotional and so emotionally invested in the cases he works. We see him break down and cry a lot. He’s mentally and physically ill. The scene on the beach where he finds Danny’s body shows him trying to control a panic attack. He is physically weak and prone to collapse. The narrative confronts his illnesses head on and shows how hard he struggles with his health. It doesn’t shy away from his anxiety or his panic attacks, nor the realities of his arrhythmia.

His isolation comes from him being hurt and self-protective and socially awkward, but as he accepts Ellie he proves himself an empathetic and devoted friend. At the end of the season, all of Ellie’s friends desert her - all except Hardy. He is there for her, providing all the support he can. For all his trust issues and his maxims about how you can’t trust anyone, he trusts this woman more than anything.

He’s extremely protective of children and it’s clear he would die to protect them or get justice for the murdered children he’s investigating. He would do anything for his daughter. He loves her so much he ruined his own life and his health for her. Even though it hurts him to be apart from her, he waits for her to be ready to accept him back in her life, and doesn’t force his way in.

Despite being played by David Tennant, Hardy is an undesirable character. He’s not some macho fantasy that goes around seducing women and having one night stands left and right. He’s rejected by every woman he approaches, and what he really craves is not sex but a meaningful relationship with someone he loves. He’d be happier with a hug from a loved one than sex with a stranger.

His tragic backstory isn’t a simple case of dead wife or dead daughter either - he’s a cuckolded husband who handled the situation by taking the blame and protecting the wife that cheated on him. He’s the wronged party struggling to overcome all the health issues that cropped up as a result - but the best part is, the narrative never excuses his behaviour just because he’s been hurt. Ellie Miller always calls him out on his bullshit. She supports him and loves him, but when he acts like a jackass, regardless of the underlying cause, she damn well lets him know it’s not okay. And that’s so important. Too often a tragic backstory is used to excuse bad behaviour. With Alec, it explains his behaviour, but never condones it.

In S2, and this is where things get good, our hero confronts the failure that has haunted him. But there’s never any macho bullshit about how he has to do it alone, or that he has to be the one who solves it. His priority is justice for Pippa and Lisa. All through S1 he admonished Ellie Miller for letting her emotions get the better of her. He told her she had to be objective, and that she had to look at things from the outside. And Hardy is man enough to take his own advice. He accepts his own failures and says, “hey, I’m way too emotionally invested with Sandbrook and too close to these suspects to think straight. I need help.”

Where most dudes insist on doing things alone, Hardy is actually asking for help constantly. The problem is, no-one answers his requests. He asks Tess to reopen the case and to give him some officers. She says no. She reminds him that he never made any friends, which is why he’s alone and in exile. The only person who answers his requests for help is Ellie Miller. He tells her in clear terms - “I sort of need your help.” “I can’t do it on my own.” “Help me.”

How often does that happen? How often does a man look at a woman and say, without any hint that he finds it emasculating, “I can’t do this alone, I need your help”? The thought of it being emasculating doesn’t even register. It’s not even within his ability to think like that and the narrative never even touches those sexist assumptions. It’s just a matter of - I trust her, and she’s the best person for the job. Nothing else.

Throughout the season he asks for her help and she agrees. Always, always, he asks. And she helps him because she wants to. He recognises his shortcomings and he’s completely comfortable saying, “talk to Miller” instead of interviewing someone himself. He steps down and gives her the reins. He acknowledges her abilities and once they’ve solved it he thanks her and says, “I couldn’t have done this without you.” Very sincerely, he lets her know he couldn’t have done it without her. He gives her the credit, doesn’t make it a secret, lets everyone know, “I need Miller.”

Alec Hardy is mentally and physically ill. He’s emotional and he cries a lot. He recognises his flaws and shortcomings and is willing to admit them. On a professional and an emotional level, he looks at this one woman and says, “I need you.” He is never mocked for this or viewed as less of a man. The narrative rewards him for talking about his feelings and never condones his rude or inappropriate behaviour. He’s kind and devoted and loving, especially towards his daughter. He’s respectful of people’s boundaries, he craves physical intimacy, and he’s always willing to offer what emotional support he can. He’s allowed to cry and make mistakes and rely on the help and friendship of a woman without it calling his masculinity into question.

It’s the greatest debunking of the “handsome, brooding dude with a troubled past” I have ever seen and I can’t thank Chibnall enough for Alec Hardy, and resident bamf Ellie Miller, too.

8

THE AVENGERS of 1,000,000 BC!

I like this idea a lot and I like most of the heroes included. I am a fan of the oldest pieces of the Marvel Universe having come together at one point, including immortal entities such as the Asgardian’s Allfather Odin, the Spirit of Vengennce Ghost Rider, and the World Destroying Phoenix Force, as well as the individuals that would begin the long legacies of the Iron Fist, the Black Panther, and the Sorcerer Supreme. While I know the Starbrand is a powerful force with a long legacy, I kind of wish that they had instead included a person empowered by the Enigma Force as a version of Captain Universe OR a person possessed by Cyttorak as a version of the Juggernaut. Outside of Starbrand, I think the rest of this team is pretty badass.

My next questions with this series are who are these heroes confronting? And what will their communication and team dynamic look like?!

Could Matt Murdock and Karen Page be each others’ "Secret secret keepers”?

The more I think about I think about it, I wonder if Matt and Karen are each other’s  Secret Secret-Keepers. A  “secret” Secret Keeper is someone who figures out another person’s secret on their own, and instead of confronting the hero about the secret, decide to keep things quiet. I feel like Daredevil could easily go this way - that Matt knows Karen killed James Wesley, and Karen knows Matt is Daredevil, but they don’t say out loud that they know.

Karen knows Matt is Daredevil:

I made a previous post that in detail described how Karen might have figured out Matt is Daredevil on her own. I mean,  Karen knows something is up. She clearly doesn’t believe Foggy’s excuse that Matt has a drinking problem. The exchange Karen has with Matt in 2x02 while he’s recovering from his concussion implies as much: 

Karen Page: Sometimes I worry about you a little too much.

Matt Murdock: I appreciate it. There’s no need to worry.

Karen Page: Yeah, you know that doesn’t help, right? You…denying that there’s anything wrong?

Matt Murdock: Karen-

Karen Page: No, how many times can I hear that you “fell down the stairs” or you “walked into a door”?

Matt Murdock: Well, you know I’m blind-

Karen Page: And you know that I’m not an idiot. [beat] Okay, um, let’s say this: when or if you ever feel like you can tell me what’s going on with you, I promise that I’m here. Is that a deal?

Matt Murdock: That is a deal.


I feel like that last line is telling. Karen doesn’t want to “figure it out.” She wants to be trusted and told, to be let into Matt’s life. There’s enough evidence to suggest that the show could go with the “I’ve known that for some time now” angle when we meet them in The Defenders. She sure has noticed some things this season, like Foggy freaking out witnessing the Daredevil vs. Punisher fight when the Grotto sting went south; there’s that whole “he’s the kind of person who hurts people” line/conversation with Frank at the diner scene. The show has enough clues to lay out the reveal to go the “I’ve known since the day I met you” route, but she still wants to be told, regardless. 

Meaning, I think Karen unconsciously knew it this whole time, but didn’t want to believe it, so she kept forcing herself to believe the alcoholic story that Foggy was spewing to her. Because which would you rather believe, “Matt gets a bunch of cuts and bruises because he’s an alcoholic and falls down a lot” or “Matt gets a bunch of cuts and bruises because he’s secretly fighting crime at night while somehow having pseudo vision”? Even if you know in your heart that it’s the latter, you’re more likely to fool yourself into believing the former, because that’s the more plausible explanation.

I could see the whole reveal scene carrying on after the blackout, with Karen saying something similar to what Father Lantom said in season 1 when he revealed he’d figured out Matt was Daredevil on his own: “Yes, Matthew, I’m not an idiot. I have a pretty good idea who you are and what you do. How you do it… That’s something else entirely.”


Matt knows that Karen killed James Wesley:

It’s clear that Matt knew something was wrong with Karen when he found her working late at the office the night Wesley was killed. He clearly noticed that she smelled like she’d been drinking heavily, and everything about her heartrate had screamed distress and exhaustion. And she was startled by sudden noises. And even though Karen had showered, I think that Matt, with his heightened senses, may have still smelt gunpowder on her hands. 

Plus, in his outings as Daredevil, I imagine Matt must have heard rumors floating around about Wesley’s death. That he was shot seven time. That upon finding the body, Fisk had nearly beaten one of his bodyguards half to death for not protecting Wesley. He eventually worked out a timeline and realized that Wesley was shot the same night he smelled gunpowder on Karen’s hands, and realized that neither he nor Foggy could account for Karen’s whereabouts at the time of the shooting.

Plus, in “Penny and Dime,” when Karen first mentioned her brother while helping Matt get dressed, and she says she never had brought it up in conversation before because Matt never asked her anything. She asks Matt stuff because she wants to know him. But Karen is as much of an open book as Matt is. She isn’t afraid to talk about her feelings when someone asks her to, she doesn’t hide anything when someone asks her. So it’s through details like that that I believe Matt knows or at least suspects that Karen killed Wesley, but is keeping quiet on it.