I Find It So Fitting That Luffy Met (and Freed) Zoro At His Weakest- Starved, Restrained, With His Execution

zolu being married feels right on the basis that luffy is selfish/possessive and zoro is prideful alone.

luffy likes having things, he’s wonderfully selfish, he could be nothing other than the captain of a ship. he would call zoro ‘husband’ one time and never stop because, yes, zoro is his husband.

and of course, zoro is his swordsman, his first ever crew mate, but there’s something that makes him feel perfectly content when calling him his. additionally, luffy’s possessiveness paired with zoro’s elation to be his, to worship and follow him. zoro himself would feel delighted to be wanted by his captain so completely, and luffy would bask in that.

and then zoro would reciprocate, not calling luffy his husband out of harmless possessiveness but out of pride. because what is zoro if not too proud to admit to weakness, vulnerability? what is zoro if not in a clamber for ultimate strength, to be best, to never lose again?

zoro being able to call luffy his husband with a puffed chest, because yeah. his husband is the king of the pirates by the way; stronger, kinder and cooler than anyone. his pride in his captain is unparalleled, to zoro there is nothing that nears his perfection. and that’s all his. he’s so proud to be loved by him, to love him; that’s his husband.

it’s funnily sweet how their pride and selfishness appease one another, intertwined so perfectly that they soothe each other’s nagging feelings by simply being themselves and being together. husbands and soulmates

one thing i think is so Neat about atla is how all the main bender characters have an arc that corresponds to their "opposite" element. zuko's arc is about the capacity to change yourself and your worldview, and the culmination of his arc is learning a move inspired by waterbending. katara is all about passion and drive, wanting to become a great waterbender and fight for what she believes in, and over the course of the show she comes into her power. toph's arc involves getting free of her restrictive family and connecting with a community, and aang's arc is about learning to stand fast in his beliefs and confront difficult issues head-on. it's a beautiful bit of symmetry that reinforces the show's point about the illusion of separation

I mean most wbk characters fight without the conversation and connection philosophy... Why is Sakura the only one who should win with that method not by feats. Doesn't they author love his mc to be the strongest and shine like the others? Sigh!

I would say a part of why there's more emphasis on it with Sakura than the other characters, is because Sakura's definitely positioned to be the person Umemiya thinks will take on his will and protect and care for the Furin he has created with the other upperclassmen.

This isn't to say that the other side character don't or are incapable of also understanding and applying Umemiya's philosophy in their fights, but Sakura mirrors so much of Umemiya. There are definitely a number of characters in Wind Breaker who came to Furin because they admire and want to also take on the mantle that Furin stands for. Others join Furin to rebel against what's trying to hold them down or oppressively change who they are; who won't accept certain aspects of who they are because of their own agendas or beliefs. But a number of these people aren't actually seeking to be The Top Dog. Not everyone who wants to fight to protect the town wants to be the person leading Furin. And there is a lot of potential dangers/issues with those who DO seek to be at the top, and have the power that comes with leadership. That's why so many Furin people, ESPECIALLY the upperclassmen, were wary of Sakura coming in and enrolling in Furin as someone from outside of town, even more so when he starts spouting that he wants to take the top spot.

Take Sugishita for example= The narrative even shines a light on the fact that shouldn't it be Sugishita who is shooting to become Furin's top spot when he's an upperclassman? Sugishita ABSOLUTELY hangs off of every word Umemiya says and admires what the guy stands for. But, Sugishita wants a low-key, peaceful life. He wants to be left alone and sleep most of the day. Sugishita struggles with connecting with his fellow classmates, let alone his opponents or those who stand against what Umemiya believes in. The upperclassmen adore and are rooting for Sugishita, but they know he wouldn't want to take Umemiya's spot.

Nirei too. Nirei is valued and supported by his classmtes. He deserves a place amidst their ranks because he has such drive and will to put everything he is into Furin's cause. But Nirei's not a leader. Not everyone is meant to be a leader. Nirei doesn't want to be a leader- he wants to be someone who lifts someone he finds worthy for that position (Sakura) TO the top spot. It's kind of hard to have a fight last long enough to be a conversation when when you don't know how to fight. He's learning how to fight (and doing an amazing job! I'm always so happy to see Nirei get a chance to show how far he's coming along in also holding his own in a fight!) but that's not going to be enough for Furin and Makochi when threats come knocking on their door.

To not just let emotions take over and instead make an effort to understand the other person- it's hard! It's not something that comes naturally to most people. But it surprisingly comes naturally to Sakura. Sakura is hungry for connections, he wants to understand people better because he assumed everyone was the same in the past and realized that that's not the case. And it definitely comes naturally to Umemiya. However, I wouldn't go so far as to say no one else fights with this philosophy in mind. The freshman characters are green newbies. They've got the spirit, they're putting their effort behind Umemiya and Sakura and all of what Furin stands for, but they're a little too inexperienced to actually internalize Umemiya's style. Who has had the experience and has been a part of Umemiya's fight to make his dream a reality? The four kings. Specifically, Tsubaki and Hiragi immediately come to mind so I'll talk about their fights/conversations!

Tsubaki rolls up to the fight against Gravel with a number of (anger-fueled) assumptions and very much acting out of his protectiveness of Shizuka.

Even still, Tsubaki wants their fight to be a dialogue. He's still applies Umemiya's philosophy in this fight, even after calling Suzuri his 'prey' and clearly being pissed off about Gravel trying to break down Suzuki and take her away from this life she's found with her sister Tsubaki and the guys of Roppo-Ichiza.

Tsubaki makes his stance known. That fighting to protect the things you love makes you stronger. It doesn't matter what it is- if it's important to you, if it makes you happy- then it is worth fighting for. Tsubaki doesn't get angry when Suzuri calls him insane when he says that loving makeup makes him stronger. He instead says 'okay let me prove it to you. Let me show you my strength' (my god I love the energy in the "Let me show you just what you're scoffing at" panel. Tsubaki you absolute ICON! Queen Shit!)

It's a push and pull; a back and forth between them as they fight. Tsubaki eventually says to Suzuri that 'Yes, of course I can't possibly understand the suffering and pain you've had to go through'. It's a hard thing to truly and fully understand another person. But that doesn't mean that a person isn't allowed to also feel in pain and having a hard time. Tsubaki doesn't know what it's like to have to struggle with starvation, and Suzuri doesn't know what it's like to have to choose between pretending to be someone you're not, to cover up your interest or risk being attacked and assaulted because other people want to decide for you how you should be and what you should like. You could say Suzuri has it worse than Tsubaki, but it doesn't mean Suzuri has the right to rip Suzuki from the happiness and family she has found.

Leading up where Tsubaki admits they made wrong assumptions about Suzuri and are sorry for doing so, but also calling out Suzuri on the irony that he says he has nothing- can't waste time or effort on anything that's not directly tied to food/survival- when clearly he also is fighting for his friends.

Now, as it was even said in the manga- Tsubaki and the Roppo-Ichiza can't fix all their problems. They can't make sure everyone has what they need. But, they can do everything that they can to help. It wasn't Tsubaki's physical strength that was important in this fight, but instead it was his kindness. That he wanted to know why Suzuri was doing all of this. He didn't attack Suzuri in a rage or tell Suzuri he had something he needed to learn from Tsubaki. Tsubaki ended this fight by saying "I see you're suffering and I want to know what I can do to help." THAT and fighting in order to stay true to himself and protect those he cares about, is what makes Tsubaki strong. That's why Tsubaki is one of Umemiya's four kings.

Next let's talk about Hiragi's fight with Banjo. Now, Hiragi was far more in a rage than Tsubaki. That much is clear. He is just as protective of Kaji and Tsubaki is of Suzuki, but lets his fury win more than Tsubaki does. This may also be because of the sadomasochistic person Banjo is versus Suzuri, who has a more compassionate core. Endo and Takiishi pissed the fuck out of Umemiya in this arc too. Anger takes over sometimes. That is also a part of being human. But, I would stand by that Hiragi STILL tries to see Banjo's perspective. The chapter where he starts fighting Banjo is still called a 'dance', just like when Tsubaki fought Suzuri. He doesn't treat Banjo in this fight the same way Suo does against Kanuma. He doesn't patronize, toy or make fun of Banjo. He gives Banjo an admission, what small understanding he has of Banjo's...insane perspective, that fighting can be thrilling. That you can be addicted to the adrenaline. He acknowledges that Banjo is right that when people are fighting, someone is going to get hurt. The FASCINATING thing is that Banjo also sees fighting as a way to connect with others. But Hiragi recognizes that Banjo doesn't.... realize that not everyone gets the same pleasure out of fighting and Banjo doesn't know when to STOP.

Hear me out- I think this is similar to Sakura telling Endo he'll visit him. I don't think Sakura likes Endo and I DEFINITELY know Hiragi doesn't like Banjo. But, Banjo feels connected to other through fighting. Hiragi is going a certain length to make sure Banjo doesn't feel isolated, while at the same time telling him to leave the other people at Furin THE FUCK ALONE (Especially not to go anywhere near Kaji again I'm sure). He tells Banjo directly to his face that Banjo disgusts him, but he doesn't tell Banjo not to seek making that connection with others. Not to seek that high. But because doesn't have self control, because Banjo can't even tell when he's going too far- Until Banjo can understand how other people feel he should find Hiragi to fight. Hiragi is saying he will do something that he dislikes for Banjo. Yes, it's for the sake of whoever else Banjo would pick a fight with instead, but it is still a promise of connection, it is still an exchange nonetheless.

I would say the author loves Sakura for the same reason why he has everyone else love Sakura. Because Sakura is an incredibly kind and compassionate person who wants to put his whole being into helping others. He wants to protect the people who extended kindness and acceptance to him. Sakura is a scared kid who comes from a past full of pain and rejection and isolation, and is taking those steps towards healing. He's getting close to becoming someone that Sakura himself can feel proud of. Someone who is not just strong physically, someone who doesn't even have to win every fight- he's fought so hard his whole life already. So long as he doesn't give up- neither on himself nor in protecting Furin- there is nothing more he needs to do. He can just be himself for the first time in his life and that will be enough. His strength comes from his heart, a heart that is already full of compassion and kindness. A heart that he already has. Physical strength is something he'll get with time and experience, but it is sticking to his heart that'll make him even stronger. A little sappy and cliché? Sure, but that doesn't necessarily make it a bad message or story to impart on the audience. I think Nii Satoru means for this to be a story about human connections, and personally values that more than the fights themselves.

But also. I think Sakura shines. You're welcome to your own opinion, but I personally think he looks pretty damn cool in his fights~

The AMOUNT of Dick Grayson character ERASURE…

…that occurs to prop up the Bruce Wayne that exists in everyone’s head is just…baffling to me.

Lemme point out that the #TiredDad chasing after everyone, and trying to force them in a get-along shirt so they can actually get shit DONE…who probably has done the most wellness check-ins and evaluations…who gives a stern talking-to when someone has gone off the rails…and gives chances to those who don’t always deserve it…the guy who has heart-to-hearts on rooftops and has the tough talks with people about things not everyone wants to hear…the guy who puts himself LAST and keeps the wrongs done to him to himself…basically the unsung Knight figure in his group and the difficult brooding parent who’s loyal enough and supportive enough to let people make their own choices that either fail or succeed on their own merit, but he’ll be there Regardless…

Dick is HANDS DOWN the Batman that lives Rent Free in everyone’s noodle.

Every time a fan has a headcannon about Bruce as a Dad…about 7/10 GUARANTEED that Dick either has in CANON-ly DONE IT as either Batman or Nightwing.

And that’s the TEA NO ONE on this HELLSITE can actually handle.

Consider: Post-canon Zuko wakes up in the body of his childhood self, the morning of That War Meeting. Would he still speak against the plans, knowing his fate? What do you think he would do differently the second time around?

"Turned away at the doors, Zuzu?"

"Shut up, Azula," her brother sulked. But sulked weirdly, after staring at her too long and too wide-eyed, not like she'd surprised him but--

But like he hadn't expected her to be there. At all.

He turned away. ...He turned back. "Hey, Lala? Do you think you could help me practice that one set?"

He didn't meet her eyes.

She narrowed hers. "Which set?"

"The one I'm bad at."

She scoffed. Pushed away from the wall she'd been leaning against. "That's all of them, Dum-Dum."

He didn't shout or stomp or yell about the nickname. His lips twitched.

"It's okay," he said. "If you're afraid you won't be a better teacher that my instructor..."

It was the most obvious manipulation ever.

Perhaps if he proved an adequate firebending student, she'd work on his courtly survival skills next. Honestly, it was good that not even Uncle Gets-Cousins-Killed had been fool enough to take Zuko into that war meeting. She could only imagine how terribly that could have gone.

"Keep up," she said, and turned her steps towards the training grounds.

He did. There, and during the katas she ran him through.

Azula kept her eyes narrowed.

"Hey," he asked, "do you know how to bend lightning yet?"

As if he could have missed it, if she'd been able to get more than sparks. "I will soon," she said.

"You will," he agreed, and flowed through his next set. The one she'd only just mastered.

Father didn't notice how weird Zuzu was being. Uncle never noticed anything. Zuko ate dinner and asked a servant for seconds and didn't stutter or flinch or lose his appetite when father asked, coolly, what he'd done with his day. Azula's shoulders tensed, because one mention of how she'd squandered her own training time teaching him--

"Azula hogged the training grounds. For hours," Zuzu scowled, exactly like a petulant thirteen year old.

Exactly like he hadn't been acting all day.

By the time Father was looking her way, Azula had her usual smirk in place. "I'm sure there would be room for both of us," she said, "you're not afraid of a little friendly fire, are you, brother?"

Zuko sulked. And ate his seconds, like he was enjoying each bite. There was something in his eyes, like a joke no one else was getting.

---

Father died that night. A heart attack. There were the faintest of burns to either side of the treacherous organ; the royal physician hypothesized that he'd grabbed at his chest, fingers burning hot in his final moments; so hot they'd only exacerbated the problem.

The royal physician would never have been brought any victims of lighting strikes. Those that occurred in the capital did not generally require a doctor in the aftermath.

Zuzu ate a hearty breakfast.

He didn't order seconds. Azula gave him points, at least, for not being tacky.

---

The sages named Iroh as regent.

They named Zuko as Fire Lord.

"No," the tiny Fire Lord in his perfectly miniaturized Fire Lord robes said, sitting at the head of his war council. "We're not doing that. And I'll be reviewing all recent battle plans, as well. What's this I hear about a division of new recruits being deployed to the front?"

He did not mention how he'd heard of the 41st Division. No one asked.

"Prince Iroh, surely--" one of the generals tried to appeal.

The young Fire Lord's regent was looking as startled as the rest of them, for a moment. Then he sipped his tea, and smiled.

"Your Fire Lord is correct, of course. A change in our leadership--a change the other nations may mistakenly view as weakness--will necessitate a change in our strategy."

"Now," said their lord, "what, exactly, is our overall objective in this war?"

War, the new Fire Lord decreed, was not an end unto itself.

---

The new Fire Lord continued to have time, to pretend to be trained by her. Azula watched him. Adjusted her footwork. Did not tolerate, and was not offered, any commentary on who was teaching who.

"What did you do with my brother?" she asked, as they flowed from one set to the next. As her hands, poised to throw fire, just so happened to be pointed his way.

He missed a step. It didn't look like an act.

"I'm, uh. Right here?"

She didn't bother to dignify that.

He didn't bother to look worried about her hands, one movement off from a true attack.

He looked around, then grabbed her sleeve, and tugged her further from any walls that may hide ears. The royal family's private training grounds were wonderfully large, and wonderfully open.

"It's me," he said. "It's still me. Just. More of me? Longer of me?"

She narrowed her eyes. A familiar expression, by this point. "Explain."

"...I found the Avatar," he said. "And this is definitely his fault, but--but I guess it started at a war meeting, when I was thirteen."

Azula listened. It was a very Dum-Dum story.

Community and Family Through Food

The usage of food in the narrative of Wind Breaker (Spoilers up to the Noroshi War Arc in the manga)

* Content Warning: Mentions of Attempted Sui

Perhaps it is partially because my other biggest fixation right now is One Piece, but something that has always stood out to me in this series is its importance of eating, but even more-so: The ability to eat in good company. Wind Breaker seems to follow this pattern that is also present in One Piece that after every arc, the characters have to have a meal together. A festival, a meal offered by the owner of a restaurant in town, Kotoha’s diner, take-out on a rooftop; Wherever it may be, there is a meal being shared. Nii Satoru doesn’t hide why this is the case, and even has one of the most important characters to the manga, Umemiya, explicitly say why he insists on everyone eating together as often as possible.

Now, of course, Umemiya being who he is, this comes across as both a little ridiculous and perhaps even a bit childish/selfish to the other characters in the scene (and possibly even the reader) who are a little less familiar with Umemiya. Yet, being able to hang out and eat good food is the reason he decided to aim to become the leader of Bofurin, it’s the reason he gives for how he can be so happy while leading, and he sticks by it. He continues to put emphasis on everyone eating together at the end of each arc.

A detail I love about the chapter when he first gets food for everyone at the end of the Shishitoren tournament arc? It is called ‘Umemiya-Style’. Initially, one could see this as being because that’s just how Umemiya Hajime rolls, or, a play off of ‘fighting style’ but for Umemiya he fights against Choji with his words. Using fights as a ‘dialogue’ to get to know the other person better, as he puts it. However, we get the fuller meaning later in the story with the chapters covering Umemiya’s backstory.

We learn at the end of Hajime Umemiya’s backstory that eating meals as a family was a value passed to him from his parents. Your food (and life) is better when you are surrounded by the people you care about. In this story, a character’s ability to enjoy food is directly linked to their quality of life in the narrative. (The fact that this immediately follows an arc that centered around adversaries who were literally living in poverty and starving? Who united together so that they could all continue to have *something* to eat, even if it meant sacrificing their individual hopes and dreams? MWAH, chef’s kiss.)

Umemiya, however, lost his ability to taste or enjoy food when his parents died and he was brought to the orphanage, Furinen.

Umemiya didn’t eat alongside the others in the orphanage. He couldn’t taste or enjoy any food given to him. At the same time as he is rejecting eating, he is of the firm belief at this point that he should stay away from all people because he believed he got his parents killed. He believes that he is a murderer and doesn’t deserve to sit at a table with others- laughing and talking about their day, eating omurice as his family had once done together. During this same meal that he is rejecting, we have Yuki Shitara and the other kids at the orphanage trying to connect with him. They want to know about him: if he’s feeling okay, what his favorite foods are. During this meal they are trying to connect with him as a family, and he pushes himself away from that connection.

It isn’t until just as Hajime Umemiya attempts to take his own life that he gets a flash of the sight of his parents just before they were killed that he remembers that in their last moments they were smiling at him. They weren’t looking at him with fear, they were looking at him with love and relief. Relief that Hajime was going to live. I think it is also important to note that the Furin high schooler who is with Hajime when he attempts to commit suicide says these lines too.

I'm not entirely sure, but I think this could be the first time Umemiya comes across someone from Furin. At the very least, Umemiya does refer to this meeting as a part of fate. And we see this member of Furin mention being hungry, wanting to find something to eat. When he’s taking Umemiya back to the orphanage and comes across Yuki, he mentions how he and his buddies at Furin can’t sit still while outsiders to the town are coming in and doing whatever they want, making a mess of the rest of the town. Their hearts are not full, and they are not happy with the way things are. This shows, even before Umemiya adopts his dream, that there are already people who would probably be receptive to the changes he wants to see in town.

But in the meantime, when Umemiya gets back to the orphanage, we see the words of the others there finally resonate with him. Why? For two reasons- he finally believes he deserves to keep on living, and because they share that they understand him. That he doesn’t have to be an outsider with them, because they are all the same. They know the loneliness he feels, they know that it is hard for him to laugh and enjoy meals and that being able to do so again will take time. But still, whenever he is ready- They could be his family, and he could be their older brother. 

So Umemiya finally decides to step into that role of an older brother. He wants others to be able to rely on him and to do what he can to protect those around him. By the time he’s 14, he’s decided that this doesn’t just extend to the members of the orphanage. He wants his hometown, and all its residents, to be able to feel that same happiness and have the ability to all share in meals as a united family together. Furin is a high school of outcasts, the town of Makochi are constantly beaten down by both infighting and others coming in and making a mess of their homes and businesses. The police and professions that involve building community (teachers) have abandoned the town, deciding that the place is beyond hope. So Umemiya decides he is going to do whatever he can for the people of the town. To bring them into his family. Everyone there, regardless of labels or bitter feelings, deserves to eat and be surrounded by loved ones. At the age of 14 he is already leading by example of what he wishes to see in the future from Furin: patrolling the town, doing little things for the townspeople, showing them compassion and care. And what do we see in this first scene of him helping out the townspeople? He is offered food.

So now, in the present, Makochi is a family. But even more than that, they extend love and care to all outcasts. To all the lonely people they come across. This is why Umemiya insists on eating takeout with Choji and Togame. This is why he insists on Nagato and class 1-1 to eat a meal with him after the frustration and blows to self esteem experienced by those involved in the battle with Keel. This is why one of the first things that happens to Sakura upon coming to Makochi is he is asked if he is hungry, and he is fed. Because everyone, regardless of bitter feelings, regardless of how others may see them or how they see themselves, deserves to be loved and to eat good food. If fighting is a dialogue to get to know another person, sharing a meal is a solidification of that connection made. To make sure that person knows they are loved and cared for no matter what.

If you think that Dick doesn't share his problems with other people because he thinks it will upset others...

Let me introduce you:

Dick knows perfectly well that he has a world of people who would drop everything to go help him, that he would never be a bother to them, but that's precisely why he doesn't want to worry them, because as he is usually the support, he knows how tiring it can be, and because he doesn't want anyone to think that he is unwilling to help them.

Every Nightwing writer of the last fifteen years: I've taken the guy famous for being regarded as one of the most competent and capable nonsuperhuman heroes of his generation, literally legendary for being one of the only ones every single other hero would not only drop everything to go help but that also pretty much every hero would love to have on speed dial to get HIS help in most any situation ever, and I've either completely isolated him and estranged him from every single member of his family and community, or I've enmeshed him so thoroughly with his family and community to the extent that literally none of the stories in his solo title would be capable of existing without their presences, they're that fundamental to the arcs and more integral to the solutions than he is himself. But why stop there?

I've ALSO taken the guy famous for personally crafting his two most iconic superhero identities, Robin and Nightwing, with the first being made so fundamental and integral to the superhero landscape by him, it became one of the most iconic legacy mantles in the DC Universe. And the second being so larger than life and associated with safety and security and meaning so much to so many people that even complete strangers can not fathom a world without Nightwing anymore and rush to fill the void any time he's not around, the figure of Nightwing is considered that ESSENTIAL. And I've stripped him of his basic sense of identity and autonomy either as a literally faceless and nameless spy or a literally masked and nameless Talon or else taken away his memories or blah blah blah in myriad other ways made it impossible for him to BE the figure who famously turned his sense of identity into not one but two separate icons forever stamped onto the superhero landscape and leaving their marks in untold ways, because what is the guy famous for his sense of identity without....his sense of identity? Just a guy!

Haha! I've done it! I've deconstructed Dick Grayson!

Me: You literally the fuck have not. That is not how deconstruction works. NONE of this is how any of that works. You sound so dumb right now. What did you accomplish, what was any of it for. What insights did it deliver, what did it reveal that was previously unknown about Dick Grayson when he was in the costume or possessed of his usual skillsets that couldn't be known until all of that was stripped away from him? How was he changed by any of these experiences or was he just reset to his default mode at the end of each one and then shoehorned into the next contortion before any actual reflection upon or development from all the preceding events was made possible? What do we know about Dick Grayson, what is new about him, what essential Dick Grayson-isms have been woven into the character due to your work, or did you simply change the set dressings over and over while repeating the same beats and intoning, Huzzah, A Dramatic Transformation Happens Before Your Very Eyes!

Every Nightwing writer of the last fifteen years: No, see, I don't think you get it. My work was transformative. I proved that if you take away Dick Grayson's friends, his superhero speed dial, his memories, his acrobatics, his name, his agency, his literal everything that makes him who he is.....he's just some guy. All those things are what define him! That's who Dick Grayson is!

Me: Right. The friends and colleagues who would all drop everything to help him or pick him as their first choice to Phone A Friend when in crisis because....he's Dick Grayson. His memories of....being Dick Grayson. The acrobatics that are synonymous with....Dick Grayson. The agency that famously lets him rebuild a sense of self and formidable will no matter how many times he's been brainwashed or mentally fucked with because at his core, below the surface of all those manipulations he remains....Dick Grayson. His literal everything that made Robin and Nightwing who and what they came to be known for....because of what he, Dick Grayson, imbued those mantles with to make them iconic in the first place. Yup. You really nailed it. At the end of the day he really is....just some guy. Your insights are just stunning. Incomparable. The stuff of legends. Gosh we'll miss your work but it'll definitely forever be remembered in the Writing Hall Of Fame for being absolutely fundamental to the characterization of.....Just Some Guy, I guess?

I get winded by the fact that Dick and Damian fully expected to spend their foreseeable futures as Batman and Robin only for Bruce to come back and have them separate early. It was just a year but also it was spending every day and night together for a decade that just. Didn't come. Instead, Dick will tell Damian he wanted to adopt him and give him his parents' trapeze bar or Damian will feel threatened by Dick potentially having another child and try to hold onto him with all his might. It's a never ending game of chicken, both of them constantly flinching towards a future they'd already accepted, but being so insecure of what they mean to each other now that it didn't happen that they can only ever talk around it. It's clawing at someone you lost but they haven't left you. It's 'you belong to me in a way that you can never belong to anyone else but you're not mine'.

nice: futility in the pursuit of perfection

(spoilers for EP 1 under the cut)

note: i'll refer to the original nice in this analysis, not lin ling. (we'll talk about him later LOL)

this is purely based off of the official trailers, pv, character concept, and episode one, so my thoughts are subject to change as more episodes are released <3

in nice’s character concept, he’s is shown to be nothing short of a perfectionist. everything has to be perfect: stationary, plates, silverware (or goldware, i suppose) have to be in their rightful positions. all of his belongings are gold, white or fall in a shade of brown, black. even his pillowcase is set in a neat geometric pattern. his hero costume’s color scheme- gold, white, and blue- screams sophistication and poise.

nothing can be out of place- so why choose to die the way he did? it's messy, undignified- and most importantly, public.

what type of fan wants to see their shining hero's brains splattered out on the street? in his hero suit, no less.

nice wanted to permanently tarnish his image of being “perfection incarnate.” he decided to damn himself even further by pointing finger guns at lin before falling- a bittersweet farewell.

despite his endless pursuit of perfection- and having seemingly obtained it (with the title of no.10 hero, his face plastered across every other billboard in the city, and a beautiful girlfriend fitting of his clean, polished image)- i think nice hated himself.

his floor in hero tower is devoid of any personality or sentimentality. the only decor is a piano off to the side, two treadmills (the other presumably meant for moon)- and most importantly, a statue of himself- of nice- in the middle of it all.

offering a palm out to whomever stands before it, the statue almost seems welcoming, friendly. almost. it looks like it belongs in a city hall or museum, not someone's personal residence.

so why keep a statue of himself in his personal living space?

you could theorize he's narcissistic. i mean, people would kill for the prestige tied to the name "nice." (we even get a glimpse of this jealousy in his character promo- hello mysterious stranger.) maybe it inspires him as he steps into another day of being “nice.”

but to me, it’s a reminder fueled by self-loathing.

nice has nothing- is nothing- without being perfect, adored, and envied. he's a former ballet dancer- an art form known for its severe dedication to the craft. we don’t even know his real name. If he can’t be the perfect hero, what is he? And when that image is threatened, what will he do to maintain it?

according to the official trailer 3, nice says he will “use whatever dirty tactics it takes to prevail.” the “villain” we see in his PV calls him out on his hypocrisy, implying that he was involved- or at least knows of some of nice’s misdeeds in the pursuit of perfection.

hell, even his own hero name calls him out. To be nice is to be agreeable, pleasing. niceness is a surface level trait: a veneer meant to cover imperfection and rot. he's not supposed to be kind, much less good.

“Nice” has to be perfect, and whoever held the mantle before lin was unable to afford the cost.