YourHonorTheyNeededToSuffer

OKAY. NOW WE PREACH.

Because a list without thesis is just a grocery receipt, and I did not come here to be normal.

#1 — Frankenstein

Thesis: Humanity invents monsters and then acts shocked when they bleed.

This is THE template. The original “who’s the real monster” story that still dunks on people two centuries later. It’s grief. It’s abandonment. It’s obsession. It’s the horror of creating life and then refusing responsibility for it.

The creature isn’t a jump scare — the creature is a mirror. Which is worse.

#2 — Pride and Prejudice

Thesis: Love isn’t fate — it’s character, tested under pressure.

This is the blueprint for: “You were wrong about me,” “I was wrong about you,” and “we both need to grow up before we touch.” It’s funny. It’s sharp. It’s romantic without being stupid. It’s social critique wearing a ballroom gown.

And yes, I love the slow-burn arrogance getting humbled. Mind your business.

#3 — The Lord of the Rings

Thesis: Hope is a decision, made by small people carrying unbearable things.

Mythic, yes — but also intimate. Friendship as lifeline. Courage with shaking hands. “Keep walking even when you’re ruined.” Found family as oxygen. Loyalty as religion.

If you don’t get emotional about two exhausted little dudes choosing love over despair, you are stronger than me and I resent you.

#4 — Dracula

Thesis: Desire is terrifying when it’s hungry and entitled.

Not just “vampire spooky.” It’s invasion. Obsession. Control. People trying to understand something that does not care about consent.

Also I love the structure — everyone documenting the horror while it’s already inside the house. Like, babe… the monster is not waiting for you to finish your diary entry.

#5 — Les Misérables

Thesis: Mercy is revolutionary.

This book is enormous because the feelings are enormous. Poverty, systems, cruelty, survival, grace. One act of mercy can rewrite a whole life’s trajectory and the book commits to that like it’s sacred law.

This is not a novel. This is a hymn that punches you.

#6 — Anne of Green Gables

Thesis: Softness is not weakness — it’s survival with poetry.

Anne is “too much” in the way that only means: alive, imaginative, hungry for beauty, determined to make a home out of whatever scraps she’s given. Comfort without being shallow. Healing without being stupid.

#7 — Speak

Thesis: Silence isn’t safety. It’s a cage.

Necessary. Brutal in a quiet way. It doesn’t pretend recovery is linear or cute. It’s the slow crawl of reclaiming voice, selfhood, and dignity.

This is why I write aftermath. This book put the concept in my bones.

#8 — Dune

Thesis: Charisma is dangerous. Messiahs are worse.

Crunchy worldbuilding, yes, but the real gag is the warning label: prophecy is a weapon, power reshapes people, and “destiny” is often just politics wearing a halo.

It respects the reader’s intelligence and I eat that up like it’s protein.

#9 — Twilight (Breaking Dawn fave)

Thesis: Sometimes you just want the monster romance and you don’t owe anyone an apology.

Is it messy? Yes. Is it iconic? Also yes. This is imprint-era reading — the kind where you remember exactly what obsession felt like.

Breaking Dawn is my fave because it commits to its own insanity with its whole chest. I respect a story that doesn’t flinch from being itself.

#10 — 1984

Thesis: Control the truth and you control the people.

Cold shower of literature. Paranoia made structural. Fear turned into policy. Reality rewritten while you’re still standing in it.

Not fun. Extremely important. Unfortunately evergreen.

#11 — The Giver (series)

Thesis: A peaceful society built on forgetting is still a cage.

It’s gentle and horrifying at the same time — which is my favorite flavor of pain. Quiet dystopia hits different because it looks like safety until you realize what it cost.

#12 — Percy Jackson (series)

Thesis: Trauma doesn’t stop you from being a hero — it just makes you funnier about it.

Found family. Loyalty. Kids dealing with impossible things and still choosing love. Also it’s funny as hell, which is part of why it works — humor as survival mechanism, baby.

#13 — Wuthering Heights

Thesis: Love without healing becomes possession with a pulse.

This isn’t romance. This is rot. This is obsession. This is “we are both unwell and we will make it everyone’s problem.” It’s gothic toxicity served on a silver tray.

#14 — Fahrenheit 451

Thesis: Censorship doesn’t start with fire. It starts with comfort.

It’s not just “books banned.” It’s “people convinced not to care.” That’s the horror. The quiet slide into numbness. The way distraction becomes a leash.

#15 — To Kill a Mockingbird

Thesis: Morality is what you do when the town demands cruelty.

This one is foundational for a reason. It’s about the everyday violence of injustice — and the courage it takes to remain decent anyway.

#16 — The Republic (Plato)

Thesis: Philosophy is just society arguing with itself in formal wear.

This is “what is justice” and “who gets power” and “why do we keep making the same mistakes” — the ancient edition. Still annoyingly relevant.

#17 — Catch-22

Thesis: Bureaucracy is madness with paperwork.

The system is the villain. Logic is a trap. Survival becomes a joke the universe tells on you. If you’ve ever been crushed by “policy,” this book will feel like a psychic injury.

#18 — Never Let Me Go

Thesis: Sometimes the tragedy is how quietly people accept the inevitable.

This book hurts because it’s soft about it. It doesn’t scream. It just lets you watch people live inside an ending they can’t outrun.

#19 — The Hobbit

Thesis: Adventure is what happens when comfort gets interrupted by purpose.

Cozy and classic and still full of teeth. It’s the warm prelude to a world that becomes enormous.

#20 — Cirque du Freak (series)

Thesis: Growing up is terrifying when the world is actually dangerous.

This series is pure formative “oh, consequences exist” reading. Monsters, morality, identity, choices you can’t undo. YA that actually swings.

21–41 — Rapid-fire truth bullets (because I still respect you, but I’m not writing a dissertation on every single one… today)

#21 Peeps: Science made the vampire and now we’re all coping.

#22 Midnighters: The dark hour reveals who you really are.

#23 House of Night: Teen power + mythology + mess, served hot.

#24 The Silmarillion: Biblical grief-lore for the spiritually brave.

#25 20,000 Leagues Under the Sea: Wonder is dangerous when it becomes obsession.

#26 The Great Gatsby: Rich people are beautiful disasters in an empty house.

#27 The Catcher in the Rye: Pain disguised as arrogance is still pain.

#28 The Grapes of Wrath: Survival is political whether you want it to be or not.

#29 All the King’s Men: Power corrupts, and the lie sounds like hope.

#30 White Noise: Modern life is dread with brand names.

#31 The Crying of Lot 49: Paranoia is a maze that starts making sense.

#32 The Hunt for Red October: Tension is craft. Competence is hot.

#33 Romeo and Juliet: Teen love is a match thrown into gasoline.

#34 The Golden Notebook: The mind fractures when life demands compartments.

#35 A Handful of Dust: Civilization is a thin mask and it slips easily.

#36 A Death in the Family: Grief arrives like weather and changes everything.

#37 The Death of the Heart: Innocence isn’t weakness — it’s vulnerability without armor.

#38 An American Tragedy: The dream curdles when the system is the predator.

#39 Verity: Toxic obsession wearing thriller lipstick.

#40 Harry Potter: Childhood imprint, but I’m not paying tuition to her bigotry.

#41 Clan of the Cave Bear: Endurance as identity. Survival as saga.

FINAL CONFESSION

Here’s what this list confesses about me, loud and unashamed:

I like stories where the monster is never just a monster. I like romance with teeth. I like classics that actually stab. I like dystopias that treat comfort like a drug. And I love books that prove the same thing over and over:

People aren’t born evil — they’re shaped, cornered, starved, loved, abandoned, and then they become something.

That is why I write the way I write.

I write safehouses for wrecked people. I write found family like oxygen. I write consequences. I write aftermath. I write the moment someone finally chooses mercy — and how it costs them anyway.

1–10 — TOP TEN HOLY TEXTS (BIG ENTRIES)

#1 — Doctor Who

Thesis: Kindness is a choice you keep making in a universe that keeps daring you to stop.

This is my all-time favorite show. Period. Doctor Who taught me that intelligence without compassion is empty, that monsters aren’t always evil, and that running toward pain instead of away from it is sometimes the bravest thing you can do.

Found family. Regeneration as grief. Love across centuries. This show hard-coded my morality.

#2 — How I Met Your Mother

Thesis: Love is messy, memory lies, and life doesn’t hit beats when you want it to.

This is my comfort show of all time. I have watched it happy, devastated, numb, grieving, rebuilding.

People argue about the ending. I argue that the show is about time, not romance. About how people change, drift, come back, and sometimes don’t.

#3 — The Good Doctor

Thesis: Being different is not a flaw — the world just refuses to meet you halfway.

Yes. I said it. This show matters to me deeply.

It’s about competence, empathy, communication, and what it costs to exist in a system not built for you. Watching Shaun fight to be seen without being softened into palatability? That hit me in the ribs.

#4 — The Walking Dead

Thesis: Society doesn’t collapse — it reveals who people already were.

Yes, even with the suffering. Yes, even with that many seasons.

This show is about found family under impossible pressure, leadership as burden, and what you’re willing to become to protect the people you love.

#5 — Hazbin Hotel

Thesis: Redemption doesn’t require purity — it requires effort.

Chaotic. Loud. Queer. Emotional. Messy. This show understands that healing is not linear and that wanting to be better counts even if you keep fucking up.

Also the music slaps and I will not be taking notes.

#6 — South Park

Thesis: Satire is a weapon and everyone is a target.

South Park isn’t just crude — it’s surgical. It says the quiet part out loud, then laughs at you for being uncomfortable.

It shaped my humor and my tolerance for dark jokes with actual intent.

#7 — Avatar: The Last Airbender

Thesis: Power without compassion is just abuse with better branding.

This show is perfect. Redemption arcs. Trauma. War. Responsibility. Forgiveness.

Zuko alone could fill a dissertation.

#8 — Steven Universe

Thesis: Love is not weakness. It’s radical.

Steven Universe taught me that gentleness can be revolutionary, that empathy can dismantle empires, and that healing doesn’t mean erasing what hurt you.

Found family gospel.

#9 — BoJack Horseman

Thesis: Understanding your trauma does not absolve you of the harm you cause.

This show dragged me into adulthood by the throat. Funny. Brutal. Honest.

It doesn’t let you hide behind “I’m damaged” — it asks what you’re doing about it.

#10 — F Is for Family

Thesis: Generational trauma is loud, ugly, and deeply human.

This show surprised the hell out of me. It’s raw, uncomfortable, and painfully real about how families break — and sometimes try to fix themselves anyway.

11–20 — MID-SIZE ENTRIES (STILL IMPORTANT)

Star vs. the Forces of Evil

Thesis: Growing up means realizing the system itself is broken.

Reign

Thesis: Power is survival with better clothes.

The Boys

Thesis: Celebrity + power + capitalism = monsters.

Gen V

Thesis: Trauma doesn’t stop at graduation.

Torchwood

Thesis: Immortality is loneliness, not power.

The Office

Thesis: Love survives boredom.

Parks and Recreation

Thesis: Hope is bureaucratic and stubborn.

Arrested Development

Thesis: Money rots people creatively.

Rick and Morty

Thesis: Intelligence without empathy eats itself.

The Simpsons

Thesis: Culture critique disguised as yellow people.

21–40 — THESIS-ONLY (BREVITY FOR SANITY)

Futurama: Love outlives logic.

It’s Always Sunny: Awful people, perfect comedy.

House: Genius doesn’t excuse cruelty.

Scrubs: Grief hides behind humor.

Invader Zim: Childhood chaos as art.

Once Upon a Time: Trauma fairytales hit.

Seinfeld: Observational comedy for smart idiots.

Malcolm in the Middle: Family dysfunction done right.

Big Mouth: Puberty is body horror.

Z Nation: Camp apocalypse comfort.

The Last Man on Earth: Loneliness is funny until it isn’t.

X-Men (90s): Being hated for existing.

Sherlock: Intelligence without kindness again.

Weeds: Morality collapses slowly.

Big Bang Theory: Comfort, not depth.

Young Sheldon: Context matters.

Game of Thrones: Incredible betrayal — by the writers.

Secret Life: Messy teen reality.

Switched at Birth: Identity deserves respect.

Carol & the End of the World: Quiet apocalypse grief.

FINAL CONFESSION

I don’t like TV shows.

I like emotional architecture.

I like stories that ask: Who are you when it hurts? Who do you protect? What do you choose to carry forward?

That’s why my writing looks the way it does. That’s why my fanfics and novels are safehouses for wrecked people. That’s why I never stop talking about found family.

If you read all this?

OKAY. NOW WE PREACH.

Because a list without thesis is just a grocery receipt, and I did not come here to be normal.

1–10 — TOP TEN HOLY TEXTS (BIG ENTRIES)

#1 — My Hero Academia

Thesis (blunt truth): Society manufactures villains and then clutches pearls when the product shows up. Vibes: superhero spectacle + social rot + “why am I sobbing during a punch?” Best mains: Izuku, Katsuki, Shouta, Denki… and yes, a suspicious amount of this cast can get it. Mind your business. Ships: BakuDeku • TodoDeku • KiriBaku • EraserMic • plus “adoption paperwork but make it canon.” Why it’s #1: Because it’s not just heroes vs villains — it’s systems vs people. The show is brave enough to admit the world is built wrong, then hands you hope anyway. I like my optimism earned through violence, apparently.

#2 — Fruits Basket

Thesis: Generational trauma is hereditary. Love is the loophole. Vibes: warm shoujo hug hiding a blade in the sleeve. Best mains: Tohru, Kyo, Yuki (a holy trinity of “I need a nap and therapy”). Ships: Kyo/Tohru • and yes, my ancient teen imprint Kyo/Yuki. Why it’s here: It doesn’t pretend healing is pretty. It shows the relapses. The cruelty. The staying anyway. Which is literally my whole writing brand: love with bruises.

#3 — Fullmetal Alchemist: Brotherhood

Thesis: If you play god, you pay in blood. If you’re human, you pay in grief. Vibes: airtight plot + moral philosophy + consequences that do not negotiate. Best mains: Ed, Al, Mustang, Riza, Winry — stacked cast, zero wasted oxygen. Ships: Ed/Winry • Royai • plus everyone holding hands in shared pain. Why it’s here: Brotherhood is the chosen one because it refuses to cheat. It builds rules and forces you to respect them. And the depiction of “God” still keeps me up at night like a cosmic unpaid bill.

#4 — Violet Evergarden

Thesis: You can be rebuilt. But first, you have to admit you were destroyed. Vibes: heartbreak in HD • letters as life support • grief opera with perfect posture. Best mains: Violet. That’s the whole point. Ships: Violet/Gilbert is complicated • Violet/BeingAlive is the real romance. Why it’s here: Because it makes emotion physical. Healing isn’t a speech. It’s a thousand tiny behaviors. It’s watching someone learn they deserve warmth and then learning how to hold it.

#5 — Gurren Lagann

Thesis: Hope isn’t a vibe. It’s a decision you keep making while everything burns. Vibes: mecha that turns into a religious experience • yelling as prayer • grief as fuel. Best mains: Simon, Kamina, the whole ride-or-die chaos church. Ships: Simon/Nia (pain included, non-refundable). Why it’s here: It cured my “I hate mecha” rigidity like an exorcism. It taught me tropes don’t matter — heart does. I believe in the Simon that believes in himself. Amen.

#6 — Made in Abyss

Thesis: Curiosity is holy. The abyss does not care. Vibes: wonder + horror + beauty that bites you for looking too long. Best mains: Riko, Reg, Nanachi (pain mascot of the century). Ships: not romance — survival-bond scripture. Why it’s here: Because it’s a fairytale written by something ancient and hungry. It’s not edgy — it’s honest about the price of wanting to know.

#7 — Ouran High School Host Club

Thesis: Gender is a costume, class is a scam, and love is chaos—so laugh, babe. Vibes: crack comedy + comfort + identity play. Best mains: Haruhi, Tamaki, Kyoya. Ships: I never really shipped anyone here — I’m here for VIBES. (But yes, Haruhi/Tamaki exists; fandom is a buffet.) Why it’s here: Cozy chaos with actual themes. A hug with a wink.

#8 — Sailor Moon (Crystal favored)

Thesis: Gentleness can be a weapon so strong it becomes a god. Vibes: glitter apocalypse • friendship as cosmic law • destiny with eyeliner. Best mains: Usagi, Saturn, Pluto. Ships: Usagi/Mamoru • Haruka/Michiru (ICONIC). Why it’s here: People forget Sailor Moon is absurdly powerful until she reminds them. Also Crystal’s style is chef’s kiss, but R & S movies are childhood scripture.

#9 — Hunter x Hunter

Thesis: Power has rules. People don’t. Vibes: adventure that reveals itself as ethical warfare. Best mains: Gon, Killua, Kurapika, Hisoka (unfortunately iconic). Ships: Gon/Killua (fandom forever). Why it’s here: Nen changed my life. It’s the blueprint for “power system as personality.”

#10 — Wolf Children

Thesis: Love isn’t a moment. It’s work you do for years. Vibes: raising kids against the odds • heartache with warm hands • rural survival tenderness. Best mains: Hana. Ships: not a ship show — it’s life. Why it’s here: Quietly lethal. The old man “you won’t get anything done hoeing like that” line lives rent-free in my soul.

11–20 — MEDIUM ENTRIES (STILL HOLY)

#11 — Yu-Gi-Oh!

Thesis: Friendship is real. Ego is realer. Both will summon a dragon about it. Vibes: camp destiny drama • Kaiba being a lifestyle choice. Best mains: Kaiba, Yugi/Atem, Joey. Ships: Kaiba/Yugi • Kaiba/Joey • Atem/Yugi. Why it’s here: First love. Kaiba is “I will outlive God through spite” and I respect him carnally.

#12 — FLCL

Thesis: Puberty is confusing. Growing up is worse. Rewatching makes it make sense and that’s suspicious. Vibes: acid trip fever dream • meaning hiding under noise. Best mains: Naota, Haruko. Why it’s here: I watched it six times and learned something new every time. That’s art. That’s a haunted puzzle box.

#13 — Parasyte

Thesis: Humanity isn’t a species. It’s a choice you make under pressure. Vibes: gorgeous grotesque existential dread. Best mains: Shinichi, Migi. Why it’s here: It’s gross, it’s beautiful, it commits. And by the end the protagonist can GET IT.

#14 — Code Geass

Thesis: Revolution is messy. Genius isn’t morality. Consequences don’t care about your intentions. Vibes: chessboard melodrama • hubris with style. Best mains: Lelouch, Suzaku, C.C. Why it’s here: Mandatory. Also Landan hasn’t watched it and I’m choosing violence about that.

#15 — Bleach

Thesis: Identity has layers. Style is a weapon. Grief makes fighters. Vibes: drip + devastation. Best mains: Ichigo, Rukia, Byakuya, Urahara. Why it’s here: One of my first big completions. Finished it as it aired. That’s service.

#16 — Naruto + Shippuden

Thesis: Loneliness turns kids into weapons. Bonds turn weapons back into people.

#17 — Death Note

Thesis: “I’m right” is the most dangerous sentence a person can say.

#18 — Uzumaki / Junji Ito horror

Thesis: Obsession is a spiral you don’t notice until you’re already inside it.

#19 — Elfen Lied

Thesis: Trauma doesn’t excuse violence, but it sure explains it.

#20 — Clannad + After Story

Thesis: Love builds a life. Life still hits you with a truck emotionally.

21–60 — THESIS-ONLY (QUICK STABS)

#21 Your Lie in April — Beauty is a goodbye in disguise. #22 Inuyasha — Destiny tastes better at midnight with romantic violence. #23 Chobits — If it can love, it deserves rights—and the implications will haunt you. #24 Princess Mononoke — Nobody is purely villain. Everyone bleeds. #25 Spirited Away — Growing up is bravery with shaking hands. #26 Howl’s Moving Castle — Love transforms; cowardice curses. #27 Demon Slayer — Kindness survives violence. #28 Dragon Ball — Self-improvement is religion; screaming is prayer. #29 Spy x Family — A fake family becomes real anyway. #30 Tenchi Muyo — Foundational chaos deserves respect. #31 Househusband — Domestic menace is hot. #32 Cowboy Bebop — Cool doesn’t save you; it just styles the tragedy. #33 Digimon + Tri — Growing up doesn’t delete your team. #34 Tower of God — Systems don’t make you moral, they make you measurable. #35 Zom 100 — The apocalypse is sometimes your first chance to live. #36 Komi — Kindness is accessibility. #37 Food Wars — Craft obsession is hot, actually. #38 HOTD — Anime physics are scarier than zombies. #39 Dr. Stone — Hope, but with receipts. #40 Slime — Cozy power trip + community building. #41 DanMachi — Dungeon grind comfort food with feelings. #42 Kill la Kill — Liberation via chaos at volume 11. #43 Akame ga Kill — Injustice doesn’t ask permission. #44 Higurashi — The loop knows the truth is worse. #45 Future Diary — Love as a threat. #46 Tokyo Ghoul — Monstrosity changes your moral math. #47 Kaiju No. 8 — You’re not too late; you’re just tired. #48 Dandadan — Paranormal sprint with feelings flying loose. #49 Beastars — Desire is animal; morality is choice; society is hypocrisy. #50 Devil is a Part-Timer — Capitalism wins even when evil goes domestic. #51 Kenshin — Redemption is restraint. #52 Kodocha — Childhood chaos can still have teeth. #53 Mushishi — Nature isn’t evil; it’s haunted and indifferent and quietly merciful. #54 Eden of the East — Nostalgia makes mystery immortal. #55 Pokémon — Childhood canon event. #56 A Whisker Away — Escapism isn’t home. #57 Garden of Words — Gentle loneliness is still dangerous. #58 Vampire Knight — Goth drama hits, grooming-adjacent vibes don’t. #59 Ghost Stories dub — A bad dub became performance art. #60 Spiral — Nostalgia mystery lives in my attic.

GRAND FINALE — WHAT THIS SAYS ABOUT ME (AND MY WRITING)

I don’t like “stories.” I like EMOTIONAL ENGINEERING. I like fiction that grabs me by the collar and goes: “Okay. Who are you really when it hurts?”

So here’s what this ranking confesses about me:

1) Found family is my oxygen. If the cast is a bunch of damaged idiots who choose each other anyway, I am seated, I am foaming, I am drafting 200k like it’s cardio. MHA is my altar. Spy x Family is my comfort blanket. Digimon is my childhood blueprint. Yu-Gi-Oh is friendship as destiny, and I’m weak for destiny.

2) I’m the “society makes villains” choir director. I don’t want cartoon evil. I want the machine. I want systems that grind people into monsters and then act shocked when the monster turns around and bites. That’s why MHA, Parasyte, Tokyo Ghoul, Code Geass hit so hard: they’re not just stories, they’re indictments.

3) I like pain with purpose. Shock value can pack its bags. I want suffering that changes people, forces consequence, forces repair, forces growth. Fruits Basket doesn’t heal you with magic — it heals you with staying. Violet doesn’t get better in one speech — she gets better in a thousand behaviors. Wolf Children doesn’t romanticize hardship — it shows the labor.

4) I’m obsessed with identity and masks coming off. Who are you when you’re not performing? When your body changes? When your role is taken? When the lie can’t hold? I eat that up like it’s a coping mechanism (because it is).

5) I love power systems because I love emotional systems. Nen. Alchemy. Hero society rules. Abyss physics of consequence. If the world has structure, choices matter. If choices matter, love means something. Give me rules that make sacrifice real.

6) Yes, I’m horny for competence. Sometimes it’s heroic. Sometimes it’s villainous. Sometimes it’s emotionally constipated but reliable. I will not be explaining myself.

7) My ships aren’t just romance — they’re proof of survival. I ship like I’m building shelter. I don’t ship because “cute.” I ship because “if they can be loved, maybe anyone can.” See me. Stay anyway. That’s the whole spell.

So when I call myself the safehouse sad boy trauma healing found family queen of AO3, that’s not a joke. That’s the thesis.

My writing is a safehouse for wrecked people who still choose love. Not perfect love. Not clean love. Not therapy-voice love. Love that shows up. Love that backslides. Love that fucks up and tries again. Love that builds a home out of scraps, spite, and late-night loyalty.