#I want them to have as minimal of a role as possible because I want the characters in tmagp to actually shine and have a series yk?

[patalliumapples]

the more I’m seeing posts about it… the more I’m like wow I literally do not WANT Jon and Martin to play a big role in tmagp

[labelleizzy]

It's important to know what is going on.

Written by US Senator Chris Murphy (D - CT)

Report from the Senate Floor:

Last night in the Senate, something really important happened. Republicans forced us to debate their billionaire bailout budget framework. We started voting at 6 PM because they knew doing it in the dark of night would minimize media coverage. And they do not want the American people to see how blatant their handover of our government to the billionaire class is.

So I want to explain what happened last night and what we did to fight back. The apex of Republicans’ plan to turn over our government to their wealthy cronies is a giant tax cut for billionaires and corporations. And they plan to pay for it with cuts to programs that working people rely on. Popular and necessary programs like Medicaid, Medicare, and SNAP, are all being targeted.

In order to pass the tax cut, Republicans have to go through a series of procedural steps. Last night, they took the first step which requires them to pass an outline of their plan, but with it, any senator can offer as many amendments as we want. So my Democratic colleagues and I did just that.

Now, we knew that Republicans would largely unanimously oppose them, but we had two objectives here. One, Republicans were forced to put their opinion on record — many for the first time — on the most corrupt parts of Trump and Musk’s agenda. Two, as I’ve been saying, I am going to make every process and procedure as slow and painful as possible for as long as my colleagues choose to ignore the constitutional crisis happening before our eyes.

So what did we propose? We proposed no tax cuts for anyone who makes a billion dollars a year. We made them vote on whether or not Elon Musk and DOGE should have limitless access to Americans’ personal data. We made them vote on whether to protect IVF and require insurers to cover it. Every single amendment Democrats proposed was shot down. On almost every single amendment, Republicans universally opposed it. Every Republican voted against our proposal to prevent more tax cuts for billionaires. The corruption and theft is happening in the open here.

The whole game for Republicans is taking your money and giving it to the wealthiest corporations and billionaires — even if it means kicking your parents out of a nursing home or turning off Medicaid for the poorest children. They know what they are doing is deeply unpopular. They are offering a tax cut to the most wealthy that is 850 times larger than what they are offering working people. Oh and by the way, any tax cuts for working people are going to be washed out by higher costs for basic necessities, like health care and food. It’s a fundamental injustice.

Thanks to your pressure and support, many of my Democratic colleagues have joined my effort to do everything we can to make sure they cannot destroy democracy and steal your money in the dark of the night. We are being loud about what is happening. I’m going to continue to grind the gears of Congress down as much as possible to make it that much harder and slower to get away with this corruption. That’s why the votes lasted until nearly 5 AM.

This is a five-alarm fire. I don’t think we have two years to plan and fight back. I think we have months. It’s still in our power to stop the destruction of our democracy with mass mobilization and effective opposition from elected officials. So we can’t miss any opportunity to take advantage of opportunities to put Republicans on the record and shine a light on what is happening.

And you have a role to play in this as well. I need you to amplify what’s happening, support the leaders who are fighting for you to make sure they can continue speaking truth to power against Musk and Trump’s billionaire cronies, and show up at rallies and town halls. Use every tool at your disposal to send a message loud and clear about how you expect my colleagues to lead and fight in this moment.

Every best wish,

US Senator Chris Murphy (D - CT)

[revvethasmythh]

The way Veilguard approaches the concept of leadership is so interesting, actually. Because in previous installments, leadership is something that just happens to the main character. The Warden is volunteered for a leadership position by Alistair because he doesn't want it and also for the video game mechanic of "you are the main character." Hawke leads presumably out of sheer force of personality--how else could they hold all those disparate personalities together and actually get anything done? The Inquisitor is made leader due to the magical MacGuffin in their hand, but beyond naming what the Inquisition is for, little of their leadership technique is directly interrogated.

Rook essentially receives field command of the team after being Varric's second for half a year. The uncertainty of that is palpable. This is not someone who's meant to be in direct command, but finds themselves in that position anyway and the narrative is interrogating that. Thoroughly, even. Solas asking what their role here is, the way they have to mediate the group, multiple conversations about the actual mechanics of being a leader--it's very interesting, because previous protagonists unequivocally were leaders but this is the first time it really feels like I, as a player, have access to the levers that control what that leadership looks like. How someone tries to keep a crew functional and working together and make hard calls while trying to minimize the pain it will cause the rest of the team (and often failing at even that). It's a fledgling attempt at leadership in the worst possible moment and you can feel that. More than anything, it makes the Veilguard feel like an exploration of the work it actually takes to tie a crew like this together and make it possible for them to face world-ending odds, and I'm really enjoying the experience

[badninken]

Scary Warlord of the Sea - Trafalgar Law

I want to talk about Law's introduction on Punk Hazard, and the fight that follows. Starting with this moment:

It's been an eternity since Law's last appearance in the story when this takes place, and it's the first time he shows up after the time skip. Last time he was seen he was a sleepy-faced dude with a polar bear friend who saved Luffy's life. A bit weird but not very intimidating. This Law though, is first seen skulking in the shadows, offering to help the local villain take care of a notoriously "insane, cruel, and merciless" bunch of marines that's come knocking.

Is Trafalgar Law a villain now? Is he in charge of this very evil-seeming science facility??

Well, he sure looks shady enough to be a villain, and the notoriously merciless marines seem scared out of their fucking minds to see him.

This scene is shorter in the manga but I love the way the anime drags it out by having Tashigi name-drop other Warlords to put his new title and status into perspective. The marines are literally screaming, crying, throwing up over how scary he is, retelling the story of his 100 hearts delivery, all while Law just stands there, smiling.

And that's the thing I wanna talk about. The standing and smiling and how he acts throughout this whole encounter. The way he's leaning against that wall just like he's leaning on his own reputation to do all the work for him. His job in this situation is to scare these people away without letting them know what's going on behind those doors.

If it weren't for Smoker standing his ground, the marines might have simply turned to flee at the sight of him, without Law even having to lift a finger to encourage them. Smoker seems to be having a hard time getting around Law's arguments too. They're both working under the government here and Law doesn't offer any outright hostility or threat for him to act on. Because Law is smart.

Law is handling this navy problem non-violently with minimal effort and it seems to be going according to plan.

But then the Straw hats happen!

And also giant abducted children used for science experiments he had no knowledge of what so ever because he's been minding his own fucking business.

And now he has to deal with taking the blame for horrifying child abuse AND looking like he blatantly lied about the Straw hats and also looking like he's incompetent enough to let all those dirty secrets pop out right behind him in a rain of fucking confetti at the worst possible moment.

(does not deny this)

He looks like he just aged ten years out of pure 'what the actual fuck'-stress. Like, where does he even begin with this situation? He's not responsible for any of that shit. He's just there to destroy some other evils, as discreetly as possible, but now he has to silence an entire unit of marines, just so the mess other people made won't ruin his own plans. Plans that's he's worked on for 13 years. Sounds like a typical Trafalgar Law day.

So he apologizes for saying something that wasn't true and then he handles the problem by causing massive property damage.

While not causing any lasting harm or even pain on a single one of his opponents.

The thing I think is so interesting with looking at Law's behavior in these interactions, is how he plays a role the entire time. He is not a villain, but he deliberately lets people believe that he is capable of great evil and cruel acts for his own gain, because that's his defense. It's a deterrent and a warning. His yellow black patterned coat fits that strategy perfectly, like the message of a wasp or poison dart frog. I can kill you, stay clear.

He keeps the cold, creepy act up the entire battle and makes it known that he could kill everyone there. Easily. He's never even close to trying though, and when he takes Smoker's heart he keeps it safe.

Law has no problem letting people believe horrible things about him if it can get him where he needs to go, but he's famously got a bunch of problems with people thinking he's a good person. I think that plays heavily into why he falls to being Doflamingo-cruel verbally to Tashigi when she goads him to kill her, but there are too many layers and things to say about that particular exchange so I'll save it for another time.

At the end of the day, it's all about this I think:

Law hearing people call him a creepy freak madman vs hearing Luffy say he's lucky to have met him.

[aloesarchives]

Domestic Headcanons W/ Toji, Megumi, Tsumiki, and Mama!Reader

TW/Warnings: Profanity, Domesticity, AFAB/Female Reader, Family life, Pregnancy, Mention of Sperm but not sexual, unhinged crack, too long(LMK if anything else needs to be tagged)

Pairing: Toji Fushiguro x Fem!Reader

Pronouns: She/Her (Usage of Mama, Wife, Mom, Mother)

Word Count: 10k words

This headcanon is paired with this one right here. This can be stand alone for general/modern au. But this one mostly revolves around my Toji Lives AU.

Also, I'll be posting either my Toji/Megumi/Reader mini series or Suguru/Satoru/Reader series this week. Here's the form if you wanted to be tagged in my works. Please let me know if something's up with it.

[!!Edited and Proofread! 3/27/2024 11:48 pm CST!!]

The married life with Toji isn’t any different from prior to marriage. You two live in a fairly spacious apartment for Tokyo Standards and well furnished on top of that. 

The basic routine of you and Toji as followed: Toji wakes up and gets ready in 10 minutes, gets the coffee going or anything you drink/eat for breakfast, you wake and get ready for work, you and Toji eat breakfast together for a bit, Toji gives you your work bag and lunch, gives you a kiss and sends you out the door on time, cleans the dishes and table once you leave, looks to see if there’s anything you’re low on or out of and makes a list for it, Toji does some house chores before leaving to go run errands, goes to run said errands and buy some groceries, comes home starts meal prepping, you come home as soon as he’s finished cooking, both of you eat together, then chilling on the couch together after cleaning up, Toji forces you to go to bed, does your nightly care routine with you while brushing your teeth, then pulls you into bed where both of you are knocked out instantly.

House Husband Toji and Working Wife (Y/N) dynamic, I don’t make the damn rules. Well it makes sense as you have a sustainable and consistent job that pays comfortably for minimal work. Honestly, Toji doesn’t mind it at all but you both established your roles in the relationship but help out whenever possible. In fact, he loves being a stay-at-home husband. He gets to do his hobbies and chores without distraction, having a piece of mind, cooking food with you, etc. Highkey loves being domesticated.

While yes, he does get an occasional high paying job/bounty from Shui, they happen a couple times a month. But even then it’s few and far in between. You don’t mind working, your job pays you enough to not take any overtime and you never work the weekends. Plus you get a raise and bonus once in a while so you’re not scrambling to find a second job. Also, it’s worth it since Toji takes care of your shared apartment and you. 

Both of you are financially stable to the point of comfort. Like only paying utilities because you and Toji own the apartment. Not having to worry about buying food or paying on time. Not taking up extra hours or shifts to just live. It’s a comfortable and stress-free environment you and Toji have created for yourselves.

Doesn’t understand the fuss about men not being stay at home material and it’s a woman’s job. He just thinks those guys can’t take care of themselves and will force someone to baby them under the guise of tRadItIonAlIsm or some bullshit. He understands if both have their jobs and work to split the house chores. It’s not a luxury everyone has and he knows he’s in the small percentage of people who get to stay home while their spouse works. If it works in the relationship, it works, Toji says. It might not work for some people but you working and Toji staying home works for your relationship. If not, it has made it healthy because there aren’t severe or frustrating arguments about house chores, errand runs, cooking, maintenance, home management. 

You do anything in order to help out Toji because that’s your home too. Therefore, your living space you share and it’s your responsibility to at least take care of it. After work, you text Toji if there is anything you need to pick up or do for him while you’re out. 75% of the time he says there’s nothing you have to do, but the 25% is Toji asking you to pick up the dry cleaners, some food items he forgot to get while out, check if there’s a sale going on, or buying detergent and stain remover. Also text with a:

‘Doll, can you actually grab a few things from the supermarket? I’ll send the list to you.’

‘Hon, would you be able to pick up my jacket from the dry cleaners? Thank you’

When you say yes or of course, he’s hitting you with the:

‘Thank you, Sweet Girl. I appreciate all you do.’

‘Stay safe, (Y/N). Call me if anything happens. Love you, Baby’

Talks about buying a house and having a family happen a lot more frequently since the two of you got married. You always wanted to have a family of your own but wanted to wait for a good man to be a good father because you can choose a husband but your children can’t choose their father. But you knew Toji would step up when it happened. Toji didn’t think too far into his future but he knows he wants to have a family with you and grow old together. You changed his mind that he was okay with having a family and doing all that it takes to be a loving father and husband. As if he doesn’t do that already. 

That and you two talked about how your genetics would make the most beautiful and good looking babies. Toji would say he wants your kids to have your smile and personality while you told him you want them to have his eyes and nose. This is one of those late night talks you have with him that you absolutely love. 

You have an ungodly amount of money saved up to pay the house off in full or less than two years. You decided on one where it was a mix of modern and traditional. It was within walking distance of multiple subway and train stations while not being near the busy parts of the city. It’s in a more quiet suburb with good schools and nature. It’s a big home with the exterior of a traditional home but the interior is a little more modern. The main building is two stories and is the actual house, the building connecting to it is for guests, training/workout room/and a meeting room. The walls that surround the property are tall and sturdy. It looks like a mansion but feels more homey as you two start to make it your own.

So when you tell Toji you’re ready to have a baby, the man goes all in. Trying to watch your cycle and listens to the doctor in increasing his chances of getting you pregnant. Man looks up recipes that increase your fertility rate and balance out your hormones. Thinks about checking his sperm count but you declined saying Toji hasn’t done anything to decrease his numbers.

He definitely got good aim because it didn’t take long to get pregnant. After like 2-3 months of trying, it happened. You missed your period by a week and you decided to get a pregnancy test. You got the double lines and were excited to show Toji. He went to drop off your jacket to get it fixed and came home to find you sitting at the table with a napkin. You tell him to sit and he complies with a bit of concern. You gesture to the napkin and he picks up to see the positive text in front of him. He asks are you for real and you just nod. He pulls you into his laps and holds you while saying thank you and I’m going to be a dad.

Becomes protective of you instantly. Having morning sickness? He gets you a towel and some medicine. Sensitive to certain foods or smells? He will change them to your liking. Need him to do something for you? He’s already a flight of stairs ahead of you. He doesn’t want to stress you and the baby out so he’s doing everything. 

As trimesters progress, the more protective and conscious he comes. Once you start showing, say goodbye to carrying items, doing some household chores, running errands, or fucking walking because this man will NOT let you do them. Is at your beck and call for anything and will become scary if people give you a hard time or look at you funny. Toji told you if your boss gives you a hard time, call him and he’ll talk to your boss with no fear or hesitation whatsoever. Once almost killed a man because he accidentally bumped into you. Toji had this look of death in his eyes as he grabbed the guy by the collar and forced him to apologize to you. Make sure the guy actually apologizes too. Walking? Who is she? You are only walking a couple of feet before he says ‘nah’ and picks you up to carry you. You tell him you can walk but it falls on deaf ears. Then you get concerned about being heavy for Toji. The man has never been more offended in his life. He looks at you, dead in the eyes, and says: “What kind of husband am I for not being able to comfortably carry my beautiful and pretty pregnant wife? If I can’t carry you, I need you to kill me, (Y/N).” You just get used to him carrying you around.

Always find a seat for you on a bus or the train. Will scare a guy who isn’t tired from work to give you the seat. Always hold your hand during the rides.

Talk to your bump every night. Hands on your stomach, face unbearably close to it, kneels on the floor or lies in bed to talk to it as you run your fingers through his hair. He’ll say some things that make you laugh but he mostly say sweet and warm things to your baby as he just wants to love and protect them. Definitely says:

“You know your mama is the prettiest and most beautiful woman out there? You’re so lucky to have her because you will be unconditionally loved and cared for. How do I know this? Because your mama loves me too, Kiddo.”

“Hey, be nice to mama. She’s not having the best time so I need you to go easy on her. Please, little one.”

“Hi, this is your old man speaking to you. I don’t care whether you’re a boy or girl. I will always love you no matter what. I wanna meet you soon.”

Does the thing where he lifts up your bumps to alleviate some of the weight for a bit and smiles when you relax into him.

When he touches your bump and feels a kick, he is so happy that his head is glued to your bump so he can feel it. 

Buys your cravings whenever and whatever it is. It could be late at night and you’re asking him to get you your egregious food combo. He doesn’t understand your cravings but will not complain to you until it’s a straight up abomination. THEN, he just cooks you anything you want because he’s lowkey scared about your cravings affecting your health.

Daily/Hourly reminders of how beautiful and gorgeous you are. Body worshiping and praising, especially since you are carrying his child. The amount of reassurance and sincerity that comes from his words makes you cry a lot, and it’s not because of your hormones. He’s so sweet and loving with his words towards you, it makes you fall in love with him all over again.

Goes to every appointment with you and never fucking misses one. Actually, he is the one to remind you about them. Has this soft look in his eyes as he looks at the ultrasound seeing your baby. Asks for at least two copies so he can frame one of them and hang it somewhere in the house.

Doesn’t care if it’s a boy or girl, as long it’s half of you that’s all that matters.

You always tell him your love and appreciation for all that he has done for you and the baby since he has a tendency to push himself a lot more than he has to. A kiss and a hug will do the trick because he goes all soft for you every time. It’s amusing to you how your huge, seemingly intimidating, husband can become a warm melted putty at the snap of your fingers. But then again, you have him wrapped around your finger completely.

Grows more cautious and protected once you go on maternity leave in your final months of the final trimester. Constantly asking how you are feeling that day or hour, grabs everything within arms reach if there is anything you need or could get you, if you need help with everything in general. It’s not the point of overbearing or suffocating, it gets a bit annoying but you know Toji means well. You assume he’s concerned and worried for you and the baby because he is afraid you will have complications during the birth. It’s terrifying to him to know there’s a slight chance you could die while giving birth to your baby and he couldn’t do anything to help you.

So when you DO go into labor, man’s is a bit scared but also prepared with your bag ready in hand. Drives you to the hospital, checks you in, and makes you feel comfortable while giving birth.

Is holding your hand during the whole thing while wiping away the sweat off your forehead and face.

Says encouraging and calming words to keep you focused and at ease. Guides you through deep breaths and keeps you grounded:

“Take a deep breath for me, Honey.”

“You’re doing so good, Mama. So amazing.”

“I’m here with you, Sweet Girl. Keep squeezing my hand. Trust me, it doesn’t hurt. Hold onto me, (Y/N).”

Sheds a few tears when your daughter comes out and starts crying. Kisses your cheek and forehead while praising you for doing a phenomenal job.

Cuts the cord while you’re coming down from your intense birthing process.

Lets you sleep and relax while he cuddles and holds your daughter with his shirt off for skinship.

Once you wake up, he buys you any food you want since you’re not pregnant anymore. Spoon feeds you while saying you did a wonderful job and asking how you feel.

Once you hold your daughter, he’s over the moon. You look so perfect and ethereal the man thanks the gods for blessing him with you as his wife and your daughter, the proof of your love.

Lets you name her since she is a girl and the first-born. You name her Tsumiki because it’s a cute name for a pretty girl. She gets most of her traits from you besides her hair texture. Toji comments that a pretty girl deserves a pretty name because she was birthed by an elegant and demure woman. You chuckle at him and his sappiness but it brings you a certain type of happiness that Toji was expressing this side of himself more comfortably.

Once discharged, gets the car to bring you and your daughter to your new home where she’ll and her sibling(s) grow up.

Lets you have your bonding time with Tsumiki while you’re on your six months maternity leave. He lives to see you hold and carry your daughter around the house.

Takes care of everything in the house and helps you out during your postpartum. Reminds you of your beauty, that he still loves you and your body, how grateful he is for everything you’ve done for giving him this life.

Gets the hang of parenting faster than you did. Toji already knows how to burp, change, feed, and bathe your daughter.

Lets you sleep and rest more when Tsumiki cries at night by getting up to calm her down himself. Ends up sleeping in the rocking chair with her on his chest.

Tries to play and entertain her as much as he can. Toji is more of a stuffed animal guy than dolls because they’re more inclusive and genderless. But he will buy dolls for Tsumiki when she asks for them once she's old enough.

Tears up when she takes her first steps as she tries to walk towards both of you.

Her first words were Papa for sure but then Mama two weeks later. 

Tsumiki is a fairly calm and happy baby. Moves around but isn’t super hyper and energetic. Very smiley and giggly baby that brights up the room she’s in. Always puts you and Toji in a good mood.

Toji is the type of guy to wait for you to give him the green light for another child. Even though the doctor says you’ve made a good recovery, he ain’t pouncing on you until you tell him so. Your doctor asked if she needed to write a note that you weren’t ready for another baby for some time but you told her you’ll be fine because Toji isn’t THAT TYPE OF GUY. On top of respecting you and your body, Toji highkey wants to have age gaps with your children. Like at least a year and a half or so they can be close in age and grow up together, but also give time for you and him to adjust to being first-time parents.

It was after Tsumiki’s first birthday that you said you wouldn’t mind having another kid. Then Toji and you tried for another kid. Happened fast per usual with minimal effort once again. Toji’s goo is pretty strong lol.

He was there with you when you took the pregnancy test and it had the fable two lines. Hugs you close and is excited to give Tsumiki another sibling.

Unfortunately, your second pregnancy wasn’t as forgiving as your first. In fact, your second child was pretty brutal on you. You were more sensitive to everything and your symptoms multiplied by three. It was a struggle but you managed to pull through but barely.

Hurts Toji a lot because you’re in a lot of discomfort compared to being pregnant with Tsumiki. Steps up tenfold to help out and make things better for you. 

Tsumiki just plays on the floor in her pen as you watch her while dealing with her younger sibling and Toji's making food in the background.

When you both found out it was a boy after a couple of months, you told Toji he can name the baby this time since you did with your first-born. It threw you off a bit when he said Megumi, a name that means blessing. You talked about names before but this was a new one both of you haven’t brought up yet. Perhaps it was a name Toji wanted but forgot to mention

Man, Megumi was a hard pregnancy. He was an energetic one in your womb. Always makes you lose sleep, loss of appetite, or straight up moody. Toji always talked to Megumi, lowkey begging him to be more gentle on you and not be so rough.

Once Megumi was born, you knew that’s Toji kid because he barely took anything from you. The nose, the eyes, the hair, even his small pout, it was all Toji. Toji was crying once again that your son is born but he takes after his old man. Tsumiki was just happy to see the little baby that is her younger brother.

After Megumi, you and Toji decide that this is ENOUGH children for now. Especially since you have two children under the age of three.

Megumi, however, was an interesting baby. Tsumiki likes being held by both you and Toji, she never picked favorites. Megumi, on the other hand, was attached to you like glue. Technically, all babies are but Megumi never liked being away from you. Megumi was very clingy when it came to you, his mama. You have to hold him or be in his line of sight if you’re not.

Megumi is a certified mama’s boy. He’s all sweet to you, with his gummy smile and bright big eyes as he laughs when you hold.

His first and only words were Mama for a while until he said Papa.

Megumi becomes fussy and cranky if you’re not in the room. He wants you there when he wakes up, to feed him, change him, bathe him, everything. If Toji has to do it, it will take double the time because Megumi is all uncooperative and resistant to his father’s attempts to care for him. It helps if you’re in the room or nearby then Megumi will behave but if that's because he knows you’re there.

Baby Megumi glares at Toji over your shoulder when you’re making his and Tsumiki’s food. Toji glares at his son's back. As he gets older and can walk, Megumi always runs towards you. Place himself on the couch, floor, chair, any surface he can sit on so he is seated next to you. One time, Toji’s head was in your lap as you watched the news in front of you. Megumi was mad because he was supposed to sit next to you. But Toji was faster than him and sat himself where he’s currently positioned. Tsumiki was in front of the couch playing with her stuffed animals on the floor. Megumi decided to grab his doggy plushie and started hitting Toji’s face with it. Toji yelped while you grabbed Megumi and placed him in your lap. Megumi holds onto you while you and your husband exchange shocked looks.

Megumi purposefully and accidentally cock blocks Toji. It’s explained more in this headcanon here.

It’s exhausting to take care of Megumi because he always wants you and never Toji. It kind of sucks because you want Megumi to bond with Toji more as you also don’t want to neglect Tsumiki as well.

Both of you take turns caring for your two kids. It’s so cute to see Megumi bonding with Toji as Megumi smiles a bit more when he’s with his dad. Tsumiki just likes hugging you and so you hold her ever so dearly.

Tsumiki and Megumi never really fight, which you find odd since it’s common for siblings to fight with each other. That’s when you keep observing and notice Tsumiki will let Megumi have his way even though she didn’t have to. Though you appreciate her being an older sibling, you have to remind her she can say no to Megumi if she doesn’t want to. Also reminding her to tell you or Toji if anything happens and not feel scared or ashamed for asking for help. 

But Tsumiki is such a sweet child, she says she doesn’t mind at all when it comes to Megumi. But you brought it up to Toji because you don’t want Megumi to become very spoiled nor do you want Tsumiki to feel it’s okay to disregard her needs. Toji understands your concerns and tries to reassure you that he won’t let that happen as they get older. 

While you were away from work, Megumi snatched Tsumiki’s pillow pet dolphin from her hands and Toji saw all of it. Toji put Megumi in time-out while he comforted Tsumiki. She wasn’t crying but he could tell she would have if he didn’t step in. Toji refrains from yelling and acting out because you told him that’ll strain his relationship with the kids. It’s easier and effective but it has long-term effects that negatively affect the parent-child relationship and the child themselves, something you knew all too well. So Toji is patient with Megumi, telling him it’s not nice to take things that aren’t his, especially when it’s his older sister’s stuff. That he should understand that Tsumiki doesn’t like it when he does and only lets him have them so he wouldn’t get upset. Toji makes Megumi apologize to Tsumiki but Tsumiki already forgave Megumi. 

Toji being patient with his kids is hard and always tests him as a parent. Then he remembers how you told him having a family with him isn’t going to be the easiest thing in the world. But children deserve parents who will love and care for them unconditionally, who will be patient and understanding no matter what, to not make them wish they were someone else in order to please their parents. You didn’t want your children to experience what you did growing up and you believe Toji is someone who will help you make that dream come true. So he continues with his gentle/patient parenting method because he knows it will pay off in the end.

Since you’re going to work most of the day, he’s always the one to take care of them. Toji always takes them to the park or outside so they can run around and be kids. Forces them to go with him to run errands so they can get used to it. Megumi hates this while Tsumiki loves it. After some time, they get used to it and ask Toji to take them on the errand runs. Like going to the local butcher for meat then to the supermarket for everything else. Toji makes this a learning experience for the two by teaching them how to pick and order what they want. He teaches them what each ingredient is and explains why he buys it. Because of this, Megumi and Tsumiki know how to do errands by themselves and get things on the way home from school if Toji texts them to get something. 

Megumi doesn’t admit it but he always follows Tsumiki’s lead. Especially when they start going to the same school together. When Tsumiki gets a fever/cold and can’t go to school, Megumi is a little nervous because he’s going by himself. So Toji had to comfort Megumi that he will be okay and Tsumiki will be proud of him for being able to go by himself.

Tsumiki is a quiet extrovert but Megumi is a raging introvert. Megumi, due to his aloof nature, doesn’t have many friends. You became worried because maybe there was something you weren’t noticing with Megumi. So you went to get Megumi checked out and the doctor ruled it out due to his personality and high intelligence. The doctor says it’s common for some children to prefer their own personal space rather than making friends. Though it does encourage you to have Megumi expose himself to kids around his age so he’s not socially distant.

This is where you and Toji butted heads for a bit. You don’t want to force Megumi into something that he doesn’t want. But Toji wants Megumi to interact with other kids that’s not Tsumiki so he can make friends. Megumi just doesn’t like people who are not his family. That’s the conclusion you both draw in the end.

Jungle gym Toji. Ever since they could crawl, Megumi and Tsumiki have been climbing on Toji like a rock wall. They hang off his arms, hold onto neck, climb onto his back, they’re all over him. Well, Toji is built like a mountain so it feels like they’re climbing Mt. Fuji. Toji isn’t bothered by this at all. In fact, he likes it when his kids are playing with him.

When Toji works out, whether it’s outside in the courtyard or in the workout room, he has the kids nearby playing somewhere. Would definitely ask Megumi and Tsumiki to sit on his back while he does push ups. 

Hides his old weapons in the shed outside the house, he makes the excuse it’s for gardening tools and snow shovels so the kids aren’t curious.

Doesn’t do baby/kiddie talk to his kids. Obviously he’s gentle when he speaks to his kids but he also isn’t going to dumb things down for them. He’ll speak to them like a regular person but has a soft tenderness for children. It’s actually pretty sweet to see it.

The type of man to say to his children, “Isn’t Mama pretty? She is pretty, right?” Saying positive things about you to Megumi and Tsumiki. Then the two will say those lovely words back. You do this with Toji too. Telling the kids “Papa’s strong, right? He’s so cool.” “Papa made us this lovely dinner. Isn’t Papa amazing, you two?” Shit it so cute, I swear.

Speaking of food, Toji makes their lunches. From preschool to high school, he makes Megumi and Tsumiki’s lunches. It’s a challenge as they get older because both have different food preferences but he takes up on it. Just like with your lunch, everyone is in awe and jealous of their food. It’s always something good every time and it always smells good. Yuuji and Nobara ask Megumi if his dad could make them one and the next day Megumi brings two extra bentos for the both of them. Courtesy from Toji himself.

The type of man to make the kids their character bentos and eat the scraps/leftovers. Like the picture where the kid has a cute breakfast while the parent eats the cut out bread and fruit left over.

Family nap time! This is quite common in the Fushiguro household. You come home from work, sometimes earlier than scheduled, to see them laid out on the floor with a blanket underneath them. Sometimes, if the weather is enjoyable, they would nap outside. Toji is holding both kids in his burly arms while Tsumiki and Megumi hold each other’s hands.  It’s so adorable that you have multiple pictures saved in an album in the house. You would join them as well. A family napping pile.

Speaking of which, you have many albums from over the years as a family. Up until the present day, you have so many pictures of your children and your husband having their little family moments. Some wholesome, some embarrassing, others are cool photos or stolen shots. I don’t know if this fits Toji but I’m projecting here: he’ll have photos of your family throughout the years on the walls and tables of your home. But mainly, the ones he loves the most are the portraits of the family. They’re five of them. The first one is of you and Toji, the second one is you two with baby Tsumiki, the third is you holding baby Megumi as Tsumiki is standing with Toji, the fourth is the four of you with the kids who are six and seven, then the fifth one is taken from present day where the kids are teenagers while you and Toji haven’t aged at all. All of them have you wearing formal wear/Kimonos. He gets these personally commissioned and they’re 17 inches(43.18 cm) by 14 inches(35.56 cm), which is fairly large. 

Since you work 6 hours of the day, Toji always takes the kids to and from school. It’s not a problem for him nor the kids as they know you are working and making mula for them. The problem is, a lot of parents believe he’s a single dad. More so, the moms of the other students. Toji wears his wedding band on his LEFT FINGER that’s SHINING when the sun hits it and people still couldn’t take a hint. As he picks up the kiddos, a lot of moms go up to talk to him to pass time. He knows most of them are trying to flirt with him, very few only genuinely talk to him. Toji doesn’t play games when it comes to his status and is very blunt if the woman can’t get the message.

“I have a wife.”

“I’m married.”

“The love of my life and the mother of my children is working right now.”

Bro, some of these moms are jumping hurdles just to get a chance with Toji. Toji would keep on flashing his wedding band and they are fucking delusional to think they still got a shot. Someone thought he was a widower even though you were ALIVE AND WELL. Toji felt his eyes twitch as he scowled at the accusation. Toji legit wanted to push her but can’t because he’s a big guy and all. ‘Fuck, I can’t put my hands on a woman. I’ll have (Y/N) do it instead.’ Toji tells you about this and he is more mad than you are about it, which you don’t blame him for. On Friday afternoon, school’s out and the parents are picking up the kids. Tsumiki waits for Megumi outside his classroom door as they always walk out together to get picked up by Toji. As they walked out, they were surprised to see you with Toji in your work clothes. They went into a full on sprint in your direction and you crouched down to hug them both. After giving each other a good squeeze, they hugged Toji. The look on the woman’s face when she saw you was priceless. Tsumiki was hugging Toji while Megumi was reaching for you and you took him in your arms. You turn around and feign a friendly smile her way with such an elegant but dominant introduction. 

“Oh hi! I’m (Y/N). You never saw me here since I work as a (occupation). Toji takes care of the kids when I’m away working. But I come every now and then when I get off early. Thanks for keeping my husband company! Though, you shouldn’t press on a married man when he refuses your advances. I mean, it’s not like his wife and the mother of his children has resources when most of the population doesn't. So, try to refrain yourself from stepping into the deep end, Dear. It was nice knowing you!”

Toji thought that was hot af. Tsumiki was hugging Toji’s neck because she was tired while Megumi glared at the woman. After that, no woman ever approached Toji after that.

 FAMILY OUTINGS!!! Ugh, you always have one every weekend with your family. The favorites are the zoo and the park. Megumi on Toji’s shoulders while Tsumiki holds both you and Toji’s hands, she swings in-between the two of you. You go to all the exhibits your children want to go to. Tsumiki likes the marine enclosures while Megumi prefers more of the forest and savanna ones. You never could forget the way your son slightly bounces on his dad’s shoulders when he sees an elephant. He lets out a gasp of awe while calling out to you, “Mama mama, look! Look at the elephant!” “I can see it, Baby. You like elephants, Gumi?” “Yeah!” “What about you, Tsumiki-dear?” “I think they’re cool, Mama.” Toji tries to feed the animals but the animals are so scared of him like he is the most dangerous one which is true. This also goes for festivals as well, wandering the stalls and food stands. Toji winning every game you stop by and getting prizes his kids want, if his kids want it he’ll get it. The whole day is fun but exhausting once you come home. Toji carries the kids home along with the family bag. The kids are knocked out and easy to tuck in  as you and Toji decompress.

As the kids get older and mature, it’s easier to go places like Kyoto. Megumi and Tsumiki are more of exploring and sight-seeing individuals, which makes it easy on you and Toji so you don’t have to spend a lot of money to do those extravagant things. They just want to experience the surroundings and life without sticking out too much. They like the trips when you all stay at a Ryokan Onsen, it’s relaxing. Especially for Megumi since he’s away from Gojo, Itadori, and Kugisaki. He loves his teacher and classmates but they can be a handful to deal with. Once they get older, they have school and you and Megumi have missions so these family outings happen less. But if everyone’s home, you four go out and do whatever depending on the weather. Spring and early summer are good times of the year because the cherry blossoms are in bloom and the weather is pleasant. You usually go out and have a picnic when the trees are blossoming. It’s simple but sweet to get together so your kids will have some memories they can look back on fondly.

There is this scenario that I can’t stop thinking about but it’s Toji coded: After a day of family bonding, Toji is standing in the train while you and your kids are sitting. It was full but not crowded. During one of the stops, Tsumiki ends up giving her seat to a pregnant woman who’s around her late stages of the 2nd trimester. Toji pets her head as she stands next to him, holding onto his pants as you send a sweet approving smile her way. She sends one back as she grips onto Toji to steady herself. Megumi is in our lap, completely gone into the world of dream as he clutches closer to you. The stop before the one you all get off, Tsumiki helps the pregnant lady up and walk her towards the door. The lovely lady thanks her, gives her a piece of paper to her family bakery which your family become regulars later on, before waving at her and you two. Mouthing ‘You have a wonderful daughter.' You and Toji glance at each other and smile. As your stop approaches, Tsumiki asks Toji if she can carry Megumi. He asks why and she replies, “Because Mama’s tired and I can carry Megumi for her.” Toji glances down at you and see the droopiness as they flutter to keep themselves open. He crouches down, pets Tsumiki on the head, saying she is a kind and sweet kid but he will take care of it. He asks her to give him your bag while he exchanges it for his jacket. Tsumiki places his jacket around you and Toji tells her to get into your lap. She does and you wrap your free arm around her. The next thing she knows, he’s carrying you in both of his arms while you hold your children. Once the train doors open, the incoming passengers are met with a towering man holding his sleeping wife and kids in his arms. They part to make way for him and he WALKS the whole way home. His arms never tired or aching. Tsumiki smiles up at him and comments how cool and strong he is, “You’re always strong and cool, Papa.” He just chuckles in his whole deep, simp-worthy, DILF voice before crouching down to let her stand since she grabbed the house keys. She unlocks the door and holds it open for him. They take off their shoes as Toji places you and Megumi on the couch while Tsumiki gets her Sanrio blanket to place it over you and her brother. You wake up an hour later to Toji cooking dinner as Tsumiki uses her color pencils on her coloring book. You wake up Megumi and have dinner together as a family.

Has no problem carrying you and his children in his arms. Like he can carry a 8 year old Tsumiki and a 7 year old Megumi like it’s nothing. He can carry you, Tsumiki and Megumi around without getting tired. You do the trend where Toji is holding you, Megumi and Tsumiki as kids then you retake the same picture but when the two are in their late teens. The point of those pictures were meant to show Toji is still strong; if not, stronger after becoming a father. If the kids fall asleep on the couch while watching a movie, he’s carrying them to their beds. They did their homework late at night on the kitchen table and are too tired to go to their rooms, he will take them to their beds no problem. You fell asleep on the couch because you came home extremely late from work or a mission. Toji is getting you to bed with him using his oversized shirt as your PJs. When Megumi, Yuuji and Nobara are out cold from their sleepover, Toji covers them with a huge blanket and gives them each a pillow.

I discuss this a little bit in this but I’ll expand upon it here. Megumi and Tsumiki are way less traumatized. Megumi has sass and is aloof but that’s his personality. The reality is, Megumi isn’t as withdrawn or quick to make assumptions about people. He seems reserved but his walls aren’t thick or tall. He’s not going to summon Mahoraga in every death situation but just sometimes uses it as a last resort because he hasn't pushed himself to his limits. It’s more of the lack of knowledge behind his technique since you and Toji can only know so much. Plus you and Toji, specifically Toji, aren’t letting the Zen’in clan be near your children. Tsumiki also isn’t inclined to act more mature and take on adult responsibilities. She is allowed to be a kid and have a childhood, same goes with Megumi. Plus, the two are raised in a loving household. Is it a traditional one? Nope, not in the slightest. Their mom works while their dad stays at home. But it's a functional, healthy, content family. You and Toji have tried to set good examples for your children on love, relationships, and the process of communicating. There are some pitfalls every now and then. Yet Megumi and Tsumiki have seen honesty, patiences, and openness when you and Toji talk things out. 

Plus they know the rule you and Toji have: never fight in front of the kids. Matters between you and your husbands are between you two only. You never wanted to drag your children into the argument themselves. Obviously, when they are younger, you have to explain to them that you and Toji weren’t on the same page and are mad at each other. As they get older, you explain what the argument/conversation was about transparently. Megumi and Tsumiki also notice how after you and Toji clear up things the both of you never made snide remarks about each other in the slightest. This helps the kids out a lot because they never felt like walking on eggshells. That’s why Tsumiki and Megumi never really worried about you and Toji splitting over bad blood. They know you and Toji aren’t going to stay stubborn for long and make up no matter the circumstances. But there was an argument that both of them never can forget. They didn’t witness it themselves but they knew it was the worst argument you both had, and this happened when Tsumiki and Megumi were TEENAGERS. It lasted for a WHOLE DAY, the longest you two have been in the waters of the aftermath. The two of them wanted to say something but they knew better when you and Toji told them to not involve your affairs. It was worrying them to the point Megumi asked Tsumiki if this would create a rift. However, being the older sister she is, says the both of you will work through it. And she was right when the two of them came home to see you and Toji on the engawa wrapped up in each other’s arms with a blanket over you both.

Tsumiki loves the flowers and plants in your garden beyond the courtyard. When you take her outside and show her the pretty flowers and plants, she has this sparkle in her eyes as you touch and hold the flowers up to her. As she gets older, she spends most of her time in the garden as you are sitting under the tree with your blanket keeping the dirt away from you. When you mentioned to Toji the garden would look better if there were more plant diversity, the man is handing you a list of your favorite plants and flowers you want. The next few days to weeks, the plants you wanted are already in your garden and blending in well with your home. He is also doing this legally, and doesn't want to be a bio-terrorist by accident.

Toji does this with Tsumiki too. She had this book about flowers from her school’s library and told him that those flowers were pretty and nice. She kept drawing them, saying they would look good in the garden. The next week, there was a bush of them in her favorite spot. Your garden becomes the Garden of Eden with the amount of plant life you and Tsumiki bring in. You do basic gardening but Tsumiki and Toji have the green thumbs in the family. They’re the ones doing maintenance on the garden. Mostly Toji since Tsumiki goes to school and isn’t always home. 

Toji does all the planting, replotting, mulching, everything a garden needs. The type to cut the hedges into a perfect shape because it fills his ego and makes him productive. Like one time, Megumi brings over Yuuji and Nobara to hangout and they see Toji cutting the hedges into a cool dragon. Toji wipes the sweat off his forehead to see the fruits of his labor, smirking to himself saying, “I’m so fucking good at this. I’m literally the best.”

Megumi lets his Shikigami out into the garden because they like to hang out outside. The only ones allowed in the house are his divine dogs because Toji doesn't want to see a huge owl or elephant in the living room.

Come to think of it, you and Tsumiki are the main ones who decide what goes in and out of the house. The flowers and the garden were just an example. Furniture, appliances, the color of the blinds and curtains, the interior and exterior, hell everything at this point. If you and Tsumiki made a comment about the appearance of something and it started with the words if, what, wonder, he’s already pulling the catalog for ideas. It’s mostly curiosity but if both you and Tsumiki bring it up, he’s changing it to your liking. Megumi never understands this because he’s the “it is what it is” or “I’m fine with it.” Megumi would be visiting home from school and sees Toji rearranging some of the furniture or building something from scratch in the backyard and he doesn’t question it.

Speaking of which, besides the appliances/photos/silverware/complicated items, almost everything in the house is made by him or customized by him. Tsumiki and Megumi’s rooms? Toji made them into their liking. The main bedroom? All Toji’s work. Not one spot in this house hasn’t been adjusted or changed by Toji. That’s why you credited your house to being the perfect home, all because of Toji. You always remind him that his work is much appreciated around this house. He’ll just smirk but you can see the way his ears fade into a pink rose color. He loves it when you say stuff like that to him. IF the kids say it to him, his grin is stuck on his face for a whole 24 hours.

THE HANGOUT HOUSE! You know how there’s always that one friend where almost every hangout occurs at their home? That’s Megumi, it’s literally him. Technically since Yuuji permanently lives in the dorms and Kugisaki used to live in the countryside, Megumi is the only person in the trio to have an official home. They pass by it a lot when they go exploring or hanging out. Megumi never said anything but the two notice how he stares at it for some time. Then some shenanigans happen and they had to take cover in Megumi’s home. Mind you, Yuuji and Nobara were looking at Megumi like he committed a war crime when he b-lined to the house. And they know it’s a nice house. They were yelling at Megumi saying they were trespassing and they’ll be in some deep shit if they get caught. But Megumi yells at them to trust him as he opens one of the doors. Then Yuuji and Nobara start begging him to not get them killed because they finally see that the home is a literal MANSION. They think they’re cooked by whomever lives here. But from Megumi’s reaction, they’re wondering if Megumi knows the person that lives here. Then when they go inside the actual home, they slide off their shoes and walk to what’s the common area of the house(kitchen/living room). Then Yuuji notices one of the photos and sees kid Megumi and three other people. Nobara shoves herself to see it and they both turn around to Megumi grabbing a pitcher of some sort of drink out of the fridge. “YOU LIVE HERE, FUSHIGURO!?!?” “Oi, not so loud! My sister isn’t home yet but my parents are so quiet.” They don’t meet Toji here but later on because he was doing something with Shui. But you pop in and the students instantly recognize you. You force Megumi to show them around the house and they are in absolute awe. The moment they see his cool ass room, this house is their default hangout spot.

Sleepovers happen often, Megumi doesn’t want them to but you insist since he could just use one of the bigger guest bedrooms or his own room if he wanted. They stay up watching movies, shows, or watching youtube videos or documentaries just because. They do the laughing challenge to see if Megumi actually laughs. He does but fewer far in between. 

Toji embarrasses the hell out of Megumi. You don’t purposefully but by accident. Yuuji and Nobara would see Toji going into the kitchen to get a glass of water, see the color drain from Megumi’s face, then ask Toji about anything relating to Megumi. Then Toji spills the TEA on Megumi, it’s so funny. If Megumi won’t spill then his dad definitely would. Megumi’s face becomes like a tomato when anything about him comes out of his dad’s mouth.

Your house is stocked up on everything. There’s nothing in this house you wouldn’t have. Nobara needed some period products and you literally gave her a basket full of them. If she needs something else, you run to the store to get it for her. Yuuji forgot his toothpaste? You gave him a new tube and another one for his dorm. You tell them to ask you or Toji for anything if they need it. Nobara and Yuuji ask you to adopt them.

After a certain point, they just come over and ask for you instead of Megumi. He gets so annoyed and mad at them for it.

But you always insist on sleepover because Megumi finally has friends that he can call his own. It makes you happy he surrounds himself with good people and Toji agrees.

They know Megumi is balling in money which he always denies. But Yuuji brings up that Megumi has a Gameboy, Gameboy color, a DS lite, 3DS XL, a Switch OLED in his room. They’re all blue with every Pokémon game to have ever been released. He’s not beating the rich allegations.

Megumi is so irritated with Toji, it’s absolutely hilarious. I said it before and I’ll say it again: once Megumi is high school age, he’s an angsty teenager. Dude just gets so annoyed at his dad for existing, he only imagines it’s just you, him, and Tsumiki only. Toji asks him to do something, will do it but will grumble under his breath about it. But if you or Tsumiki ask him to do something, he has no attitude. Megumi is more softer with his sister and you but his dad? Nah, if he inherits everything from his dad, he’ll use them to his disposal against his Pops. He and Toji butt heads a lot but it’s never serious. Tsumiki sometimes wants to stop it but you tell her it’s a father son bonding thing.

Megumi inherited Toji’s grumpiness. Actually Megumi inherited a lot of things from Toji but he doesn’t want to admit it. Physically, Megumi is a mini version of Toji. Personality-wise, fairly similar. It’s just his hair curls up a bit but you believe it’s a recessive gene from a distant relative that decided to come out in a rare time.

Never tell Megumi he looks and acts like his dad. It will temporarily ruin his mood for like an hour or so. He legit got so mad. Put a side by side picture of the two and show it to him and he’ll walk away. If he’s compared to his mom? The saintess who does no wrong? Hell yeah he’ll take up the compliment. But his old man? He has his own personal beef with that. It’s when you or Tsumiki tell him he’s like Toji because you’re his family and know his antics better than anyone. But if it was someone like Gojo-sensei? He’s throwing a roast back. “Man, Megumi-kun. You’re just like old man Toji, grumpy and full of attitude.” “And that’s the same old man who was able to beat you and lived. I don’t wanna hear anything from you, Gojo-sensei.” Gojo cried to you about why your son was so mean to him while Suguru was absolutely done with him.

Tsumiki took a picture of Megumi when his hair was still damp from a shower, he looked so much like Toji. She showed you the picture and you asked her to send it to you. She shows Toji and Toji smirks to himself, knowing he’ll dangle that over Megumi’s head for as long as he lives. Toji gets his and Megumi’s side by side comparison framed in the house lol.

Sometimes Satoru, Suguru, and Shoko babysit younger Megumi and Tsumiki when you and Toji are busy. Tsumiki loves them, tolerating Satoru at best. But Megumi is irked by Satoru’s presence and only hangs out with Shoko and Suguru. Hates Gojo’s constant teasing but from pure annoyance. He and Tsumiki grow up with them and that’s why both of them know the three long before anyone else did.

Megumi gets irritated during Middle and High School because his parents are HOT. He remembers when his classmates from middle school would ask who’s the woman waving at him/man that grins his directions. Megumi grimaces and says “That’s my mom/dad.” Then his peers would start gushing about how gorgeous and demure you are/handsome and attractive Toji is. He wants them to shut up about it. If it’s only one of you, some of his peers would say, “Can your mom/dad fight?” Megumi wanted to punch them so badly, but refrains himself because he doesn’t want to waste his punches on a rando. It doesn’t help when he goes to the same school as Tsumiki, it’s the same THING. He knows people gush about him but he could care less. It just irritates him to no end when others do it on his family members. So when both you and Toji show up to school to take Megumi and Tsumiki out, everyone is just looking at Megumi and his attractive family. They can see where he got his genes from. His gene pool was created by divinity itself. His mom’s attractive, his dad’s attractive, his sister’s attractive, then they look at Megumi and see that he’s attractive. It gets worse with Yuuji and Nobara. They make remarks about it every time, how show stopping your looks are, his dad had people of all sexualities swooning, and his sister made people have hearts in their eyes. 

Nobara: “That’s not fair! Fushiguro gets his amazing looks and genes from the two most heavenly beautiful people in the world and he’s not using them! God has favorites for sure.”

Yuuji: “But Fushiguro-kun is using his good-looks though, Kugisaki! He’s just the more silent, mysterious, aloof type of guy that every secretly wants, you'know?”

Megumi: “Can you two just shut it right now!? Stop talking about my parents or appearance! Focus on the damn mission!”

Family dinners are silent but content. Everyone always eats together whenever possible since Toji’s done cooking dinner at 6:30pm. There’s some talking here and there but everyone is more focused on enjoying the meal Toji cooks for them. The kids clean up after themselves and usually fill the sink with hot water to place their dirty dishes inside. They prefer to eat their dad’s cooking any day. Yuuji and Nobara come over to have dinner every now and then. That’s when it’s more lively since they’re always gushing about Toji’s food.

Your children are so protective of you because of their father. Toji tells them there are some people out there that won’t respect you and tells Megumi and Tsumiki it’s their job to tell him if anyone bothered them or you. They mostly tell him about the amount of men who try to hit on you even though you said you’re already married to Toji, flashing your wedding ring, when you pick up Megumi and Tsumiki from school. Toji shows up with you, sizing up every male in the vicinity while puffing his chest. You roll your eyes but silently admit it was hot. It doesn’t change when they get older, they just hide it better. You could be in the grocery store in the produce section and some guy is hitting on you. You don’t have your wedding ring on because your fingers were sore and it hurt to wear jewelry on your hand. But you wore it on in a necklace. The guy wasn’t taking no for an answer until he saw two people behind you, staring down this man. It’s your son and husband. Then your daughter pops up and steals you away to look at a sale of some fruits she wanted. Leaving the poor man in the wrath of Megumi and Toji. They only put their hands on someone if they harass you or down right disrespect in any form. Mostly they’ll give a talk to the individual that’s not so courtesy of you. The best thing about this whole thing? The teens and Toji saw it all happen and made it into a whole operation. Tsumiki was in on it too, bruh. The men collectively agree to stare down any person that looked at you funny. Tsumiki isn’t so serious but she’s more subtle with her warnings and hints. You remembered when Toji was talking to Megumi about dealing with these situations. “Megumi, when you bring your dogs out, I need you to have them bite the guy in the balls if they try something with your mother or snatch their bag if they’re a woman.” “TOJI!” “I was thinking about the same thing, Dad.” “MEGUMI (L/N) FUSHIGURO! PLEASE! I can’t with you two!”

Those family talks. Like when Megumi opens up to you or Toji about something, it could be anything but it’s mostly personal things. You know it’s serious when it’s just him sitting at the kitchen table while you and Toji are doing something in the kitchen. Hitting you with the “Can I ask you two something?” Then you and Toji give Megumi your undivided attention to let him know you’re listening and paying attention. These happen with Tsumiki too but she’s already an open book and isn’t as reserved as Megumi. You both give your commentary and advice when asked, sometimes you let Megumi rant or let out his bottled up feelings. Surprisingly, unsurprisingly, Toji gives out insightful advice that Megumi takes into account every time his dad speaks. This is also how you become closer to your son and daughter, even your own husband.

They are allowed to swear in the house but Toji’s rule is “You can swear but it can’t be towards someone.” But the kids didn’t swear until they were in junior high.

The house doesn’t have much talking but it’s not the uncomfortable kind. It’s the kind where everyone is enjoying each other’s presence with no need for talking. It’s functional in your household, so it works with your family.

Don’t remind Toji that Megumi and Tsumiki will eventually move out and have their own lives because Toji will get all soft and emotional about it.

Toji and you are living the dream life. A nice house and property. A loving family with two wonderful children to ever bless you and your husband. And a healthy life where your family is close. Toji never thought he could’ve had this life but he now he does. This is the greatest middle finger and ‘fuck you’ to the Zen'in clan.

[kittysarchive]

Enhypen with younger s/o

*includes fluff and smut

Poll winner:)

warnings- fluff, age gap (not to big), smut, Ot7 (niki in sfw section), daddy kink, big cock enhypen, begging, bj, hair pulling , lmk if i missed anything

SFW

Heeseung

Nothing much would change with Heesueng!

While he may be more caring or quicker to make sure you feel safe around him, Heeseung would act as he would with a gf his age. Though, his gentleman side will show more since he is the 'more mature' one out of the relationship. Whether that be or true or not, he still plays the role of a gentleman. Walking on side closer to the road, holding your bags, holding you close to him, opening doors for you and more.

Heeseung will also try to be more observant. He may be a year older than you or even five years or more older than you. Whatever the age difference is, he'll always attend to your needs as you come across different stages in your life.

But there's also another side of Heeseung! Since he has a younger s/o, he may feel that he can be more playful! Since his s/o is more youthful then he is, Heeseung not only mucks around, but makes sure to have fun with her and enjoy life.

Jay

We all know Jay will be more protective.

Not to the point of restricting your day-to-day life, but to the point where he will minimize any mishaps in your life. He'll do his best to make sure you don't get physically or emotionally hurt.

Jay also may shower her with affection more. Providing more gifts just to see her youthful smile. This could be done by small gifts, compliments or surprise outings. Jay is more protective of her, but he will always try to hide that, hiding it behind is cheery smile and easy-going personality.

In terms of age gaps, Jay may want a significantly younger s/o. Not only because they look younger or because he loves spoiling and taking care of who he loves, but typically, younger s/o not only have more energy, but provide Jay with many moments of happiness and fun memories. So for Jay he'd be happy with a four year age gap, even six years!

Jake

While Jake does give off huge Noona vibes, pairing him with a younger s/o could bring out more of his playful side.

All of Jakes energy needs to match a younger s/o. Going out on fun dates, creating a mess in the kitchen, possibly getting kicked out of a store from their antics....Either way while Jake is loving, he has a lot of energy, and a younger s/o would be perfect!

Jake will also make his s/o feel special! Because Jake can be playful and slightly immature, a s/o who is younger and has the same personality will not only feel more loved but feel understood as they act the same way.

When it comes to age gaps, Jake wouldn't want one which is to big. Sure he may want a younger s/o, but the age normally ranges from 1-3 age gap. However if we have mature of sugar daddy Jake, he'd love 5-7 years age gap.

Sunghoon

Ever watched 'When I fly towards you'? his relationship with his s/o would be like that (zhang lurang and su zai zai)

Sunghoon is more reserved, but a younger s/o would not only bring out a large smile but be refreshing as it forces to Sunghoon to come out of him shell a bit more. Sunghoon will not only fall in love with her energetic nature, but her cuteness as well!

Sunghoon would also adore a younger s/o who can understand him. Yes, he may fall in love with their cuteness or energy, but he also wants someone who can switch from funny to serious.

On the other hand, Sunghoon will also be supportive of his s/o, their biggest cheerleader! He'll help them get through any troubles with his own experience as well as be there for a shoulder to cry on.

When it comes to age gaps, Sunghoon doesn't mind. You could be a few months younger than him, or even five years, as long as you are able to be mature if the time comes, then that's all he needs.

Sunoo

Sunoo is another s/o cheerleader!

Like his own youthful personality, a younger s/o would best fit Sunoo. Sunoo will give his s/o all of his love! Making sure she not only feels safe in the relationship but respected and cared for.

Sunoo may not be as protective as Jay, but when the time comes, he will step up for his s/o. Whether that is to a stranger, family member or even a boss, he'll always be there to help his s/o.

In terms of dates, Sunoo has to go on one at least once a week! That could be a cute cafe to the cinema to even a pottery class! Anything hands on, or sure to make memories is a must. Sunoo has a lot of energy, so does his s/o so he wants to make the most of it.

Like Sunghoon, age gap doesn't really matter. Although I don't think 4+ years would be good for Sunoo as he is not one to lead (power dynamics aren't his thing) so 1-3 years is perfect.

Jungwon

Already being caring and full of love, a younger s/o would be perfect.

Jungwon, like Jay is someone who loves to spoil and care for people! With his more maturer side, he'll share advice with his s/o and even listen to all of their troubles or tea. Jungwon is always there to talk to, and he makes that known.

But, Jungwon still has a playful side. With a younger s/o he is able to show that side more often. He'll cheer you up, make inside jokes with you, play fight with you and even just muck around together, like splashing each other in the beach!

Jungwon wouldn't be able to handle more then five year age gap, all because not only is Jungwon quite young, but that is a huge maturity gap. 1-4 years is best, when older Jungwon could stretch to 5 years.

Ni-Ki

While Ni-ki is another member who gives off Noona loving vibes, a younger s/o would better suit him.

Ni-ki who is still young, having a younger s/o is better because they would relate to him more. Whether that childhood experiences to high school to even friend troubles, Ni-Ki most likely has also experienced that.

Although Ni-Ki is also younger, he is also mature. Mature enough to keep the relationship balanced. Ni-Ki will show you he loves you by compliments surprise gifts or even just chilling with you.

With a younger s/o, Ni-Ki who is still exploring the world, will do so with his s/o! He'll go to a new country with her, try new foods, try new hobbies and more! A relationship with Ni-Ki will be very easy going, full of love and energy.

At his age, a 1-2 year age gap is best, but when older, Ni-Ki could easily go for 1-6 years if he wanted to.

NSFW

Heeseung

His playboy nature comes out.

In fact, several kinks of his resurface if he has a younger s/o. Heeseung will be mindful of the possible power dynamics in this relationship. But when it comes to a younger s/o who is just as freaky as him and understands the possible dynamics, then he'll let loose.

Nearly every night will end in sex, fucking in the shower, on the couch, in his car, on the kitchen counter, on the floor, even against the mirror...but rarely in bed. Heeseung loves you so much, and he loves your body as well.

But with Heeseungs freaky side, a relationship with him will only work if his younger s/o shares a few of his kinks. Otherwise Heeseung won't enjoy the sex, and neither will his s/o. So heres a small look at a few of his kinks....as the older one in the relationship.

-Daddy kink...of course -Choking....

-Degradation -Breeding

-Hair pulling

Heeseung has a lot to give and he really does love his s/o, but another side comes out of his during sex.

"S-Shit just like that" Heeseung holds a tight grip on your hair, not letting you breath as he pushes more of his fat cock down your throat. "You look so cute" He hums, watching you struggle to take his cock. Eyes dropping small tears, he brings his thumb to your cheek, wiping it away. Pulling his hands off your hair, he holds your jaw softly. Pulling his hips back, Heeseung slowly thrusts forward, careful to not hurt you. "Taking daddy's cock so well....aren't you princess?" Humming on his cock, the vibrations send him closer to his release. Pulling his hips back, he thrusts forward again, his cock pulsing against your throat, but he already knows where he wants to cum, in your tight pussy.

Jay

When fucking his younger s/o, Jay can be pretty vanilla, unless a switch is pulled.

With his small range of kinks, sex can almost get boring with Jay. at night in your cozy bed, or in a warm shower, possibly against the counters in the kitchen? Thats what you get when you've been good.

But if you've been a brat on purpose, then Jay gets kinky. Fucking you rough into the bed, against the cold tiles in the shower, against the wall even in a public space if he really has to put you back in your place.

Sure to wake up with bruises the next day, you pussy won't be the only thing in pain.

"Thought I wouldn't mad, pissed even?" Jay scoffs, pushing his cock deep into your pussy. You squirm beneath him, barely prepped and needy, there was no way you could stay still. "You could have just waited an hour more" Jay hums, before thrusting in your pussy. You squeal from the force. "Wanted you" You cry out, trying to pull Jay's body close to yours. Not letting you, Jay scoffs in response. "So you are a slut" Sliding in and out if your pussy with ease, Jay wasn't even surprised to see his cock glistening with your arousal.

Jake

Like Heeseung, Jake can get pretty freaky. With the power dynamics flowing when he fucks you, Jake is sure to care for you later, after he fucks you good.

But Jake can be a simple man as well. While he also has his kinks and freaky side, there are only a few places Jake actually enjoys fucking you. In his car and in front of a mirror.

If Jake were to have an older s/o, he'd be the one on his knees, the one begging for pussy. But as the older one....Jake not only makes you beg for his cock, but forces you to work for it, if he's feeling mean.

Leaning back into his leather car seats, Jake smirks as you practically cry on his lap, begging for his cock. "Need you so bad Jakey....please" Your hips rut against his growing bulge. Lips pouting, Jake couldn't say no. "You want my fat cock? Want me to break you pussy?" Jake asks, already knowing the answer. You nod her head quickly, hips rutting against his clothed cock more. "Go on then" Sliding off his lap, you pull down his pants, eager to get his cock. Jake slouches more into the seat, just as eager to feel your wet pussy.

Sunghoon

While Sunghoon is quieter and more reserved, he is loud and gets what he wants during sex.

Unlike the others, he doesn't always get pleasure from degrading you, but he does love you begging for him. Not just for his cock, but even begging him to eat you out.

Sunghoon isn't too crazy or freaky when fucking you, but he does like to try new things out with you. If he's seen something while watching porn or heard about something from a friend like Jake, Sunghoon at some point, would want to try it with you.

"You so small" Sunghoon holds back his owns moans. Breathing through your mouth, no words came out as he fucked your pussy hard. "So tight..." He pushes his head into the crook of your neck. Feeling his breath in your collarbone, you whine out, the closet you came to forming a word. "Feel good?" Almost framed as a rhetorical question, Sunghoon didn't need an answer. He knew he was fucking you good, he knew you were in heaven. Pulling his hips back to fuck you tight pussy, he knew he made the right choice to find a younger s/o.

Sunoo

Sex won't change much with a younger s/o.

While he is older, possibly taller then you and possibly stronger then you, most likely you will still lead when having sex.

Like all subs, Sunoo has his moments where he'll want to fuck your mouth hard or fuck your pussy till your oozing with his cum, but more then often, he lies back and lets you ride him. For Sunoo, sex is for pleasure, and that doesn't have to be in a painful way.

"Keep going baby" Sunoo sighs, fingers squeezing into your nails as you ride him. Pussy swallowing his cock, Sunoo was in heaven. "Getting tired" You pace soon slows down. Having ridden him for nearly an hour, you were feeling more then cramps in your thighs. "Want me to fuck you then? Finally fill your pussy with my cum?" Squeezing his cock, you nod you head quickly. Switching position, you now lye on your back. More then ready to enter your already wet pussy, Sunoo wastes no time. "Fuck....been wanting to do this for a while" Sunoo pistons into your pussy, eager to make his promise.

Jungwon

Power dynamics don't always show in your relationship, if anything giving him a blowjob is the only power dynamic.

Yes, Jungwon loves you and he loves to have vanilla sex, but when he's stressed out or just feeling...like he wants be the one in control, he'll want a bj. It's simple, but shows how cute and small you are as you kneel below him, taking everything he gives you.

"Don't rush yourself" Jungwon laughs at your eagerness to swallow his whole length. Slowing yourself down, you begin to stroke his cock. "Just wanna taste you already" Jungwon nearly melts at the cuteness of your voice. Even if you weren't, you acted so innocent. Wrapping your hand over his cock, you suck his mushroom tip. Making direct eye contact with Jungwon, it was only a matter of minutes before he was gonna fuck your mouth.

no niki smut

[lemonhemlock]

the reason why i don't think blood & cheese works without maelor is because it undermines the gravity of helaena's choice

in the books, as we all know, she has to choose which son to sacrifice. blood & cheese are going to kill one either way, so, whatever happens, if you want to get cynical about it, aegon will still be left with a male heir of his body. no, the horribleness of the choice lies not really in dynastic matters, but in basic humanity: which of your children are you willing to condemn to death? and helaena truly does try to make the best out of a bad situation, she picks not because she loves jaehaerys more, but because maelor is so tiny that she hopes he won't understand what's going to happen to him.

and she absolutely has to choose, because b&c threaten to rape her daughter if she doesn't. it's psychological torture. b&c just want to fuck her up in the head as much as possible and helaena tries her goddamnest to minimize the harm done to her family. to further compound on the tragedy, b&c kill the opposite child, so now she has to live out the rest of her days knowing that the son left alive is the son SHE herself marked for the axe. which is what understandably drives her to lose her mind

now, in the show, the "problem" blood & cheese have doesn't exist at all: that they can't supposedly tell the twins apart. but (as awful as it sounds, since it involves sexual assault) they could very easily check which child has male genitalia and be done with it. it's a "problem" that takes literal seconds to solve. they don't need helaena at all! it becomes irrelevant which child she points towards - b&c can always just check! she can't save jaehaerys in this situation no matter what she does, because b&c were never interested in jaehaera in the first place. in the books, she has the ability to save one child and this exact horrible "agency" bestowed on her torments her for the rest of her days. in the show, even had she pointed towards jaehaera, it would have been a narrative plot hole for the writers to have killed her without checking

likewise, in the books, she begs them to kill her instead, but, in the show, she offers them a necklace? you can't deny that the dramatic stakes are lowered substantially by making that change. which one of these options would have been more filled with pathos? personally, it just feels like this was phia's moment to shine and, while she did a good job with what she had, every narrative choice was somehow made to subdue this horrible event and left her only crumbs to work with. cinematically-speaking, this scene (as it was executed) does not even come close to the iconic moments that cemented GoT into the collective consciousness, which is very strange, as the subject matter is anything but mediocre

and that's not even getting into the rest of the plot holes that others have already pointed out, like:

- why are there no guards at helaena's door or anywhere else for that matter? not just on that hallway, but on many other hallways, she has to run quite a lot to get to alicent's chambers

- why is her room unlocked at the very least

- why is ALICENT's room unlocked, for that matter? she is having secret guilty sex with criston and she forgets to lock her door in a castle full of spies? anyone could have walked in

- not even getting into this whole thing just being one huge misunderstanding + minimizing daemon's and mysaria's roles :))

- NOT EVEN mentioning removing the trauma of alicent witnessing all of this, gagged and bound on her own bed, not being able to help or intervene in any way

i can understand the likelihood of these elements happening sometimes (maybe someone does forget to lock their door from time to time, maybe a guard does shirk their duties from time to time), but you can't write all of them at once without it turning all looney tunes. if you introduce too many aspects that defy logic in your story, it ceases to be believable and just becomes bad writing

___________________________________________

also, "they killed <the boy>"? not "my son" or "jaehaerys"? it sounds so removed, don't you think? helaena out there on her mother's floor dropping exposition for the audience 🥲

[dankmyfarrik]

The Front Man hates the games. Based on the dates on the paper in season one, his wife died AFTER he won the games because he won in 2015, and it was the 5th anniversary of her death. This leads me to believe that he also felt guilty, like Gi-hun, and didn't use the blood money to save his wife, joining the game's leadership once he had nothing left to lose. I think he decided to take up the role so that he could minimize the number of people who die by making the player's options about leaving more explicit and possibly controlling and changing things about the games we have yet to see. 

Even though he despises the games, he forces himself to watch from his private room as a form of punishment. That is why he drinks during each red light/green light, not as a form of televised entertainment but because it haunts him. I'm wondering if the song Fly Me To The Moon was his wedding song, reminding him of the family he could have had and bringing him some form of comfort. 

But the Frontman and Gi-hun are still opposites in that he doesn't ultimately believe the players will choose to leave, and Gi-hun's optimism and belief in people after all he has gone through utterly fascinates him. When they talk at the beginning of season two, the Front Man says you would need to change the world in order for the games to stop happening. I took that as he genuinely wanted Gi-hun to change the world. Gi-hun won the games and rejoined to dismantle them. The Frontman won and returned, working from the inside to make it better, but is now so entrapped in the system he represents it. 

[taringill]

MY FAVOURITE GIRLS!💕 I'VE FINALLY DONE IT!😭

МОИ ЛЮБИМЫЕ ДЕВОЧКИ!💕 Я НАКОНЕЦ-ТО ДОДЕЛАЛА!😭

I know that I have made almost no changes to the Rouge, but this is my opinion. I don't mind if the creators make changes👍 Although, come on, cinematic beasts literally copy their gaming counterparts with minimal changes, or no changes at all. So what are you going to do to me?😁

Я знаю, что в Руж я почти не внесла изменений, но это мой взгляд. Я не против, если создатели внесут изменения👍 Хотя, камон, киношные звери буквально копируют свои игровые аналоги с минимальными изменения, либо без изменений вообще. Так чтоооо, что вы мне сделаете?😁

Guys, I want to express my opinion. You don't have to read it if you're not interested. I, like many, am waiting for the appearance of Amy and Rouge, I really wait and want to! But I was struck by the craziness of some fans. Who knows, he understands what I mean. Knuckles is confused with Amy (in one shot from the first trailer for Sonic movie 3) because of the lighting, which makes Knuckles' hairstyle lighter and screams about it on every corner. They think that Amy was cut out of some of the footage of the first trailer because... Sometimes they look empty, as if there is room for another character... What the fuck? I don't understand, should the whole screen be packed with characters in every corner? Even an ordinary dent on the asphalt is confused with a shadow (I'm not about the Shadow the hedgehog)!🤦‍♀️ Fuck... There are simply zero arguments. It sounds much more realistic that, for example, the same Amy may appear in the scene after the credits. But these are just rumors. Before the release of the second trailer, I realized that some fans had gone crazy... And after the release of the second trailer, I was convinced that I was right, so you don't have to argue with me. It's useless. In addition, before the release of the second trailer, there were leaks of toys for the third film and NOT A SINGLE HINT OF AMY OR ANYONE ELSE. There were only Sonic, Knuckles, Tails, Eggman and Shadow. Guys, if there was anyone else in the movie, this character would be in the toy set. Recently, new toys were leaked and there is also no one new except Shadow, because no one else appeared in the film.

Okay, I also thought that Amy and Rouge would appear, because the third film is an adaptation of the game SA2: Rouge, who worked for G.U.N. and Amy, who dissuaded Shadow from killing humanity. And I remember the girl I was arguing with, using it as an argument. To which I will answer that, guys, these films are A NEW, ALTERNATIVE UNIVERSE, therefore A MODIFIED CANON. And that's okay, it's a NEW UNIVERSE. Do you want to see the same thing? Well, if you're an ardent and old fan, then of course you want to see the same thing. But I'm not. Let's be honest, almost anyone can dissuade Shadow: Sonic or Tom, for example. And Amy will get her new role in fourth film. What's wrong? As for me, everything is fine. This is a new universe! It was clear from the first film)))

Oh, and do you remember the girl I mentioned in the second paragraph? Attention! She told me that the creators would be sexist if they didn't add Amy or Rouge fully to the third film🤡 I'm afraid of people like that...💀 What kind of moronic fashion is it to call everyone (especially men) sexists for no reason? Just to be offended🤦‍♀️ This abomination is infuriating🤮 I wish this disease would go away as soon as possible... If you don't agree with me, then just accept it. Poor creators, my God... They're already trying to please the fans, but they're still bad... Guys, the creators have THEIR OWN plans for THEIR MODIFIED canon. Let's think logically, if there are few new characters in the film, then MORE attention will be paid to them, therefore MORE disclosure and therefore the character is MORE INTERESTING, and not just a stupid fanservice...

Phew, I've spoken out... There may be touchy people here, but I don't care. You can't change my mind, so just accept it. I know it's gone, but I still wanted to speak out. I have the right.

Ребят, хочу высказать своё мнение. Можете не читать, если вам не интересно. Я, как и многие, жду появления Эми и Руж, очень жду и хочу! Но меня поразила шиза некоторых фанатов. Кто знает, тот понимает, о чём я. То Наклза путают с Эми (в одном кадре из первого трейлера Соника в кино 3) из-за освещения, которое делает причёску Наклза светлее и кричат об этом на каждом углу. То считают, что Эми вырезали из некоторых кадров первого трейлера, потому что... Видетили они выглядят пустыми, как будто там есть место для ещё одного персонажа... Что блять? Я не пойму, весь экран должен быть забит персонажами в каждом углу? Даже обычную вмятину на асфальте путают с тенью!🤦‍♀️ Пиздец... Аргументов просто ноль. Гораздо реалистичнее звучит, что, например, та же Эми может появиться в сцене после титров. Но это только слухи. Я до выхода второго трейлера понимала, что некоторые фанаты сошли с ума... И после выхода второго трейлера я убедилась в своей правоте, так что можете не спорить со мной. Это бесполезно. К тому же до выхода второго трейлера были сливы игрушек по третьему фильму и НЕ ЕДИНОГО НАМЁКА НА ЭМИ ИЛИ КОГО-ТО ДРУГОГО. Там были только Соник, Наклз, Тейлз, Эггман и Шедоу. Ребят, если бы в фильме был бы ещё кто-то, то этот персонаж был бы в наборе игрушек. Недавно слили новые игрушки и там тоже нет никого нового кроме Шедоу, потому что в фильме никто кроме него не появился.

Окей, я тоже думала, что появятся Эми и Руж, потому что третий фильм адаптация игры SA 2: Руж, которая работала на ГАН и Эми, которая отговорила Шедоу убивать человечество. И я помню девку, с которой я спорила, приводила это как аргумент. На что я отвечу, что, ребят, эти фильмы ЭТО НОВАЯ, АЛЬТЕРНАТИВНАЯ ВСЕЛЕННАЯ, следовательно ИЗМЕНЁННЫЙ КАНОН. И это нормально, это же НОВАЯ ВСЕЛЕННАЯ. Вы хотите видеть одно и то же? Ну, если вы ярый и старый фанат, то, конечно, вы хотите видеть одно и то же. А я нет. Будем честны, Шедоу может отговорить почти кто угодно: Соник или Том, например. А Эми получит свою, новую роль в 4-части. Что вас не устраивает? Как по мне, всё нормально. Это новая вселенная! По первому фильму это было понятно)))

А, и помните девку, которую я упоминала во втором абзаце? Внимание! Она мне сказала, что создатели будут сексистами, если они не добавят Эми или Руж полноценно в третий фильм🤡 Я боюсь таких людей...💀 Что за дебильная мода называть всех (особенно парней) сексистами без повода? Лишь бы обидеться🤦‍♀️ Бесит эта мерзость🤮 Поскорее бы эта болезнь прошла... Если не согласны со мной, то просто смиритесь. Бедные создатели, Господи... Они и так стараются угодить фанатам, но они всё равно плохие... Ребят, у создателей СВОИ планы на СВОЙ ИЗМЕНЁННЫЙ канон. Давайте рассуждать логически, если в фильме новых персонажей будет немного, то им будет уделено БОЛЬШЕ внимания, следовательно, БОЛЬШЕ раскрытия и следовательно, персонаж ИНТЕРЕСНЕЕ, а не просто тупой фансервис...

Фух, высказалась... Тут могут быть обиженки, но мне всё равно. Меня не переубедить, поэтому смиритесь просто. Я знаю, что это прошло, но я всё равно хотела высказаться. Имею право.

[weaselandfriends]

youve probably already mused about this in the past but do you think cascade could work as the actual ending of homestuck? like is there a way in which homestuck could be read as a complete narrative with a somewhat satisfying ending if we were to consider cascade or its whereabouts the place where it ends? how much retooling would it need to work that way? is it even possible?

Oh now we're getting the REAL asks.

From a technical standpoint, I actually think it's totally doable to do a cut of Homestuck where Cascade is more-or-less the ending. Homestuck doesn't have nearly as many load-bearing elements as it seems to have at first glance. For instance, I think even the trolls can be cut from Homestuck altogether with minimal structural harm, as long as Vriska's game-breaking role is shifted to Rose. Hussie claimed his original vision for the story was for Cascade to be the climax, and Act 6 to be a relatively short denouement that would mostly involve cleaning up loose ends. That actually tracks with where he left the comic when Cascade ended. The unresolved stuff at the end of Cascade is:

The Scratch has created a new universe, which the players are all heading to. This fresh universe is where they will be able to complete the game.

Lord English!

Lingering mysteries about the kids in the new universe, who have been hinted at a few times throughout Act 5 (most notably regarding Liv Tyler the bunny, which shows up with a note from Jake, IIRC).

Bec Noir is still around, even if neutralized by PM.

I'm pretty sure this is it, not counting one-off lines like Rose playing the rain that are pretty structurally nonessential and could be excised easily or brushed off with some lampshading ("Wow isn't it funny we never played the rain!" -- I think Hussie actually does specific one anyway). There are also a few hints that HIC might have a role in the new universe, but I would likewise describe these as nonessential.

Looking at this list, it's easy to see both why Hussie thought he could end the story quickly and why he failed to do it. With the powers at the disposal of the main cast, going into the new universe and completing the game should be trivial. Hussie probably thought he'd quickly introduce Jake, Jane etc. in a nostalgic callback to the beginning of the story, then round up everyone for a final fight against Lord English/Bec Noir/HIC to put some fireworks on the ending. Cascade really had trimmed down the expansiveness and complexity of the story significantly, which made these few lingering plot elements seem so surmountable.

In actuality, though, Hussie quickly became mired in introducing the new characters. I think his problem was that he was struggling to reengineer the emotional stakes of the story. There's a desperate reek in the early parts of Act 6 where he is pleading for readers to care about the new kids. With the original kids, he took his time introducing them and let their personalities emerge organically over infrequent chatlogs while most of the action centered on John-as-reader-insert doing dumbassery. With the trolls, Hussie treated them like jokes and gave them over-the-top personalities with ridiculous, murderous drama, which fit the speedrunny way he introduced them. But the new kids are in this limbo where he wants to get them working (like Jar Jar) quickly, yet is giving them personalities that are at worst nondescript and at best Dave 2: Davier. (Roxy is the exception here.) They wind up having a lot of very cute, very cloying chatlogs that read super forced and I wonder if their failure to immediately get off the ground is why Hussie felt the need to spend more time with them, linger on them, until Jake winds up with one of the highest line counts of any character in the story despite saying exactly 0 things of value total.

Worse, though, is the villain situation, because it's directly tied to the story's stakes. Hussie has to make Lord English a more significant threat than Bec Noir, despite working at base with only a few references to him from Spades Slick and Doc Scratch. It's from this we get the laborious cherub stuff, the expansive dream bubble stuff (Lord English being able to double-kill ghosts is his major establishing moment of threat), and the general need to make this whole section of Homestuck feel as weighty and monumental as the first half.

The problem with Cascade is that, even though it doesn't resolve the plot, is resolves pretty much all of the emotional stakes and tension in the story. The idea of going quickly from Cascade to a final fight makes sense on paper but it doesn't make sense emotionally. That final fight would wind up as flaccid-feeling as Collide eventually did feel. Hussie's kudzu-plant expanding Act 6 reads to me as an attempt to rebuild to the level of tension that existed before Cascade, one that eventually failed because he got tired with the project and phoned in the climax anyway.

So, getting back to the original question, I think if we're to end Homestuck at Cascade then it really needs to END at Cascade, narratively as well as emotionally. Cascade does an admirable job cutting down Homestuck's plot threads from 100 to 4, but it really needs to cut them down from 100 to 0. This is a lot trickier than it seems because Cascade is, in the context of the narrative, not a moment of victory but a moment of... quitting. It's hitting the in-universe reset button. It's triumphantly hitting that button, but it cannot actually achieve total plot resolution without fundamentally changing what it actually is.

You can slim things down. Lord English can, believe it or not, be cut entirely. Prior to Act 6 he exists only in a handful of lines. Doc Scratch can be reframed as the ultimate evil himself, rather than simply its servant. He already is a pretty good villain in his own right.

Bec Noir is trickier because there's not really a good opportunity for the heroes to fight him. I wonder how necessary that is, though. It's not like Homestuck was ever a story where things got resolved by flashy cinematic fights. PM getting the ring is a satisfying, climactic moment in its own right; does she have to get locked into eternal stalemate with Bec Noir? Can she maybe just defeat him the moment she gets the ring? It's an unconventional ending, but one that makes sense in the concept of Homestuck. Given Collide, that's probably a superior way for the climax to go anyway.

That leaves the new universe kids. They can also probably be cut pretty easily. I'm fairly certain Liv Tyler is the only direct contribution they make to the pre-Cascade story. It'd take some changes to account for that, but not many. Alternatively, since we already can't get past the fact that Cascade is just a reset button press and not a resolution in and of itself, we could leave them in as characters who show up, briefly, in an epilogue of sorts, framed solely through the POV of the original kids. (i.e., forgo all the "Your name is JANE CROCKER etc.) Maybe don't even give them lines. Leave it to the fandom to come up with their personalities.

The way I'm envisioning this is that we end the story as quickly as possible after Cascade, and by that I mean literally 15-20 pages where we show everyone speedrun the new universe with their incredible god powers, maybe with a few cathartic final conversations between the surviving members of the cast. The longer you go on post-Cascade, the longer you're going to be tempted to go on, to make its new elements breathe in their own right, and when you do that it's only a matter of time before you get sucked into the Act 6 Vortex of bringing back meaningful stakes, which you have to do from Ground Zero.

I'm actually a big fan of Act 6, which is where I feel like Hussie gets a lot meaner, a lot more combative with the readership, with some fascinating results. Most of Act 6's failures stem from the failure of its ending, which is a separate issue caused by Hussie losing interest in the project after the Hiveswap debacle. But if you're doing Act 6, you gotta really DO Act 6. You can't just do it halfway. All or nothing.

[dailylooneys]

Happy 90th B-B-Birthday, Porky Pig!

Yeap! Happy 90th Birthday to Warner Bros. first ever true cartoon star and the oldest continuing character in the Looney Tunes character.

After many (somewhat) failed attempts at creating a starring character for the very young Termite Terrace, many of them being Mickey Mouse-equse characters, such as Bosko, Foxy (most infamously and obviously) and Buddy....

.....there came a point in the mid-30s' where the directors, particularly Friz Freleng and Tex Avery, wanted to try and do something different, and that was to create a character who had a unique voice and embodied the soon-to-become irreverent style of humor of the WB cartoons.

First appeared in 1935's I Haven't Got a Hat, directed by Friz Freleng, part of the color one-shot series of Merrie Melodies shorts, was an attempt for Termite Terrace to see which character who appeared in the short could be there next star. Porky appeared in a somewhat supporting role in the film, voiced by Joe Dougherty, who had an actual stutter. The character's iconic stutter was inspired by a real-life pig guttering noise, according to Mel Blanc.

Well, I had trouble with, Porky, because he stuttered, and a lot of people said, "you can't do that". That's why I did it, because everybody was using falsetto voices, everything sounded the same. And I said, what can I do to make this character different? So I called up Warners' casting and said, do you got anybody who stutters? And they had this [Joe] Dougherty guy, who stuttered, and the guy could not just get through a line. And we were doing all of our sound on film then, there wasn’t any tape. If Jack Warner knew how much film I was using, I was through with animation. So I had to get somebody to mimic, and that was Mel. And of course, Mel can do anything. - Friz Freleng (”Friz on Film” documentary)

According to animation historian Jerry Beck, there was some thought that Beans would be the studio's next big cartoon star, as he would appear in a handful of shorts in the black-and-white Looney Tunes, while Ham and Ex were the only other characters of I Haven't Got a Hat to also make one more appearance, starring alongside Beans in The Fire Alarm (1936).

Goes without saying, nobody found Beans or Ham and Ex at all interesting, leading to Porky overshadowing them, and the rest is history.

From then on, Porky became the star of the Looney Tunes series, which were still in black-and-white up until '43. Like many classic cartoons character from the Golden Age of Animation, Porky's role varied from kid to adult character, to dealing with many everyday mundane things or having a specific position, including, but not limited to, farmer, hunter, waiter and zoologist, usually accompanied with other characters such as Porky's dad, Daffy Duck, Gabby Goat, or other one-offs.

The director who perhaps was responsible for giving Porky an even more distinguishing personality and design that we associated with today is Bob Clampett, as he was relegated to directing the main Looney Tune shorts up until the early '40s, which was possibly when Porky shorts were at their best.

(an image of the now-famous "blooper" (Breakdown of 1939) of Porky swearing, directed by Clampett, was made as part of a compilation of bloopers from live-action films, was screened during WB Christmas party reels, but was never released to theaters. This was made a year earlier before Gone with the Wind gained controversy for the use of the word "damn", as swearing was beyond prohibited in films up until the 1960s, when the Hays Code was starting die out.)

However, with the introduction of other, more colorful and quirky, mischievous characters such as Daffy Duck and Bugs Bunny, the directors would have admitted to having gradually grown tired of Porky as a character, even as early as 1939, he would play a very minimal role in much of the shorts, such as Porky's Hotel, Porky's Poor Fish, Meet Joe Dougherty and The Chewin' Bruin to name a few. Frank Tashlin infamously stated that he straight up hated Porky, referring to him as "a terrible character", due to the fact that a majority of the shorts he directed always starred Porky, finding him to be very inflexible, compared to his favorite character, Daffy. As a result of Porky's lack of popularity with the directors, Porky would end up becoming more of a side character, often alongside Daffy, Sylvester, Charlie Dog and so on, worked to Porky's benefit as not only did he continue to have sustained popularity with movie theater audiences, but the humor often derived from Porky being the most fairly grounded character being caught in the center of the character's wacky, off-the-wall personalities, or that when he's pushed to his limits, Porky will too snap!

"Nobody liked to work with Porky, because he was too square of a character." - Friz Freleng

Thankfully, this resulted in Porky never losing his popularity as he continues to be as world-famous and recognizable as Bugs, Daffy, Road Runner, Foghorn Leghorn, ect. After over 30 years, Porky would make his last appearance in the original theatrical series' in 1965's Corn on the Cop starring Porky and Daffy as Keystone Kops-looking cops trying to capture a crook whose dressed as Granny.

This cartoon has many significance: it being the only latter-day WB short he ever appeared in. The only Porky short directed by Irv Spector. And the only time Porky appeared alongside Granny, having almost the longest-lasting appearance of any of the characters in the original Looney Tunes and Merrie Melodies series, defeating only by Daffy Duck, who's last original appearance was in 1968 (31 years), near the ending of the original theatrical cartoon series and the closure of Warner Bros. animation department.

After the end of his movie career, Porky would continue to appear in many other Looney Tunes-related material, one of them being The Porky Pig Show (1964 - 1967) which is a compilation of various of the original shorts, an appearance on Tiny Toon Adventures as Hampton J. Pig's idol and mentor, and many more, especially more recently, one of the main stars of The Day The Earth Blew Up (2025) where we see him in his original Bob Clampett design.

So, despite not being considered the immediate favorite of either the creators (both the original and new) and/or casual viewers', we should not forget the importance of Porky Pig and the impact he left on the original Looney Tunes, and the franchise as a whole. I mean, we got a whole DVD set entirely dedicated to the pig himself:

[withlove-xixi]

— ANIMAL INSTINCT: laios x monster!reader

ᥫ cw: monster reader (thats it) ᥫ wc: 2874 ★ the idea came into my head like a prophecy from god lol + take this w a small grain of salt bc i havent actually read dunmeshi yet so idk if there's a monster like this in the story + idk what this type of monster is called? there's a term i know for it, but it's too specific and i kind of want you guys to have the liberty of imagining things (it will make sense in the fic + i explain things in the replies lol) cross posted on ao3

— LAIOS ACCIDENTALLY MAKES A NEW FRIEND

[♡]: laios knows that when he finds the rest of his party, he'll be scolded for getting separated in the first place (undoubtedly by Chilchuck). laios also knows that when he finds the rest of his party, he'll be scolded for dislocating his shoulder (undoubtedly by Marcille). laios also also knows that when he finds the rest of his party, he'll get scolded for bringing back a monster (possibly by everyone).

BEING ALONE IN THE DUNGEON WAS DANGEROUS; it was the thought ringing at the back of Laios' mind as he stumbles around, one arm limp from injuring during his fall and the other clutching onto it lightly, prepared to draw his sword at any given moment. He's not scared though, quite the opposite actually, Laios is excited. It's very rare he gets to explore the dungeon on his own, now he has the freedom to do as he pleases, to study different plant life and architecture, and of course, his favorite, monsters.

His heartbeat accelerates at the thought of running into one as his mind begins to wonder what it might be. Perhaps a new type of slime he hadn't encountered yet, or a rare type of mushroom found only in certain levels, or—

There's a chill that runs down his spine, the echoing voice of Chilchuck in his head telling him to get himself together first before he dies and gets eaten.

With a sigh, Laios listens to the disembodied voice of Chilchuck, dragging him and his belongings away from the rubble to assess the situation first. He took quite the fall, managing only to survive because he was quick enough to use his sword, wedging the blade between the crevices of the dungeon walls and it to slide down a bit, minimizing the intensity of his fall. Though he still dislocated his shoulder, it's nothing a bit of healing magic couldn't fix. And things definitely could’ve gotten worse, he could’ve died when he fell and his party could’ve never found him and he might’ve never been resurrected. Besides, Laios was always one to focus on the silver-lining; for one, he’s finally alone after traveling with his party for nearly weeks. He feels free, finally able to think and do as he pleases, something that’s become a privilege when he travels with his friends (though even now, the chiding voice of Chilchuck echoes in his head again, Laios could almost feel the half-foot’s presence.)

In any case, imaginary Chilchuck is right. If Laios stayed out in the open like this, he’d surely die. So he decides to explore a bit more to find a more secluded area to rest in. His feet take him deeper into the dungeon, into a dark corridor he normally would’ve had no problem going in had he had Marcille’s light, but this time he’s going in blind. Quite literally too. A chill runs through his spine and Laios’ good hand stays on the hilt of his sword, drumming his fingers against it as he continues to walk.

Now more than ever, Laios thinks about the importance of his party, the roles each member plays like cogs in a clock to keep each other safe and move forward in the dungeon. Laios, as happy as he is to have time to himself, misses his party — his friends. He longs for their company, he realizes how cold the confines of the dungeon’s stone walls are now that the warmth of his friends doesn’t surround him. As dejected as he might be about suddenly missing his companions, Laios focuses that energy into finding his way back to them, a newfound determination to make it back safe and go on as little detours as possible.

With perfect timing too because there’s a sudden sharp sound behind him, like the snap of a twig, that makes him instantly draw his sword and turn in the direction. It renders useless however with the way his eyes aren’t able to catch even a speck of light. With an accelerating heartbeat, Laios cautiously moves forward, sensing he's not alone in the dark and something is definitely watching him. He feels the unseen eyes follow his movements. But Laios can tell whatever it is has no intent to harm him, not yet at least, so he continues forward.

Perhaps it’s a small monster, he thinks, though he’s trying to be careful not to let his mind wander too much. Maybe it thinks I’m a predator.

The thought makes his stomach flutter in the slightest, allowing a small smile to grow on his face. It’s the same thought that comforts him as he ventures a bit further for what felt like hours, walking forward and carefully going over rubble before eventually tiring himself out. His limbs feel limp, sluggish even as if he had begun to drag his body to push forward. Lady Luck must’ve been on Laios’ side however — or was it that she took pity on him? — because he found himself in a clearing. The hallway had led to a small residential looking area, dimly lit with just one torch lighting the whole room, a small broken dining table and what seemed to be the remnants of a living space scattered around the vicinity.

Relieved, Laios sets his backpack down, hissing when its weight is shifted onto his bad shoulder. Quickly, Laios digs through his belongings, searching for some spare cloth to create a makeshift sling for his arm, though a small frown grows on his face, his eyebrows furrow and he’s met with disappointment as he realizes he’s not carrying his backpack. A black long sleeved shirt, a pair of socks, lock picking tools … Laios could hear Chilchuck’s angry voice ringing in his head again, scolding him for making the mistake. 

But Laios isn’t one to let these things bring him down. He mutters an unheard apology to Chilchuck as he takes the half-foots shirt, wrapping it over his shoulder and under his forearm, tying it tight enough it’s able to support the weight of his limp arm. It’s a bit too short but it would have to do for now. He winces, but only at the thought of the long sermon Chilchuck would have for him once he reunites with the rest of his party.

For now, Laios pushes the terrible thought of his impending doom away as exhaustion begins to lull him to sleep. He unfurls his (Chilchuck’s) bedroll and sets it near the torch, then he drags his (Chilchuck’s) backpack next to it. His stomach grumbles, a sudden piercing pain that feels like a punch in his gut; it’s his body telling him he’s hungry.

Not to worry! He thinks and mutters a second unheard apology as he begins rummaging through Chilchuck’s belongings for something to eat.

Though the more he digs through various changes of clothes and pouches of things he dare not know what of, Laios grows a bit more frustrated each time he pulls out something inedible. The closest thing he found to food was a small tin flask hidden in a pocket inside the bag; knowing Chilchuck, it was probably alcohol, and knowing Chilchuck, Laios was certain he’d be killed if he drank it. Not that it was tempting though, Laios was hungry after all. And he wasn’t too big of a fan of drinking anyway.

With a sigh, Laios decides the best choice would be to sleep through it and find something to eat in the morning. He grumbles to himself, something about his tummy hurting and how he hated waking up hungry. Regardless, he lays on the bedroll, shutting his eyes tight, ignoring the sounds his stomach is making, and allowing exhaustion to take over his body.

He smells something, it’s what causes his brows to twitch. Laios can’t tell if he’s even slept yet (he assumes he has since he feels less tired), but the smell causes him to stir. It’s something… strange. In a way, it feels familiar, something homey and comforting like the old books he used to love reading or the earthy scent of dewy grass. At the same time, something about it was new, something unique that Laios hadn't encountered before. His curiosity was piqued, though he was half-certain he was still dreaming.

That was until he felt something prod against his lips. Half-asleep and against his better judgment, Laios parts his lips slightly, coaxed by whatever was against them, and feels a warm liquid pour into his mouth. The taste matches whatever smell came before it, something a bit earthy or grassy and there was something else he wouldn't quite decipher. When he swallows and feels its warmth go down his throat, he realizes he is very much not dreaming and sits up, a bit too quickly since his vision immediately blurs. There was a small noise from somewhere in front of him, something he can't quite make out yet because his eyes haven't focused.

He sees something move, a haze of color reaching out towards him. Laios' hand instinctively reaches for where he left his sword before falling asleep, only to find it wasn't there anymore. Before he could do anything else the colors reached his forehead, something warm pressing against his skin gently. Finally his eyes adjust, focusing on the once blurry figure in front of him to see a person.

Laios opens his mouth to speak, but they're pulling their hand off him and reaching for something next to them. Dots begin to connect as Laios realizes they're holding a spoon, a bowl of what he's guessing is soup next to them. The person brings another spoonful of soup to Laios, who, having woken up hungry, cautiously opens his mouth for them to feed.

They smile gently at Laios when he eats it, seemingly admiring the way his face contorts to try and get a feel of the soup's flavor.

"It's good," Laios says when he realizes you're waiting for a response.

To which you smile a bit brighter and reach to grab another spoonful. While you do, Laios ponders on the taste of the soup, which leads to him wondering where you got the soup, which leads to him thinking about you. Who exactly were you?

Curious golden eyes begin to watch you to try and figure out who you were or where you came from — well, tried to begin because he quickly realizes you're naked. Flustered Laios jolts upright, which startles you. A hand reaches out for Laios' forehead again but he averts his gaze and raises a hand at you.

Confused, you tilt your head and Laios, sensing your confusion, vaguely points at your torso. Which only confuses you more; don't humans normally look like this?

With a frown, you crawl towards Laios, hands clasping around his hands to bring them down, coaxing him to slowly turn back towards you, careful not to look anywhere below your neck. You blink at him, waiting for him to say something.

"Are you not cold?" He asks, slowly like he's worried he'd offend you.

You shake your head and Laios fights the urge to look away again. He looks around the room for a bit before he grabs the blanket from the bedroll and flings it up and around your shoulders.

"At least have this on…" Laios says in a tender manner.

There are lots of questions and thoughts going through Laios' head right now. Who were you? You seemed nice, you didn't try to kill Laios yet, plus you fed him questionable but otherwise tasty soup, but who were you? Were you lost too? Also why were you naked, where were your clothes? If you were lost like him, it doesn't explain the lack of clothes. And where did you get the soup? The room looked like it had a kitchen so maybe it was from there. Oh, did you live here? It would make a bit of sense then, kind of. Also why weren't you talking?

There was the faintest alarm blaring in Laios' head (perhaps his voice of reason, Chilchuck, very furiously reminding him that stranger danger) but curiosity got the best of him, as it usually did. So he asks for your name.

He watches intently as you make gestures with your hands and sound out vowels first before answering. A bit strange, but maybe you just weren't used to talking. If you lived on a floor this deep in the dungeon in a secluded room, it'd make sense.

Laios offers an easy smile. "Do you live here?" He asks, his voice is soft and gentle like he's afraid to scare you.

You pause before nodding. "Some… times." You reply the same way you did with your name, pausing and sounding out the words a bit strange. Maybe you were foreign. He thinks with a curt nod. 

You blink at him before returning back to the soup, carefully feeding Laios another spoonful. He continues to think about the situation, about you, really. It's quite easy to pique Laios' interest, but never something that makes him this curious. You'd have to be a monster to do that.

As he thinks, you continue to feed him, wiping away some of the liquid that spills from his lips. He hums as he thinks, and is only pulled from his thoughts when he realizes you're mimicking the noise.

"Oh, uh, thanks for the soup, by the way. How'd you know I was hungry?" He asks, turning his attention back towards you.

In turn, you tilt your head. "So… Sou…?"

"Soup." Laios finishes for you, pointing at the now empty bowl then at his mouth. "Thanks for that."

He senses your understanding with the way you smile at him. Curious.

"Are you from around here?"

You shake your head. Your mouth opens but swiftly closes like you can't really find the words to use.

Laios flashes you a look of sympathy. "It's okay, take your time."

You hum as you think. "Run… here." You reply after a pause.

"Run…? You escaped? From where?"

You hum again, though your face quickly contorts to frustration as you really can't find any way to verbally explain things to Laios. There's a sound that comes from you, something animal.

Laios opens his mouth to speak but you cut him off. "Name?" You ask, pointing at him.

"Oh, it's Laios."

"Here?"

"Here…?"

"Why…? Here why?"

"Oh, uh… I got lost."

The conversation goes on like this, slow and patient. You ask questions to Laios the best you could, learning more about him while he learns more about you.

You're shocked when he suddenly points at a pile across the room. "Yours?" He asks.

He could tell from your face his hunch was right. Your eyes widen, mouth slightly ajar. He notices the slight tremble in your hands, the way you look like you're about to run.

"You aren't human, are you?"

Your lip quivers, panic slowly seeping into your veins as fear begins to settle. You had no idea what would happen next.

"Me— I…" You start, voice faltering. "Human!"

Laios looks at you and you can't tell what face he's making but his eyes are intense, golden and piercing. You swallow and shut your eyes tight. Were you going to die?

There's a shuffle, you sense it's Laios getting up, you fear it's to get his sword. Instead you feel a gentle hand on your shoulder.

"Here." Laios says, pressing something warm against you. "Must be weird being out of your skin."

Slowly you open your eyes. In his hand is this big fabric like sheet, it's thick and there's a strong musk that comes from it; it’s an animal’s hide. Specifically, your hide.

Shakily you take it in both hands. You look up at the tallman cautiously.

"No —" you hum, thinking "— No… hunt?"

Laios shakes his head. "No hunt." He parrots, voice firm yet gentle, it was reassuring in a way. "Is that why you escaped? You were being hunted?"

You nodded. That made sense; after all, monsters of your rarity have become somewhat of a trophy back up on the surface. You must’ve been hunted down before, probably by other adventurers looking to make some more money. 

“I won’t hurt you.” He says so easily it could only be the truth. “I’m… actually really happy to have met you. I’ve heard stories from sailors back then about these seals that could shed their skins and turn into humans. I suppose you’re something like that huh?”

You nod a bit. Then you point at Laios, then back at yourself. “Friend?”

It takes a while for Laios to register what you’re trying to tell him and when he realizes and nearly jumps up, the jolt startles you. “Friends?” He asks, his voice loud and beaming with excitement. “You think we’re friends? You want to be friends?”

You stare at him with furrowed brows before you nod slowly. “Laios friends.”

His hands fly to your shoulders, grabbing you. Confused and a bit frightened, you look back and forth between him and his hands, Laios remains unaware, smiling really brightly at you, his cheeks flushing from sheer excitement.

“I’ve never had a monster friend before!” He tells you, his joy evident in his tone. “You’re my first! Have you had a human friend? Am I your first too? I can’t wait to tell the rest of the party! I’m sure they’ll like you?”

You open your mouth to speak but you’re quickly cut off. “Tell us what, dumbass?”

Oh. Suddenly Laios remembers all the things Chilchuck would scold him for, and he realizes he’s about to add one more thing to that list.

[lisannastraussisanangel]

Do you have any darker/sadder fairy tail headcanons?

(Trigger Warnings for Homophobia and Suicide)

Some of mine include:

The Strauss’s parents are still alive, but they were part of the crowd that turned on Mira. Elfman and Lisanna ran away to stay with her.

Fried was raised in a high society family, but was disowned after coming out to them.

Gray did attempt suicide once when he was a teenager. A few months later when Lisanna “died”, he saw what that did to everyone else in the guild and swore to never try it again. It took something as extreme as what happened on Galuna to push him past that edge again.

Like Medusa, Evergreen’s stone eyes were actually a curse. She hated herself for them until she met Fried and Bickslow and saw what they could do with their eye magic.

I'm a big fan of sad/dark headcanons. I really like those! Especially the Strauss one. Imagine the parents being the first to turn on them and the heartbreak they went through

Let's see what I can come up with...

Dark themes below

As much as Erza tries, she hasn't fully forgiven Jellal. Sometimes she'll have flashbacks to what he did while their alone and has to fight it down. She loves him and trusts him, but part of her will always fear him (he's noticed these random moments and it kills him)

Similarly, Lisanna flinches when Elfman lifts his hands. Everytime she thinks he's going to hit her like he did all those years ago. At first it was just when he was using his takeover but now it's all the time. She doesn't know why it's getting worse

Juvia was sexually abused when she first joined Phantom Lord. She trained hard to protect herself and that's how she became S-Class. It was all about survival

Natsu self harms. He doesn't realize he's doing it because it's not the 'usual' methods. One of the main things he does is shred his skin with his nails/claws. He plays it off as training injuries

A lot of the women cannot have children or have really hard pregnancies because of all the injuries they've sustained. Specifically Juvia, Erza, Kagura, and Ultear cannot have kids. Levy, Lucy, Minerva, and Kinana would have very complicated pregnancies

All of the children of the tower of heaven have a hard time taking jobs that require construction. The PTSD of being slaves will never leave them. A lot of them actually can't do any building at all without having breakdowns. (This is why Erza takes on a leader role when rebuilding the guild. She wants it done as fast as possible to minimize the chance of having an episode)

Wendy's fear of abandonment is way worse than she lets on. She has nightmares constantly about the entire guild disappearing again, her friends dying, or worse. When people go on long jobs, she often gets antsy and needs to be reminded that they will return and are safe. Carla can barely leave her side most days

[meanderfall]

Been watching the 2003 tmnt show, and obviously I went in with some knowledge of who the turtles are and their roles and personalities, but it's been kind of fascinating to notice how Leonardo is actually pretty restrained in acting as a leader, at least in the more traditional sense (and from what i've seen so far in the first 2 seasons).

The moments where he actually directly takes charge of a situation and tells his brothers what to do, or puts his foot down on what he thinks is best, are actually few and far between. It usually only really crops up in life-or-death situations, or if his brothers are arguing over a course of action and he has to intervene.

To be honest, I think his more common leadership moments are understated to the point of barely being noticeable, and it's whenever they have a problem or situation to deal with and he turns to his brothers for suggestions on what to do. And the reason i consider this to be leadership moments are threefold:

First, by doing so, he's actually helping direct their focus on possible solutions or weak points, because his questions to them are never "what do we do" but more like "how can we distract the guards" or "is it possible to take down this machine", and like, listen. Listen. As someone who works with the general public and is one of the "leaders" of my department and has to guide my co-workers, the ability to assess a situation and even just know what kind of questions to ask to reach a solution is genuinely an underrated skill that far too many grown ass adults have not cultivated.

Second, he's actually keeping the line of communication open between him and his brothers. Sure, Don is usually the turtle who provides an answer, but Raph and Mikey are always welcome to speak up too and sometime they go with their ideas! I also think this makes them comfortable enough to speak up during more high pressure situations that aren't going great when they have a plan, bc they have full confidence that Leo and the others will back them up bc Leo really is always encouraging them to think and help him figure out what to do,

Which brings me to my third reason. By asking them for their thoughts and advice, it shows that Leonardo is willing to admit that he doesn't know something and he isn't afraid to look for them for help (at least in this regard lmao). And idk about yall but I'm much more willing to follow someone who won't pretend he has all the answers and is willing to seek advice, over someone whose ego is so big they can never admit to being wrong or humble themselves to ask for help.

And, like, I don't really know what came first, if, growing up, they were so close and good at working together that it never occurred to Leonardo to be more authoritative with his brothers now that they're a team, or if because Leonardo spent so much of their childhood more concerned with running after them and bailing them out of whatever scraps they get into and low-key knew telling them what to do wouldn't work that he just naturally fell into a more communicative and "we're all in this together, let's figure out what to do together" style.

But it does give off the impression of the brothers being a tight-knit team that pretty much work as one unit. Any friction between them is minimal at best (with most of it actually being between Mikey and Raph who take any opportunity to mess with the other). They don't really need to outline plans bc they're usually on the same page in the first place, and they have complete trust and faith in one another in getting the job done. No one is really in charge until it's necessary.

And, finally, all of the above combined is why I think his brothers usually listen and respect Leo on the rare occasions he does put his foot down on something. They know he wouldn't do it unless he was serious about what he's saying. Pretty much the only times they don't are when all 3 of them are united on wanting to do something and Leo was already kind of wavering on what to do, so they know they can rush ahead and big brother will rush after them to make sure they're okay. Or if they are also absolutely serious and fully believe in their own opinion on an issue (see the City at War arc where Leo and Raph are on complete opposite sides of the issue at hand).

but i still got 2 and half seasons to get through so maybe that changes!

[stillness-in-green]

Sorry if this question rubs you the wrong way, but wouldn't going out of their way to try to help villains to the absolute extreme that you propose be a bit suicidal? I feel like trying to talk no jutsu criminals like Moonfish who's a serial killing canibal, or Muscular who doesn't have any actual reason for commiting violence against others other than he enjoys it, would end up getting people hurt or worse.

Idk, maybe my perception is skewed because my country has problems with the justice system being too lenient with criminals, but then striking hard against honest folk.

Like, let's say heroes try to talk to Muscular about his feelings and stuff, and he just beats them to death. So should they arrest him and take him to jail now, or should they respond "understandable, have a nice day" and let him carry on with his rampage and try to talk no jutsu him the next day?

I’ve had enough exchanges with you, rvg, to assume you don’t mean it this way, but I gotta say, this is an incredibly fallacious way to frame the “talk to Villains” discussion.  I wrote two responses to this, first a characteristically long and rambly response which you and anyone else who’s interested are free to read below the cut.  The second response is much shorter and is here above the cut, if only for those readers who think it’s a waste of time to try and give a sincere answer to what reads like deliberate reductiveness—though again, I don’t think that’s your intent.

Here is my model version of how Heroes should engage with Villains:

Step One: Heroes should put in a basic, good faith effort to defuse and de-escalate every Villain encounter they have with the tools and knowledge they have available; the ideal result is that the Villain will choose on their own to stop presenting a danger to the public. ��    

Step Two: If that is not feasible for some reason, or if it is ineffective, then the Heroes should make all possible efforts to arrest the Villain with the minimal possible harm.      

Step Three: If there is an immediate threat to the lives of bystanders and there is absolutely no way the Heroes can come up with to stop the Villain non-lethally, then there should, afterwards, be an investigation into the death of the Villain and all Heroes who were involved should have to face questions about their role in the situation and their decision to use lethal force.  Measures should then be implemented to help prevent the situation from arising again in the future.  A Hero killing someone should by default be treated as a punishable failure, not a victory.

That’s it!  That’s all there is to it!  Try talking first, then try arresting, and if killing is truly the only way, be ready to explain why.  That step-by-step should be the standard, and if there are going to be deviations from it, they should be exceptionally well-justified by both the characters and the narrative.  If that’s not the standard, then I think it’s a key thing we need to see the protagonists confronting and changing.

Hero Society is obviously in the not-the-standard camp: most of the Heroes spend most of the series jumping straight to Step Two, totally skipping Step One; there are then multiple instances of Step Three being botched completely, with non-lethal tactics being discarded or ignored and lethal force being accepted without question or resistance.  By the end of the series, a tiny handful of Heroes are now hesitantly attempting what should have been their very first go-to, Step One, but their prior reliance on Steps Two and Three make the Villains much more resistant than they might have otherwise been, which reenforces the push towards lethal force in a society that will still not enforce any consequences for it.

This would all be more forgivable if not for the way BNHA positions its Heroes, as lawful defenders of the status quo in a basically modern version of Japan—i.e. they’re cops but the story either doesn’t want to saddle them with the responsibilities real cops would have or else Horikoshi has some alarming views that treat said responsibilities as bothersome administrative red tape.

Therein is my fundamental complaint: BNHA makes the choice to frame its Heroes as being basically specialized police but then disregards or attempts to minimize how that framing colors the Heroes actions’ and decisions, especially with regard to the Villains.  My thoughts on what the Heroes “should” be doing are nothing more than taking that framing (Heroes = cops) to its logical conclusion and asking the story to treat the Heroes accordingly.

Below the jump, find the longer version of this answer, which contains more picking apart of the ask’s premise, more references to the canon and to real life, and an extended discussion about the non-Hero institutions in BNHA that are in some way responsible for Villains and what Heroes’ obligations are re: those institutions.  It is, in other words, the version of this answer that’s 4000 words long instead of 500.  Reminder that it was the version of this answer that was written first, so pardon any recycled phrasing or reiterated rhetoric.

I’ll just start by re-pasting the question…

What I think is that there is a lot of air between “beating up Villains while being more concerned about the news camera catching your good side than you are about talking to the human being you’re pummeling” and “trying to talk to the Villain but just shrugging and letting them carry on if it doesn’t work”.

A perennial response Villain fans get when they talk about this is an exasperated, even outraged, “What, so you’re saying Deku should just let Shigaraki kill him or innocent people?!”  And like, no, that’s not what we’re saying at all, and it’s a really reductive, bad faith characterization of the argument.  So I want to talk first about what Villain fans are saying, and then I’ll circle back to your question about trying to talk no jutsu the really bad news Villains and what Heroes should do if that talk no jutsu fails.

First things first, and to get it out of the way, not all Villains are on the level of Muscular or Moonfish.  For the vast majority of the series, the numeric bulk of Villains are just street criminals.  It would not be a life or death struggle for Kamui Woods and Mount Lady to try and talk down a purse snatcher together.  There is so much room for positive change in how Heroes engage with street-level Villains that just gets glossed over entirely when people want to spin-kick the argument all the way to S-class threats like post-surgery Shigaraki.

Note how handily and briskly Hawks deals with the nudist flasher guy when he’s walking around town with Endeavor—he doesn’t even glance in his direction.  Would it have been so impossibly hard to use his feathers to pin the guy’s coat back together and then cheerfully ask him why he went and did a thing like that?

So just keep that in mind, first of all: for the vast majority of what a Hero does day-to-day, especially the powerful ones who are way up near the top of the rankings, there are options available to them beyond “immediately resort to extreme violence” or “give the Villain a thumbs-up and walk away, whistling to cover the sound of civilian screams.”

But okay, how about with the more dangerous Villains?  Well, the point still stands: multiple heroic characters throughout the manga show themselves to be entirely capable of carrying on a conversation—be it with the Villains or with Hero allies—while fighting.  Mirio is able to temporarily keep ShigAFO talking and distracted by simply asking him a few basic questions; he and Nighteye both are able to get at least some answers out of Overhaul(!) just by asking about his intentions. Ochaco and Toga have coherent conversation every single time they fight.  Hawks and Twice have a whole argument while fighting.  As soon as Shouto can be bothered to talk to Dabi, Dabi’s eager to spill his whole backstory to him.

Shigaraki in particular comes off as desperate to share his grievances practically every time Heroes encounter him, and that only stops being true at the very end—and even there, it might be less true if that green twit fighting him could have been arsed to just fucking ask him, “Hey, last time we fought, when we were in the same headspace, I saw an image of you crying with a dog.  What was up with that?”  Deku doesn’t have to stand there with his hands in the air while asking!  As all the examples cited demonstrate, Heroes are more than able to fight and talk at the same time.  So why don’t they try to make that talk a little more actually useful?

What I’m saying is simply that I would like it if less of that conversation were dedicated to Heroes giving moralizing sermons about how bad and unforgiveable Villains are and a lot more of it were dedicated to Heroes just asking why the Villains are doing what they’re doing, and letting the conversation go from there, fighting defensively and keeping the Villain focused on them as much as they’re capable of doing.  We see the results in the series when Heroes bother trying this—think Deku’s results with Gentle Criminal or Ochaco’s with Toga—so it’s damning that they don’t try it more often.

The likely explanation is that professional heroism as a matter of practice and culture does not tend to bother with de-escalation tactics; after all, while you’re standing there trying to talk to the bank robber, some other Hero could easily be coming in for the take-down, and then they get all the credit and glory and not least the pay.  The whole system is geared towards rewarding fast, uncompromising takedowns, ignoring the possibility of more peaceful, productive resolutions in favor of stopping the Public Disturbance as quickly as possible, because it’s more important to stop random civilians feeling inconvenienced than it is to maybe try addressing a Villain���s issues so they stand down themselves and are less likely to become hardened criminals.

Heck, even Deku really only gets anywhere with Gentle because his first instinct—shutting down the fight right away with a Smash—gets him rebounded off an air trampoline with enough force to knock him back nearly a neighborhood block.  The defensive, evasive nature of Gentle’s power means it’s difficult to hit him directly, and Gentle’s personality was such that he kept talking while Deku was figuring out how to beat him.  That talking was really what gave Deku enough insight to trigger his empathy, so he started returning the conversation in ways that he never did against e.g. Stain, AFO, or in his first fight with Muscular.  He didn’t lead by asking why Gentle was invading his school, though; he just ordered him repeatedly to stop.

Heroes and, in turn, the kids, just don’t default to trying to talk to the Villains.  We see that they can, they’re just not trained to, so it becomes a tactic of last resort, or of distraction, or, finally, as being the result of moments of connection that make them incapable of continuing to ignore the Villains’ humanity.  But when it’s a last resort like that, when they don’t bother asking questions until after the Villains have been pushed past the point of wanting to engage, everything gets so much harder and more dangerous.

Look at Shigaraki and Toga.  When Deku and Ochaco initially encounter them, the kids’ first response is basically just revulsion and terror.  And like, okay, they’re students, newly fledged Hero Course trainees.  They shouldn’t have been facing real life Villains for another two years, at least!  So it’s not surprising that they don’t know what to do and don’t react in the most empathetic manner possible.  I’m not blaming them for that.  But I do want to ask what would have happened if their classes and the Hero culture were more focused on attempting dialogue with Villains.

All Might at USJ writes Shigaraki off as a faker with no real beliefs, and Deku at the mall calls him an incomprehensible cipher, but what if either of them had instead asked Tomura why he was there and what he wanted, then asked follow-up questions from there?  How much earlier might they have found out that Shigaraki had some tragedy in his past that he blamed All Might for not saving him from?  What might finding that out early on have led them to change about how they approached Shigaraki in subsequent encounters?

If Ochaco and Tsuyu had asked Toga why she attacked people, then followed up on whatever answer Toga gave about liking blood with some questions about consent, how much sooner might they have found out that Toga spent her whole life feeling ostracized and repressed because she was convinced by the adults around her that people finding out she craved blood would make her a freak in their eyes?  How might they have engaged with her differently if they realized her parents had been verbally abusing her since she was three years old?

But we also don’t have to stop with U.A. types!  Toga went on the run at only 15—how many times did she have had close scrapes with arrest before the training camp attack?  How many other opportunities were there for someone to talk her down before she made it to the League?  Heck, even all the way to the end, if the green twit hadn’t just insisted on antagonizing Toga one last time for the road—as if he’d learned nothing at all since the mall scene!—how much more easily might Ochaco have been able to engage with her?  Maybe if Toga hadn’t set her mind to embracing Villainy because Deku functionally became yet another person calling her a freak, Ochaco could have gotten to the breakthrough point before Toga stabbed her in the gut?

I’ve been talking about the more sympathetic Villains here so far, but all this goes for the rest of them, too.  Sure, Moonfish is a cannibal serial killer now, but was he always?  Or was there a time when he was just like Toga, a teenager wrestling with quirk-driven hungers who was abused and ostracized for them?  I’ve thought, from time to time, about the idea of a League ageswap AU, where Moonfish is that scared but defiant teenager who’s been pushed over the edge and done something violent, but is not yet past saving.  Conversely, it’s all too easy for me to imagine a Toga who was never captured and never shown any compassion growing into an adult who fully embraced her vampire serial killer reputation and “deviant” hungers to become just as much an alleged monster as Canon Moonfish.

How about Muscular?  Was he always a violent sadist?  Was it impossible that he could have grown up to be anything else?  Could that taste for violence ever have found an outlet other than murder?  Could he have gotten into underground fighting, like Rappa?  Could he have become a Hero like Mirko, always hungry for a better challenge than she’s getting?  Quite frankly, even if Imasuji Gouto was a violent little bully who killed neighborhood pets as a child, he still deserved some kind of intervention—psychological counseling, medication, more acceptable outlets, etc.

How many Villains would HeroAca!Japan be spared if the people in power were more focused on intervention and rehabilitation at every stage of a Villain’s life and career?  Why do Heroes think it’s helpful or necessary to tell everyone in earshot their personal opinion about the unforgivability of their opponents?  Why is it such a problem for some readers when Villain fans point out that a lot of issues could be sidestepped entirely, and the HeroAca world considerably bettered, if the Hero Industry were less focused on showy grandstanding violence, less terrified of the optics of being anything other than maximally harsh on Villains?

That all said, that’s the nuance of what I want when I say I want more talk no jutsu.  But let’s go back to your question—what should Heroes do when they run into Villains who can’t be talked down?

Say that all the interventions and counseling programs have failed, and someone—some mother’s son, some father’s daughter—has grown up to become a Villain.  And not just any Villain, but a really dangerous one.  What do?

Well, I do still want to see Heroes try to talk first, unless they have some reason to believe talking won’t work, like knowledge that knowing that efforts in that direction have already been made and documented in previous encounters between law enforcement and the Villain in question.  There’s also some flex here based on how capable of dragging out an encounter the Heroes on-scene are, and how much danger any bystanders would be in—I would want more effort from someone who can hold their own for long periods like Deku than e.g. Manual.  But like, anyone can yell a few basic questions about motivations to see what sort of response they get.

But say our Hero is up against someone like Muscular, who just laughs off questions like that.  What to do then?

Then arrest him.

Seriously, this is not that complicated.  I’m not asking some run-of-the-mill Hero to get their arms ripped off trying to give battle therapy to Muscular!  But I do want Muscular to get therapy, or at least be offered it, once he’s no longer presenting an immediate threat and those conversations can happen in a safe environment.  And if he doesn’t accept it,[1] I still want him to be treated as humanely as reasonably possible in prison, with the therapy option always on the table if he ever wants to try it.  I also want his prison term (even if it’s for life) to not involve methods of punishment that are considered by the United Nations to constitute torture, like Tartarus’s apparent extended solitary confinement.

1: Perhaps because he would rather rip his own arms off than talk about his feelings or waste any more time getting analyzed by shrinks than he already has; pick your poison based on why and for how long you think he’s been killing people.

I truly do not have any problems, ethically speaking, with Heroes arresting dangerous Villains.  My problem has always been that Hero Society is comprehensively awful in how it treats those who don’t fit neatly into society’s little boxes.  Their social support networks are full of holes, their law enforcement is financially disincentivized from attempting de-escalation, their judicial process is completely invisible, and their prisons are concrete holes that only serve to make people worse, as we can see clearly in the case of people like poor Ending—already unstable when he was first arrested by Endeavor, but so blatantly suicidal when his sentence is up that the literal first thing he does after release is to investigate Endeavor’s personal life so as to find a way to goad Endeavor into killing him.

Now, sure, Heroes are not responsible for prison policies and practices; those are under a completely different part of the criminal justice umbrella.  Nor is it up to them to determine how e.g. financial aid programs or family services work.  But I want Heroes to be better in the ways that they—personally and professionally—can be, and I want them to be cognizant of the flaws in the system they uphold.  I want them to have some basic intellectual curiosity about the Villains they fight—why they turned out like they did, if they can be helped, and what’s going to become of them after the Hero hands them off to the police.

Like, what is All Might’s opinion on Tartarus?  He spent 30+ years fighting for the society that maintains it—does he think or care at all about the fact that some extremely damaged, abused people wind up in there after he gets done beating them up?  And if he doesn’t, what does that say about him?  What would Ochaco have done if Toga had lived and said she’d rather Ochaco kill her than let her go to prison forever?  Does Shouto think now about the family situation of every Villain he fights, or did his ability to care about “some mother’s son” begin and end with his mother’s son?

Obviously, Heroes stop Villains all the time; I’m not asking them to do deep dives into the history and treatment of each and every one.  I just want them to ask the questions they can while the Villain is in front of them, and to care about the state of both the systems that produce Villains and the ones tasked with their care.  I think that when handing people over to state custody, Heroes have a responsibility to be meaningfully confident that the state won’t abuse that custodianship.  If they aren’t—if they truly don’t give a shit about what happens to Villains once the police van door swings closed—then in my view they’re no different than any professional who shirks their duty.

So many people insist that the kids—that Heroes in general—have no duty to care about the Villains, but to me, this view comes off as wildly ignorant about the wide variety of jobs in the real world that do, in fact, confer a duty of care.

If…

…a teacher sees a child with unexplained bruises but doesn’t bother to do their due diligence as a mandatory reporter—

…a prison guard leaves a handcuffed inmate alone in a room with a fellow warden wearing brass knuckles—

…a medic doesn’t speak up when a flight attendant asks if there’s a doctor on the plane—

…a bartender just keeps on serving someone who’s obviously intoxicated and then lets them stumble out the door to the parking lot—

—then they are shirking their duty.  There is no shortage out there of examples of this sort of responsibility, one that you can be held legally responsible for, one that you choose to accept when you sign up for the job.

Heroes are not Samaritans doing the work out of the goodness of their hearts; they’re not vigilantes just trying to keep their own patch safe.  They’re government employees, crucial members of the lawful system they represent.  They have to care—not personally, not individually, but on a professional, structural level, they have to care about the people they fight because the system has to care about those people.  And if the system doesn’t care, the system has to be changed.

I'm segueing here into real life stuff, so let me note as a disclaimer that what follows is based on my cultural familiarity with American policies, as well as periodic research into that of other nations. I don't know what country you live in, rvg, so I can hardly speak to its crime-and-punishment situation. This is all a lefty American's opinion on what reading she has done about American, Japanese, and, in the case of this particular post, Scandinavian criminal justice systems.

That said: in real life, de-escalation works.  One of the things you’ll often see talked about in police reform/abolishment circles is that the police are, quite frankly, doing too much work.  Or, more specifically, they’re doing the wrong kind of work, work for which their training has not prepared them and which other groups would be far better suited to handle.

Here’s an article on offering a campus police force de-escalation training and the resulting 26-36% drop in injuries suffered by both civilians and officers; it also talks about how de-escalation tactics are used by SWAT teams but regarded with suspicion by patrol officers, with this quote being particularly telling: “[Special operations] officers were taught to use time, distance and cover to their advantage.  For patrol officers, time was viewed as 'The more time you give a suspect, the more danger you're in.'”  De-escalation is not the usual training patrol officers get, so it runs against their gut feeling, despite its proven effectiveness—compare this to BNHA’s repeated focus on speed in shutting down altercations.

Here’s an article on the results of a test run of a program in Denver, Colorado, in which police officers were completely removed from response teams to 911 calls about situations considered low risk (drug abuse, trespassing, welfare checks, etc); instead, teams of mental health specialists and paramedics were dispatched.  Reports of nonviolent crime dropped 34% over the course of the time the program ran, and the direct financial cost of the response was four times lower than sending police.

The classic dramatic image of this sort of thing is the hostage situation—and when I looked into it, numerous articles said that containment and negotiation tactics have over a 94% chance of resolving hostage crises without fatalities!

The common element in this sort of thing is refraining from showboating displays of force, loud assertions of power and authority, arguments, moralizing, threats, and so forth.  Far more effective is listening, active attempts to communicate and understand, not throwing one's weight around and not rising to aggression even when provoked.

Meanwhile, on the carceral side of things, restorative justice leads to greater satisfaction from both victims and perpetrators, more feeling that they were listened to and respected, and increased belief that justice was served.  While the evidence on its impact on recidivism is mixed, it certainly doesn’t seem to be less effective than traditional retributive justice, and may well be considerably more effective if combined with programs that focus more specifically on lessening recidivism than restorative justice alone (research is ongoing).

This article on how “cushy” Scandinavian prisons are far more effective at reducing recidivism than their much harsher, bleaker American counterparts argues that a crucial factor in reducing recidivism is minimizing the amount of resentment criminals bear towards the system.  When perpetrators can point at unjust or disproportionate punishments, cruel treatment by wardens, rejection by society, etc, it’s much easier to stew on resentment, to turn nastier themselves, to blame outside factors.  Conversely, when life inside prison is made as much like life outside prison as possible with the key difference being the crucial deprivation of freedom, that resentment is defanged, leading to more more self-reflection and willingness to accept responsibility. And again, it works: Norway is a world leader, with their recidivism rate being a mere 20% compared to the U.S.’s nearly 77%.

The studies and the evidence for this stuff is out there, it’s just fighting this huge, ugly uphill battle against people who care far, far more about inflicting punishment than they do actually improving outcomes.  And so much of that is based on cultural values—what people believe, what values they’re taught. That's where pop culture comes in.

That last article I linked above talks about the efforts made in the U.S. to turn prisons into a for-profit industry, and how demonizing criminals to encourage maximum sentences helps that effort; here’s another on how U.S. police departments rehabilitated the popular image of the police in the early part of the 1900s as bumbling fools or a corrupt gang by consulting on the writing of police procedurals, most crucially starting with Dragnet in 1951, but continuing even today.  Here’s one on a growing concern in Japan about the relationship fostered between TV studios and police when police permission and cooperation is required for filming those popular reality TV police documentary programs.

Mass media and pop culture informs this stuff.  True, Horikoshi is not having to get his work cleared by a police PR department to publish it, but you can see from the above how the police have used and do use mass media to polish up their image; they see it as an effective tool to use because it is.  And the closer to our reality a work of fiction is, the more obviously it resembles the world around us, the more it seems to purport to moral instructiveness, the more true that becomes.  That’s why I criticize BNHA much more harshly than any number of other manga or anime I follow where Good Guys Kill Bad Guys all the time and no one thinks twice about it: because those series aren’t parading the Good Guys out as Japanese citizens working with Japanese police under Japanese law to maintain the rosy image of the Japanese status quo.

I’m long past the point where I’m just rambling, so I’ll wind it down here by pointing out this: Horikoshi also thought that things in his world needed to change.  As much as I loathe BNHA’s endgame and think much of its epilogue is trite shoulder-patting pablum that fails to meaningfully address the setting’s real problems, multiple aspects of Hero Society were at least nominally challenged and subsequently changed: citizen inaction, the dominance of professional heroics as a career path, the diminishment of non-Hero careers, quirk-based discrimination.  As a direct result of the main characters’ efforts to address places where the old system was failing people, the incident rate of Villains is decreasing.

The fact that these changes are made provides in itself the evidence that they needed to be made. I think they need to go further still: my number one greivance with the epilogue is that we've seen all these changes aimed at reducing the numbers of Villains that arise in the first place, and that's nice and all, but we don't see any evidence that the Villains that do arise are treated any differently than they ever were, not even the common purse snatchers, much less the serial killers, the cannibals, and the terrorists.

So, should Heroes have to get themselves nearly killed trying to reform a Villain?  Ideally no, but that assumes a world where Heroes are working in concert with a bunch of other people who are also dedicated to preventing, reforming, or rehabilitating Villains.  If none of that other personnel infrastructure exists, then, well, to paraphrase Nedzu, someone has to take the first step.  Why shouldn’t it be the combat-trained professionals with shounen battle stamina who also happen to be the main characters?

[spaceprincessleia]

Rebels with(out) a cause

Here are some points I want to talk about regarding Vel, Cinta and storytelling:

It’s Vel’s story, not Cinta’s (Intention)

Vel in season 1 – and Cinta

What kind of story did we get?

The mess (Outcome)

The impact of queerness and race on the story we got

The story we should have got (Fix)

My conclusion

Feel free to dive into 1269 words of analysis. Good luck if you do.

Disclaimer: This is just an opinion and doesn't consider every aspect ever. Also, I don't read (many) interviews with people involved in the show or listen to/watch analyses. I really just had an itch to write down my thoughts, and they turned into ... many thoughts.

Also, this is an analysis that points out storytelling flaws. I love Vel and Cinta deeply, their story overall makes much more sense than the parts that could/should have been better, and I'll forever be happy that we got these characters and their relationship.

It’s Vel’s story, not Cinta’s

Andor introduces us to characters at important moments in the rebellion. Backstories are often reduced to minimal context (except for Cassian’s, because he’s the main character).

One of these stories is about a “rich girl” who walks away from privilege and wealth to fight the Empire directly – unlike a politician working from within the Senate. That’s an angle we haven’t really seen before, and we explore it through Vel – why did someone with her background join the fight?

To tell that story, Tony Gilroy created Cinta as Vel’s narrative foil, aka a marginal role and not a fully independent character. So, she wasn’t written for more screen time or deeper development; we were never meant to learn how she joined the rebellion, where she came from, or how she and Vel met.* Also, Cinta’s angle isn’t one we haven’t seen before.

* If anything, we do know why Vel and Cinta are (were) in a relationship: to contrast the protagonist, Vel, to highlight her choices, conflicts and growth. That’s not the in-character explanation for their love that we want, of course, but a meta explanation – the relationship exists for the story’s structure, because that’s how Tony decided to tell it.

Vel in season 1 – and Cinta

In season 1, we see two sides of Vel: she’s trying to become a leader and find her place in the rebellion (emphasis on trying), and she’s in love with Cinta. She wants both, but clearly struggles to find balance. Cinta is the opposite: she knows exactly why she fights and puts the rebellion first.

After the Aldhani heist, Vel and Cinta are worlds apart, both literally and figuratively. Vel ends up on Coruscant, no longer looking like a ground soldier, while Cinta returns to her role on the frontlines. Their priorities contrast as well: Vel becomes more caught up in her emotions, while Cinta remains focused on the rebellion.

We learn a little bit more about Vel, too, through Mon, Cinta and Perrin (for example that she’s Mon Mothma’s cousin, that she comes from a life of wealth and privilege, and that she grew up in a conservative, possibly homophobic society).

By the end of season 1, the focus is very much on Vel and Cinta’s relationship, and not on just Vel and her “why.”

What kind of story did we get?

Instead, Vel’s relationship with Cinta became the main point of her character – and the exploration of her “why” disappeared. The story focused almost entirely on their dynamic, and as a result, Cinta evolved into more than “just” a narrative foil. She became a character, and the one with more narrative clarity.

Therefore, many of us expected to see both of them grow/change individually in season 2 as well as a conclusion to their relationship.

And we did get both in season 2: they changed, and they found balance. They could love each other and still work well as a team dedicated to a common cause.

So far, so good, right? *record scratch* Well ... no, actually.

The mess

There are three points here that add to the mess of Vel and Cinta’s arc, in my opinion:

Firstly, all of Vel and Cinta’s character growth happened off-screen during the time skips. There’s no build-up to the conclusion of their arc, it’s resolved in minimal screen time. Vel’s core motivation is still unknown and it can’t be explored through her relationship with Cinta, since Cinta is killed off in episode six. Wasn’t exploring Vel’s core motivation the whole point of her character though?

Secondly, If Cinta’s death was supposed to become Vel’s “why,” the missing part in her arc, then that doesn’t work. Vel isn’t a new recruit, motivation doesn’t come after you’ve already committed, and if Vel only really starts fighting because of Cinta’s death, it reduces everything Vel did before.

And thirdly, things get even more complicated when we address what we haven’t yet: Vel and Cinta are a queer love story, with Cinta portrayed by a queer woman of color. And all of this matters, whether it was intentional or not.

The impact of queerness and race on the story we got

Tony tells a story here that generally works regardless of gender, sexuality or race. There’s nothing wrong with creating a marginal role (like a narrative foil) and even killing them off to advance another character’s arc.

But stories don’t exist in a vacuum. Even if the focus isn’t on identity, they become part of the story, and should be considered within the story (the vacuum) as well as the context of the real world.

Andor touches on queerness beyond just the portrayal of a same-sex relationship: for example with the line “Everyone has their own rebellion,” delivered by a queer character from a conservative, possibly homophobic society.

While the line refers to people from different backgrounds who join the rebellion for different reasons, a queer audience will pick up on a more specific meaning in that context, too. Because to many, being queer is a “rebellion” against the norms of a heteronormative society.

Additionally, the marginal character whose primary role is to support the development of a protagonist is portrayed by a queer woman of color, and the protagonist is white.

Considering both of these aspects, Tony Gilroy tapped into a long, painful tradition in media: queer women of color are often sidelined, underdeveloped or killed off to serve the arcs of others.

The story we should have got

Now, could the pain over Cinta’s death have been avoided? No. It would always have hurt fans who were invested in her and Vel’s relationship. But could the mess around that pain have been avoided? Partially, yes. Better storytelling choices regarding both Vel and Cinta could have made it less frustrating. Still, with so much character development skipped over through time jumps, some level of dissatisfaction may have been inevitable.

For me, the best fix would have been to

stay true to the original narrative purpose of Vel’s character, and

show Vel and Cinta’s development on screen, over time, in season 2.

The reveal of “why” Vel chose to fight the Empire should have been the primary focus of her arc. We’re shown her commitment, but not the core reason behind it. And that’s not a small thing: Vel would feel much more complete as a character with a defined motivation.

That missing “why” could have been explored through her contrast with Cinta. Vel is portrayed as someone who chooses to join the fight. Cinta, meanwhile, had no choice: her life was destroyed by the Empire, her “why” is clear.

Vel and Cinta’s journey to find balance in their relationship is a story I love with all of my heart. It could have grown alongside Vel’s personal arc, not replace it, and it could have honored Cinta’s character with more narrative space.

Conclusion

There’s still much more that could be analyzed and debated – but the bottom line is:

In my opinion, Tony Gilroy lost sight of his original intention with Vel: exploring her perspective and the reasons she chose to join the fight against the Empire.

Additionally, his casting and writing choices needed to be handled with more awareness.

Because of this, Cinta deserved more screentime and narrative space in season 2, even if she was always intended to be a foil and her death planned from the start.

And due to the timing of Cinta’s death in the storyline, it could never have meaningfully served as Vel’s “why” anyway.

Thanks for coming to my Ted Talk.