#I want to see that stripped from her

[spiderpawzsys]

DRS2P2 SPOILERS

I think that should've made a cut in my post? IDK I've never used it before eek..

But guys, hear me out, Jay stays evil for all of season 3 and actually DOESN'T get his memories back ever.

He doesn't remember Nya, he doesn't remember ever falling in love with her. She keeps trying to get him to remember, basically, in his eyes, stalking him and continuing to try and manipulate him into joining their side, when she was the reason he was discarded in the first place. I'm not saying he'd follow Ras like a blind puppy, more that he hates both of them, and himself with it. He believed Ras when he said he was a warrior, a fierce one at that. But then Nya came along, saying these sweet things about loving him, just to rip the little bit of true identity he had gained away from him, embarrassing him, shunning him from his savior, the past he believes he had and the only semblance of friendship he's ever had. Just for her to continue to try and sweet talk him right after she'd beaten him. I'd hate her too, honestly. Now she took some guy you don't know with her to come track you down, with the same bittersweet words of "I love you" falling from her mouth again and again. I think it'd become a parallel to the early seasons of ninjago, where Jay was desperate towards Nya's affection and attention, literal quote from s3:

"What did we talk about?"

"Right! Boundaries.."

Only now you can turn the colors around. Jay doesn't fall for Nya all over again, as much as I love Jaya, if prefer this much more from a writing standpoint. Tragic parallels my beloved!! Jay eventually does cave in and join them, purely because it's his last shot at getting a home, and getting away from the administration. He doesn't have anywhere else to go besides Ras, someone who threw him out after his first and only failure despite forgiving his other pupils for the same thing. The administration where he feels drained and empty. Or somewhere where people, at least pretend to, love him. Eventually he'll become more and more like the Jay we know, but he'll always be damaged. He'll always be broken. He'll always be shattered. And he'll still beat your high scores, Cole.

[cent-scratchnsniff]

of where [ ] [ ] used to be

[soo-won]

Suwon's character analysis: From being shown to showing

Suwon is really a character all about being watched and scrutinized, isn't he?

Of course he's not self aware he's a fictional character but his position as a King and in relation to Yona ironically put him in a position that gives him a similar awareness that if he did. Suwon is judged and analyzed by everyone, in and outside the story. He knows that when he shows himself (and appears in the story) he has to perform a certain way. He has a role to follow and perform until the end. The way he speaks, the way he stands, the way he moves...being King means controlling and being aware of all of it. The moments we see through this costume are moments where he's taken by surprise and becomes "out of character" for this role. Moments where he's literally called out by characters around him for it, making him fall in his expected role more and more. He has to behave a specific way, he has to wear specific attires, he is very aware he is the object of many gazes around him. When he performs his role perfectly he is judged but in ways he expects because it's others' roles as well. When he breaks out of this role, he is judged anyways for losing himself. No matter what Suwon does or says, others will judge him or love him and expect things from him. It is true in the narrative and outside of it.

The South Kai arc with chapter 221 and 224 has him desperatly try to stick to his role that is slipping through his fingers, he has to position himself in contrast and opposition to Yona, he has to be the King his father wanted until the very end, etc. Yet, Yona and Hak kept breaking these roles as well. Hak, in full armor from Kai, the enemy, arrives and gives the senjusou to Suwon, in full King attire at this moment. Hak enters the stage like a blast when the curtains were about to fall and turns all formalities and rules of distance and what is allowed or not to dust. He breaks the role he carried until now as the character that should hate Suwon forever and try to kill him, and saves him instead. The fact that Suwon is King then doesn't really matter, Hak did this as his former friend.

In chapter 243, Suwon wants to speak to Hak privately but is well aware that if he comes out and does that, he will be seen and judged, confirmed by the shadows in chapter 251. He is not allowed to be himself without any costume freely, hence the cloak and hood on. He is not allowed this one private moment, eyes are on him and not only Hak's that he very much expects as well. That's why Suwon's tone the whole chapter is so...ambiguous. At the beginning, he speaks matter of factly, maybe not as "Hak's King" but at least in a unpersonal way, like an anonymous messager. He tells him information. That's why he calls Yona "Princess Yona" too I think. It is Suwon trusting Hak and relying on him personally, yet he is not totally open yet, Suwon still has a role to play. The more it goes, the more the tone shifts subtlely, now calling Yona by her name, his hood falling when Hak hits the wall, and talking more personally. What he shares then is what he is resigned to do and accept given his position and role that he can't just give up on now, what is the most reasonable within the range of his actions from then on. What he conveys to Hak is that he will not break character and stop performing his role as King, the one thing changing being only how he passes it down to Yona.

However, there is one final thing that the manga makes perceptible for absolutely no one but Hak, that even the shadows can't hear and understand. Suwon's last word(s) to Hak is not digitally typeset like every other text inside speech bubbles, but handwritten so small it looks like muttering that we can't for sure confirm the full forms of. Since chapter 243 came out, I did try for a long time to decipher it, and many concluded it could be a "sayonara" or "arigatou", and it was also translated and typesetted in the official English translation as "Farewell".

But honestly, now I think it is something we should not and are not supposed to decipher. In my eyes, it was Suwon's attempt to have just one thing, one word that would not be scrutinized and broken down to pieces by the people that watch him with no regard to his agency. The only thing we break down is the unintelligible form of it. I'm sure that we are not wrong to think it was something along the lines of a "Farewell", but I can't help but feel like it's not right to take even that from them now. This page is also the trigger that makes Hak understands that their entire convo was in itself a performance that Suwon directed from the start and aimed at people looking at them (the shadows and the audience), and the real message that he conveys only to Hak and not the shadows is that he is giving him and Yona a chance to escape and never return, despite the fact it goes directly against what he told him clearly in their conversation. I think this is what breaks Hak's heart too then, and why Hak realizes that he indeed can't dream of walking on the same path as Suwon anymore. Because Suwon will keep performing a role that will constrain him this way and make him hurt Yona and Hak. That this is maybe the path awaiting them too. The best way is to escape from it when it's not too late. It is too late at this point for Suwon though, or so he thinks. Suwon is self-aware that he can't discard them by this point, so to me this is him trying to negociate these feelings of his (by leaving them one chance to leave) with his role and constraints as a King in this complicated, indirect way.

It's very telling afterwards how the moment from chapter 243 Hak remembers is Suwon's final word that we can't read, whereas for the shadows it is the moment he tells Hak he will make Yona the next ruler. The unreadableness of the former and the enhanced size of the text in the latter...yeah. Suwon's words removed from their full context often are enhanced like that, aren't they?

Suwon is at the same time forced and not allowed to change. He is at the intersection of clashing expectations. It is bad whether Suwon follows his role perfectly or whether he breaks out of it a little and tries something different. Suwon is cruel to Yona and Hak and should die for his actions, or Suwon is too nice and submitting to Yona and Hak (and the larger narrative). No matter what Suwon says and does, it will cause discourses after discourses from both those supporting him and those against him. It is cruel, because people around him are changing and looking him differently than before, whether it's good or bad. In chapter 242, he acts out perfectly as the determined and pragmatic King he is as always, yet now even Geuntae doesn't seem satisfied. Suwon, because of Yona's influence on the people and world around them, has also no other choice but to adapt to these changes in some ways, yet characters like the shadows that refuse any change from 10 years ago stand against it. Again, then chapter 243 to me is Suwon's way to still perform his role as expected from others by negociating with all these sides in some ways. But it's really so complicated, isn't it? And in the end, a chapter like 243 was painful and upsetting for everyone.

I read many people say that Suwon was not here enough in the castle arc and it was annoying that Keishuk was so much present instead, and I remember very well how desperate I was to see him more by then, but it makes sense too, no? After all, Suwon didn't want to be seen. By showing himself as little as possible only in the moments he knows he can perform well, he was still somewhat in control of what people saw of him. The illness made it that Suwon could just not perform more than he did. He didn't want anyone and especially not Yona and Hak to try to see him beyond the performance, yet they kept getting closer and closer, pushing Suwon to hide himself away more and more too.

Suwon knew very well that the second he came out in the open he was closely looked at, by Shin-ah of course, but Shin-ah is only the best example of this general feeling of being watched and judged I think. This is Suwon's interpretation of Shinah's gaze, and I'm sure there is part of truth in it but I think it is also heavily influenced by Suwon's own feelings. Suwon was judged and followed for isolating Yona when she learned of the illness and for imprisoning Hak, but those were things he was only /indirectly/ the cause of. Of course, Suwon didn't do anything to go against them and it was his responsibility this way, he knew and had the authority to decide different, but what I mean is it portrays very well how Suwon is aware, /feels/ the way others scrutinize him ever since he killed Il for every single negative (direct and indirect) consequences of all he does and is. He will never be free from it. People will never let go, even when Yona and Hak do. I think the wound on his shoulder or the pain of his illness he doesn't act on enough are also symbols of that. His present shoulder wound is the literal trace and scar of Shinah's gaze on him in chapter 249, and Suwon is okay with carrying it.

It's not like the story has never let us enter Suwon's mind before recently, after all the narrative doesn't strictly follow only Yona's POV, but Suwon from the beginning was still generally a character seen from the outside by others rather than followed from inside. All these iconic scenes of characters looking at him, whether it's only his back or in the eyes are very much about that. These scenes serve to show how Yona (and Hak) is the subject of the story and will always watch him and what he does, the way Suwon watched Il for 10 years. It also serves to confirm to him that they hate him and wants him to die, etc...

It is very interesting too that the majority of flashbacks we have of him (outside of the one in chapter 11 and some bits of ch1/185) are never from Suwon's POV, but from others and how they perceived Suwon and felt about him then. Hak in particular. Even the diary arc is not from his POV. It is always about the conflict between the characters' first impressions of him and other sides of him revealed to them later on. Suwon to characters and to readers alike is like a puzzle we try to resolve, picking him up piece by piece. Each POV about Suwon is important because he is seen differently by each character, they all see different parts of him and reveal new things about him in reaction.

But this is precisely where we differ from the characters individually and what makes the larger narrative not solely about Yona's subjectivity. As readers we can assemble each piece in a way characters, even Yona, cannot. Moreover, we are also shown some bits from his own POV that no one else inside the story get to see. That's why honestly...I don't see Suwon as a puzzle to piece together since a long time. Of course we don't know and maybe don't understand everything about him, but the characters' struggle to understand him is quite different from readers' position when they judge him one way or the other, in my eyes. The only way I can make sense of why the story would go out of its way to narrate things about Suwon only to us when he is a character all about being shown and seen, is that at the end of the day the larger narrative is and was never against Suwon, its scope includes him too, we are made to feel for him as well. It is only so hard with Suwon because he himself doesn't let us and has circumstances that doesn't allow him that. Akatsuki no Yona is very much about Yona's subjectivity above all, but not fully and totally either and it cares about other characters as well (whether it does it well or not is another topic), and the existence of a character like Suwon we are shown glimpses of the interiority of from the very first volumes highlights this well, I think.

Despite this, the characters' struggle didn't end. And that's where the nuance between what the larger narrative of Akatsuki no Yona tells us about him and what Suwon as a character-narrator shows and tells us is meaningful. Suwon is a fictional character that depends on a bigger narrator and author of course, but there are several layers of narration in comics art, some which embrace the mind and subjectivity of one chosen character and making them "independant", agent of what they show and tell.

When we are shown what Suwon thinks in chapter 217 or in chapter 221 for example, I don't think it was that Suwon as a character wanted to be seen, but only that he was breaking and vulnerable in a way that made these bits showable to us. The fact we see Suwon's thoughts is a representation of Suwon's emotional state. It's not something Suwon has agency over at his own level. He is not a narrator in those moments, but a character being shown.

More precisely, Suwon did try to resist the narrative in chapter 217. Inner monologues in comics and especially in shoujo manga can be represented in different ways and have different functions. In chapter 217, there is a visual contrast between the thoughts that "float" on the pages, his personal lingering feelings for hurting Yona, and the thoughts in the black boxes, that have him rationalize the situation. Generally, monologues in text boxes are said to be a more objective level of narration (I get this from the "How to draw shoujo manga" book by Shigeki Suzuki, a former editor for Dessert's magazine).

Obviously, Suwon is not objective here, but it represents his attempt to affirm his authority on what is told and narrated, his control on feelings he doesn't want to acknowledge and to get out in the open. He tries to be a narrator. The metaphor of a box that opens against his will is then perfectly fitting. There are the words typed in text boxes, and the words out of these boxes. In the very next page, the boundary between panels and text boxes is blurred thanks the magic of shoujo manga composition. The first two vertical panels could very much be text boxes on their own, and what he says in them is still him being pragmatic and rationalizing what he has to do. Yet, as we see, Hak is now in these boxes as well. It breaks the illusion of Suwon as a character-narrator here (which was already hinted at by the choice to make the bg of the text boxes so dark). He can't control his thoughts from going towards Yona and Hak, he is not showing that willingly.

What we see inside Suwon is him still performing the best he can. It's him trying to convince himself and push himself to fulfill his duties with no hesitation. It's still not all of him, there are still things that he tries desperately to hide and keep deep deep inside of discarded boxes. Inside and outside, he has to be the perfect pragmatic King his role ask, so all that is shown has to be that. He can't allow himself to be anything else, he has to shut off and erase any trace of different voices in his heart. Yona, by being a person that expresses and voices out her feelings more, brings these feelings Suwon doesn't want to show on the page, she shows them to us. Seen like that, Yona can maybe thematically be a representation of Suwon's repressed feelings.

(A bit differently but similarly, it is a similar process in chapter 221 where this time Suwon can't barely try in any effective way to narrate what he's thinking, what we see as panels and text boxes make no difference anymore, until it blows up for good when he has this flashback of Hak and Yona from chapter 11 and realizes he can't discard them. )

So, Suwon is a character that is shown to us in several ways. One, there is how he is seen from the outside, the way characters perceive what he shows to them or what is shown about him to them. This is the layer Suwon has the most control on in a way (even if not totally), as his position in the story makes him very conscious of his obligation to perform because people are watching him. He shows his full control and flexibility of his image in the ways he willingly pretends to be more naive and weaker than he really is to Geuntae, Soojin and Li Hazara for example. He plays with others' expectations and perception of him. Outside, Suwon is already full aware of how he is supposed to present himself, he already knows what is going to be shown or not for the most part. He allows himself to break out of character when he knows no one else watches him, which are the rare moments the narrative can show him when he's not performing. As the story advances however, these moments become much rarer as he is watched closely by more and more characters in his privacy.

On the other hand, there is how the higher narrative tries to show us his emotional state, his point of view and feelings. It is inherently something he as a character is very against of ever since he became King. Even then, what is shown to us at several occasions is Suwon's failure in showing us what he wants to show, instead having taken from/out of him what he doesn't want to reveal. The Crimson Illness is an interesting metaphor for it I think. It can easily be interpreted as a visible manifestation of Suwon's already existing struggles, after all. The Crimson illness makes all that is hidden visible to others. It gives it physical symptoms. Again and again, his illness and bloodline are revealed to others against his will. The illness is the crack to the performance Suwon tries to maintain as a strong King. It makes him vulnerable, forcing him to depend more on others. It breaks his role and how he wants others to see him. He wants to be seen as strong and independant and in control, but he can't control his episodes and when he is shown in a frail condition. It brings out what is inside, it makes his repressed thoughts visible to us readers as well, it's the reason why the narrative shows us his inner struggles more closely.

Suwon can only somewhat control and influence what is shown outside, which why I think he showed himself so little in the castle arc as an attempt to show himself only when he's in an "acceptable" state for it. In the end, he still pushes himself more than necessary when he has no other choice (and because he doesn't want to rely more on the people around him). However, after the South Kai arc Suwon knows important development. From then, Suwon has no choice but to face things for real : His is sick, heavily weakened and disabled by it, and is going to die soon. In parallel, he also acknowledges he can't discard Yona-Hak, and that he can and has to rely on them for Kouka's sake.

Chapter 243 is the very first time (Minsu aside I imagine, but we are not shown that) that Suwon himself tells someone directly about his bloodline and his illness. As said before, chapter 243 is an entire performance, but it's one where he got to choose the person he wanted to say these things to. However there is still a gap between what Suwon wants to show to Hak and what he doesn't want to show to others. The chapter is still framed not from Suwon's POV at all. Suwon has no privacy, even in a scene initially presented to be only between the two of them. The idea that at this point Suwon is allowed any privacy is unreliable framing influenced by Hak's flawed POV. Hak by then is not yet really aware of the existence and purpose of Suwon's personal bodyguards in detail. Suwon can convey messages undirectly, but because he still has to show himself a certain way to characters like the shadows he's not allowed to show things explicitely. He can only be seen through others' eyes, forced to rely neither on the images nor the text typed and shared by the narrator(s), but instead on the subtext and unintelligible scribblings. Suwon is still bound by the vow the Shadows made to themselves 10 years ago, but freed at the end by the vow bounding Hak to him. To Hak alone he can share his truth : that he can't and won't respond to his expectations, nor that he is only what he shows as King to others. No one else might understand, but he trusts Hak can get the message.

Then Suwon is attacked by Shinah, and at first we were not shown at all what Suwon was thinking and feeling. The second he wakes up in chapter 256, he leaves that behind him and thinks as a King again. However something important changed, obviously he still has people around him he has to act a certain way for, but the shadows are no more. The people left around him are more flexible and actually rejoice that Suwon decides to retreat. They don't know it was partly motivated by lingering feelings for Yona and Hak, but they're still more flexible and allows Suwon more privacy and agency.

So it brings us again to chapter chapter 261/262, which are to me the very first occurence of Suwon being allowed to be a character-narrator where he gets to truly show and tells his own story. Showing instead of being shown. Showing the experience and feelings of being seen. Chapter 262 doesn't only highlight the importance of gaze in Suwon's character, but is meaningful by making Suwon himself show it to Hak, and to us readers by proxy. This is what makes Suwon and Hak's interactions in this chapter so so important. Suwon, as already established, is still resolved to perform his duties as King until the very end. That's why he still doesn't show himself bare in front of the people of Kuuto, Mundok or Lili. He still has to be a strong King that inspires confidence and reassurance to them. He can't show that he is actually chronically ill and severely wounded. What citizens expect from the King is to be strong enough to withstand, resist, and win against all the disasters they face.

But when it's only Hak and Suwon alone next, Hak is of course annoyed. There is no one on the rooftop of the collapsing palace to watch and judge them. Suwon doesn't have to keep his armor, his King costume, and keep performing in front of him, acting like his wound doesn't hurt him this much and that he's perfectly collected. The shadows are no more, they're isolated from the city. Hak as we can see with chapter 200 or 224 is annoyed by all these roles and formalities and always go against them. This is what makes Hak free. Hak goes wherever he wants to be, will play any role needed to get there and let go of them when they get on his way. Hak says he sucks at letting go, but in a way he is much better at letting go of these things than Suwon is, even when he doesn't have to keep them.

Something interesting in this scene, as already pointed out by others, is the intent behind making Hak order Suwon to undress. Despite his tone, he still doesn't undress Suwon forcibly to then show him to all of us against his will, but encourages Suwon to act upon it himself. He is frustrated by Suwon's own passivity in regard to himself. Suwon has to ask for Hak's help, but it is still triggered by Suwon's own will. Hak forces Suwon to ask for the support he needs in order to have agency. Showing himself is difficult for Suwon, both literally because of his wound and emotionally because he is not used to it, so Hak helps him for it. Of course, the act of removing his armor and letting go of his father's sword is also when Suwon at long last can stop just performing as the King character he is supposed to be. Finally, through his trust in Hak, he can truly and openly show something different to us readers too.

Then Suwon talks about himself. Not just facts and objective information like he did in chapter 243, but how he feels and what /he/ sees. Finally, Suwon tells and shows.

This spread is one of my favorite of all times I think, because it just encapsulates everything I'm trying to explain with this post. Suwon is undeniably a character-narrator in this scene because of how he shows willingly and literally to someone else what he saw and felt, making this moment surreal. After all, it should be impossible for Hak to see that. The text in this spread is typeset like is any inner monologue and is not in speech bubbles. Hak, by the rules of narratology in comics is not supposed to hear any of it. They are thoughts inside of Suwon. However the last panel showing the bottom part of Hak's face seems to imply that Hak very much sees and hears it all. Hak here is in our exact position as reader, able to see, read, feel what Suwon is sharing inside of him. It's not something brought to the outside taken from him for it to be broken down, scrutinized and judged by others. Instead, Suwon makes us come to him inside. It is something incredibly private and intimate Suwon shows in full spread to Hak and us alone. It is precious. Suwon's narration transcends narrative layers to reach Hak's senses and ours at the same time. It represents how Shinah in dragon form is watching him, but by doing so he is very much the one to show himself and Shin-ah. It is not a first person narration where we would see things through his eyes, but a third person one, above. As a character-narrator, Suwon is obviously not at the top of the narrative hierarchy and Kusanagi is the one making all these narrative and laying out choices, but here, she lets Suwon carry the role of teller and shower. In chapter 249, she decided against showing that to us directly like she showed how he felt in chapter 221. She willingly gave Suwon the time and space to do it himself when he was ready to, to the person of his choice alone.

As Hak says at the end of chapter 262, Suwon can choose another path instead of repeating the same complicated one. As we've seen, his role as King indeed puts him in an overcomplicated and messy position where he has to jungle between clashing expectations and duties and his own feelings, making everyone and him first hurt in the end. From then on, Suwon can try another path for real.

In that same chapter before he removes his armor, Suwon also tells Mundok that he can't possibly influence the Heavens. So here, I have a final interpretation about this:

Aren't the Heavens the representation for a higher narrative layer? They're the ones making the "final" judgment and punishing characters or not, they're the ones making (one layer of) the narrative of the story through the prophecy. They can't be touched and reached for, they're in another world above the characters. Suwon is well aware that he is only a character with a defined role in the narrative, so to him, there is only so much he can do and it's pointless to fight against it. In chapter 268, Suwon says again that there's nothing he can do since they're not people. The Gods are the ones seeing and showing everything.

It is perfectly illustrated in chapter 268 with Yona. Yona didn't want to make it about Hak at all, she doesn't want to involve him in any of this, and doesn't openly mention and express her feelings for him inside the chalice because it is not her focus and priority then. Yet the Gods show everything against Yona's will and to her despair. They bring out and show her and us a majority of moments Yona shared with Hak, many that were supposed to be only with the two of them. But like the Shadows with Suwon, the Gods were always watching. Yona was able to make her own decision and was resolved to leave the chalice with the dragons before they brought this up in chapter 267. It is something shown about her and against her, they take from her any agency she had, she is trapped. Similarly to Suwon in chapter 221, she is forced to face feelings she underestimated the paralyzing power of.

However, I'd argue that Yona still managed to bring the Gods closer to us, at least from the invisible higher layer they were on the narrator hierarchy of the story to a layer inside the narrative. Again, she brought them on the page, she made them real, she made them characters and more "human". They're still entities with the power to show, but also visible characters that can be changed and talked with: they literally can be moved and influenced. Yona and Zeno showed them to us, in the sense of making them visible and revealing them to us readers. Maybe the way they treat Yona is their reaction against it, unconsciously. After all, bringing them on the pages of the story forced them to face their contradictions, it is threatening them. Unfortunately, by chapter 268 it still didn't strip them of their powers and ability to control the other characters' narrative.

But I think Suwon perfectly understood all of this. Suwon now has the power to show his perspective. Even if the Gods aren't people, he is free to choose the way he frames how he is seen and watched with his own subjectivity. He is now a subjective character, not only an objective (in the sense of being object) one. That's why his plan depends on getting the Gods' full attention on him. This page is so similar from Shinah looking at him in chapter 262 for a reason. Suwon now gets more control and freedom in what he can show and tell. Suwon literally brought the Gods down to us and showed them. It's not like Yona climbing up to them. Suwon has the power to influence the Heavens and the narrative, because Suwon is not only his static character role, but a character that can change and who we can openly feel for. He won't submit to the Dragon Gods' narrative like he was resigned to before. He is the narrative too. Like Yona or Hak or any other character we ever followed is. Akatsuki no Yona is a story about characters and their feelings, and Suwon can now fully embrace his power in it.

So I find the resonance between Suwon's developing agency in the narrative and the way readers engage with him really interesting. I guess Kusanagi didn't expect Suwon to be controversial the way he is to this day when she started the story and created him, but I like how she discusses it in the story and tied it so beautifully with his character arc. I said about chapter 243 that we shouldn't try to decipher Suwon's message, but actually I don't think that's true. I don't think Kusanagi is that pessimist about her readers. Sure, we see as much as the Shadows or as the Dragon Gods do but we're not them either. The characters share so much with us too, like seen in chapter 262. I think the story simply wants to encourage us to question how we engage with the characters and what we expect from them by representing caricatures of extreme fandom opinions (that can be pretty prevalent and very vocal unfortunately). Suwon himself was always a character we were encouraged to decipher, I think. Otherwise it would mean not trying to understand him at all because he played the role of an antagonist (or whatever he can be called) anyways, which is incredibly sad. I think we were always encouraged to resist against that and try to understand him despite his own resistance. Suwon needed to learn that it's okay to be vulnerable and show us, and that it won't make him less loved and cared for.

Suwon will probably always be a character that is scrutinized and judged in and outside the story, it keeps being so despite all recent developments. But today I am convinced that nor Suwon on his level as a character, nor the narrative will keep making him a character that is forever only seen by others anymore. Now we will see what Suwon sees and feels what he feels, he will show us. He will influence the Heavens and shake the narrative itself I'm sure, he will bring them all down to us.

I love you Suwon <3

[skrunksthatwunk]

landing

[r0setyler]

i believe that shipping tentoo/rose and recognizing that the way it happened was fucked on the doctor's end and traumatic on the end of rose herself can coexist. saying both of these things do not contradict each other.

i can say that the metacrisis is still the doctor and say that rose was right at first to say "he's not you," because of the context rose has in the moment and the work rose had put into finding the doctor that she conceptualized as the doctor.

i can also say that he tried to manipulate her into choosing the metacrisis because that is what he believed was best for her, even though i can also say she did choose to kiss the metacrisis in her own right.

and finally, i can say, that it was fucked up he left her in norway, solely because, bro, that's a long way away from where they need to go lol.

[fumifooms]

Makima, devils and self-fulfillment

Dumping some Makima and CSM thoughts after a part 1 binge bc I think about her forever and ever. I’m sure I’m forgetting some devil lore, feel free to correct what i get wrong/what’s been confirmed. On the table of contents there’s why & how Makima got fixated on Chainsaw, her revealing liking for the country mouse and discussion of her nature & emotions & desires. Was the scorpion doomed to be a scorpion?

The most of this post was thought of during a conversation with @saccharineomens and I don’t think it makes sense to jump into the spiral it sent me on without first laying down the interesting groundwork theorizing she did:

"Thinking about how makima herself wants to be deified. I wonder whether she recognizes the difference between Love As Worship and the love that Aki, Power, and Denji had. She says she wants to help humanity by having Chainsawman eat the “bad” devils, but why does she want to help humans? Because she was ordered to by the Prime Minister? No, her drive seems much more personal than that, it seems like she teamed up with the PM for contractual reasons. (In the most recent chapters we see governmental members wanting certain devils to be eaten, too. What was Makima’s relationship with them? She’s too independent to just follow THEIR orders, she’s Control.)

So is she wanting to better humanity for the accolades, or out of the goodness of her heart? She sees the big picture. She sees any small sacrifice as worth it for the end result, and she’s ruthless. Perhaps she thinks that a more sedate human race would be easier to control? But Makima doesn’t loathe humanity. She never acts like she sees all humans as lesser. She loves humanity’s creations, like good food and movies. She just wants Good Things all the time

She says she prefers the country mouse BUT adds a story where she helps exterminate country mice like vermin. She likes the simplicity yet rejects the idea of being simple. Makima the complex individual you are"

~

The story itself seems to prefr the country mouse. Well- it strikes a balance, shows that a risk to live good & fully can be very worth it, but still that stability over ambition is preferable, proning having a simple happy life over fame, a simple job instead of a dangerous one, etc etc. And I do find Makima’s answer on this so so interesting, she prefers the country mouse, but this preference isn’t out of affection or sympathy but because of how relaxing it feels to exterminate them when they cause problems.

Order satisfies her. Her order satisfies her. She likes the action of rooting out disorder. Maybe this is the devil part, like how Power especially wants blood and drinking it, I feel there’s an itch to every devil, and for Makima it’s a very rigid world view/morality/standards & making things follow her rules and submit to her order.

And maybe this is why she’s attached to humans too, why she felt it was worth it to stick with the government- because devils are chaotic by nature (it’s a whole plot point that hell is essentially a free-for-all battleground for example), meanwhile humans are the species that universally rule Earth with systems they invented and instilled. They made then enforced rules, complex and intricate webs of them. She feels alienated amongst devils but she understands the humans’ need for an orderly organised society, and now she wants to be part of it. Control and conquest require social dynamics after all, requires civilizations or groups. War is chaotic while peace is, well, peaceful— Makima resents her sisters for being death, famine and war, things that throw the world in such chaos. She wants a world of perfect order, no matter how much collateral damage there will be if the end result is control.

This is even more interesting if you consider that yes, Makima is untouchable of her own design, she deifies herself with her omnipresent amount of control and the sway over others that she seeks and encourages— There is this urge to dehumanize her for it, that yes, she is the devil of control and that means she was never going to be any different, have any more feeling be any less uncanny. And I love part 2 so much for this, because it shows us the war devil and the famine devil and we see how frankly uncharismatic with poor self-discipline they are, Nayuta too, and it helps us realize just how much Makima’s success was self-made.

She admires Chainsaw Devil, the Hero of Hell, because he had his own code and his own rules and he made Hell, the chaos pit, submit to them unfailingly. Wherever he goes he decides what he does and what happens to the people he encounters but does so consistently, he has his mechanism and his rules that he always obeys, and he fulfills them every time. It’s still a mystery the why of Chainsaw Devil’s behavior back then and how it works exactly, maybe Pochita left hell because he was tired of these rules he lived by like chains, but still, he was a servant to his code. Makima would have been glad being killed and eaten by Chainsaw Devil because it’d have been becoming part of his design, his conquest, his domination, she’d have been part of that —his— order. Through her death she would be shaping his world and be part of a conqueror’s making history. Like how she appreciates the country mice that die for the sake of order. Like how sacrifices must be made to herself, like listing the name of every person whose life was lost to the Gun Devil— All for the ~greater good~, for her vision for the world. Conquest always thinks its reasons are justified.

And she does mention with the country mice thing that she goes out to a friend’s farm every year! She has a human friend?? That she visits yearly and she genuinely likes it?? Ultimately she lives a busy city life because of her goal and drive and her urge & satisfaction with overseeing shaping the world herself, but part of her, like so many characters including Angel and Aki and Reze, wishes she could live a slow peaceful country life. Moviegoing and dogs and mice in a farm- Wouldn’t it be so much simpler if Makima could find fulfillment and happiness in being a farmer, in keeping control of her own farm, getting satisfaction from exterminating vermin and expertly getting everything right, the right crops grown at the right time on the right soil? Here, too, in a way it’s trying to have full control of an ecosystem, but her goals would be easier to achieve and better, without ceaseless sacrifice or much pressure. But Makima wants grandiosity and her goal does matter to her on a fundamental and moral level, she does think she knows what’s best for the world, and with the power to change it why wouldn’t she strive to? Visiting the farm is just a break, just something she does in fall to help out and just in time to see the vermin extermination. It calms her, then it’s back to actual work.

In capitalism, even the one at the very top of the ladder is ultimately alienated from others and often unsatisfied by their lifestyle, always wanting more and more power because surely that’s the extra edge they must be missing to be content— like how Makima thinks she wants to dominate Chainsaw Devil instead of being his equal. And she says it herself too, she likes humans the way humans like dogs…….. And she keeps so many dogs :( Makima prefers the country mice because they’re calming to root out, maybe because she usually mainly deals with city mice. It’s very easy to equate humans to the mice in this allegory because it’s pretty direct and she’s already likened humans to lesser animals compared to her. She’s self-isolating by design for her design but she still craves relationships and contentment, and the dogs are the embodiment or her want for bonds and occasional simplicity because there is no possible ulterior motive, no way they tie back into her wider plan. They’re her personal life— something that feels so alien when speaking about Makima. Personality and individuality and likes and preferences and friends they visit every year. She likes how easily she can train a dog and how they become putty in her hands, at her beck and call, how much they love her and how much she enjoys their love. How simple and straightforward and easy it is. She keeps them because she likes being loved by them and loving them, and she’s gotten and raised so many. A conqueror always wants more and more and more, is never satisfied.

Devils and agency

Like Power the blood devil wanting blood and having a fixation on drinking it like with Denji’s, or how it was shocking that the violence devil was pretty tame and nice and how he himself theorized it was because he was a fiend and possessing a human body… There’s something to be said about nature vs nurture with the devils. The way they reincarnate and always embody their fear makes it seem categorically like nature, that they always always end up fulfilling the role they were named after and born to fill… Outside influence they’re helpless but to conform with. Like the humans accepting their spot in the social ladder and the shittiness of their living conditions and job under capitalism. Makima craved being equals with someone despite being the control/conquest devil, Angel Devil despite claiming to be a devil who likes to see humans dying was haunted by their deaths and wanted to avoid ones like Aki’s. The Ghost Devil being ironically haunted by Himeno, seemingly helping Aki in her memory out of… Lasting affection? Or maybe it was less about being haunted itself and more about it recognizing how Himeno haunted Aki, and acknowledging that, with the memento, paying her respect to the ghost of her. It’s Angel Devil’s devil nature that makes him like human suffering, so then is it his angel nature too to still care about their deaths? Is there truth to this or is that just personality, just our confirmation bias haunting every part of their identity like it might in their own view of themselves too? We do know different reincarnations of devils do have different personalities after all.

Yoru, war devil, is the most interesting one when talking about the nature vs nurture debate with devils. There is how through her we see the perhaps the most the consequences of a devil stopping being feared— we see a horseman for a concept as universal and horrifying as war be reduced to some bird who needs a contract with a human to have any power even just on the situation when meeting Asa. And through the story we get to know her better, and it becomes clear that her goal is fueled in good part by simply wanting to be remembered and respected through fear. Liked, validated, seen a powerful. But what is more isolating than war? Or control? We also see Nayuta accepting others’ house rules. If part 1 shows perhaps the futility of running away from the truth, with Denji’s memory, with escapist coping mechanisms, with passivity and denial under a corrupt system and with abusive relationships- running away from your own feelings and from the reality of things and from all that you are, more complex than simply human or devil or both or neither— part 2 builds upon the theme of cult of personalities, the chainsaw church, etc. The apocalypse is coming, but this celebrity superhero might save us all, or doom us all uh, dunno. The hero of hell reliving the cycle of pressure from responsibilities and expectations, maybe the part will end with Denji running away like Pochita did~

But yes, on the reverse, I think Famine is a very interesting example of how a devil’s namesake may be more innate than coerced by circumstances. One would think that a famine devil would only like inflicting famine upon others, not being famished itself, but Famine has a bottomless stomach that can never, ever be satisfied, sated. I struggle to find a psychological explanation for this, except that maybe instead of her being hungry it’s her feeling empty when she’s not eating, tasting and having that high sensory experience that releases serotonin in humans, sort of like drugs? But I do take this as a step towards the compulsion theory overall, feels like a reach in the consistency otherwise. And compulsion does not mean it’s something that they like nor that it’s something that they fight against, pretty neutral, just a nature that nudges you towards one path. Maybe it’s even just their go-to for entertainment. Maybe it’s the only thing that makes them feel right and whole. But still the debate remains, what is it, a compulsion or an urge or an itch or an active desire or a conscious chosen want? Does it change anything in practice?

And because of all of this earlier, devils being self-fulfilling prophecies with their role is not in unsignificant part nurture, because doing their atrocities is how they stay remembered— feared, powerful, known— hell and devils are a very isolating place and breed after all, and we do see devils can want companionship. Existentially, it’s their purpose and how they justify their place in the world, in the terrifyingly vast and unknowable cosmos.

We still know so little of what makes Chainsaw Devil so special, why his carnage is so self-controlled. Despite a chainsaw maybe being possibly one of the most "nature" thing you can be— a tool to cut things, a human tool that can be helpful for many things, something to be wielding by another at their judgement on what they decide, but mainly something to cut, a tool suited for carnage, to hurt and to destroy. A blade with a toothed chain, spinning around and around and around endlessly on the same road at the same pace. Such a…. Innately circular concept. And yet the Chainsaw Devil is his own, not driven by an urge or by chaos but his very own brand of order, his own unique assigned purpose, a "if you call i’ll come running to help" policy equalizing everyone. He chooses to withhold his destruction and interference otherwise, and then he chooses to be used. If it’s a choice, of course.

Maybe this is what inspired Makima so much, that Chainsaw Devil could decide what to make of himself despite expectations or innate role. Because even Hell he decided & managed to subjugate under his will and whim, with a precise vision and process. When Chainsaw Devil acts like Denji or is defeated, Makima clicks her tongue and loses her admiration and respect. Makima admired and liked Chainsaw Devil, but only as long as he matched her great image of him in her mind, as long as he followed he rules for what she thinks he should be like. She admired him for his unrivaled self-made success, but once he stepped out of that to truly embody self-fulfillment and agency, disappearing from hell to live on his own road at the beat of his own drum… Well. Surely that was a mistake she has to correct. However their second battle ends, the better conqueror will have prevailed and she’s happy about that, all in the spirit of domination and subjugation.

Imo Makima’s biggest tool, similarly capitalism’s most helpful effect for its own purposes, is complacency. Resignation and passivity helps uphold the system and go along the flow of the will of the people in power. Aki and Reze go along with orders even when knowing their job is trash, etc. In Angel Devil especially we see him go along with the flow uncaring about anyhing, and we discover it was in part due to Makima taking away memories that motivated him. If every devil decides this is just how things are and how things should be that’s what they’ll continue to be and do mindlessly, not pursuing a better life like Chainsaw Devil and Denj and not seeking to change the world like Makima. I think even Makima veils herself to a lot of things, she doesn’t like to think deeply about some things, like her desire for connection, or how making bad movies disappear is strenuous and unsustainable and requiring sacrifices at best— how her judgement is as subjective as anyone else. How liking the country mouse and her friend back at the farm and her dogs could be not devoid of sentimality. Wanting bad movies erased is her one biggest show of selfishness, of pettiness and individuality, it’s about her tastes, simple as. About how she can have tastes, and cry seeing a scene of people hug, and want things that aren’t logical, her ideology and mind twisted into a pretzel to avoid acknowledging that she doesn’t live and breathe purely for the mission she’s made a single-minded robot out of herself to accomplish. Nayuta is assertive and selfish and loud, Makima is manipulative and strategically both for her goals and for coping hollow.

Everything in her plans and goals she says is for the greater good, necessary evil, manufactured happiness the way she’ll have decided for people— and that’s the thing isn’t it, like with War, it’s the crack that shows it was all truly about herself after all. Her self-made deification still had the flaw that a self made it. Makima is not omniscient, and it’s not Chainsaw Devil the not-so-fellow-kindred-soul conqueror who gets the best of her, but a city mouse, a dog, someone she would have never thought to respect, Denji.

[isitwrongtotrytopickup---dragons]

Was that first glance truly a gay little moment between Mizu and Akemi, or was she actually surprised (maybe even a little jealous?) that femininity could even look like that? Lavish, spoiled, seemingly loved or at least, something to be desired. I think it's pretty sure that she does not grasp how Akemi's life is a prison just as much as hers. That much is clear in their dialogues and her behavior towards her.

What if that dialogue (you, magical forest creature spoiling your good chances at a good life etc etc) was actually lowkey jealousy? of a life she herself would never get to experience as a woman? of being allowed to be a woman AND have a chance at happiness?

[chewyhanniebug]

someone needs to pay him 500 won

[sometipsygnostalgic]

Tumblr! Let me edit my own fucking reblog! I need to add more tags on that post!!!

[blue-eli]

Thinking about Kairi & Sora but mainly Kairi and going insane. Girl you have so many issues

[twicecut]

oh my stars wait also. diego's stutter when he realizes he's lost grace???

diego loves his android mom SO much. SOOO much.

he'll 1v1 anyone who treats her like anything less than a living, loving, existing person who was just as much a victim of reginald hargreeves' abuse as anyone else.

[angstandhappiness]

BAH HAH TRUE

been chatting with a friend who's playing through PN2 again and i want it to be known i will not hear anyone say a WORD about Hollis giving Raz a hard time at the beginning of the game. if anything she is OUTSTANDINGLY accommodating to this random ten-year-old who wandered in unattended off the plane in the middle of an extremely tense situation

[lavender-moleskine]

some things about sunrise on the reaping/the hunger games universe i'm thinking about today

haymitch was close friends with katniss's father when they were teenagers... how many times did haymitch see her at the hob or around town and do a double take?

burdock everdeen is lenore dove baird's distant cousin, meaning katniss is connected to lucy gray's bloodline... literally snow's worst nightmare come back to haunt him, down to genetics

reaping day is on the fourth of july. idk what else to say about this one i think we're all on the same page about this

katniss wanting wiress, beetee, and mags as allies despite over half of the victor tributes wanting to pair up with her... the three victors who helped haymitch win his games

haymitch, the victor of a games with twice as many tributes, bringing two victors home as a mentor in the 74th games

despite having the most tributes and therefore the most deadly, with the least odds of survival per tribute, the 50th hunger games had the most alliances out of any other games

beetee's son being a tribute in the quell- i know we're all there already and it's been talked about endlessly but i'd like us to recall in catching fire when katniss tells the reader that the children of victors are reaped at a disproportionate amount... ampert was not the first nor was he the last. how many tributes were reaped to punish previous victors? "you tried to take away control from the capitol... look what we can take from you"

the circumstances of ampert's death: mutts that were engineered just for him, just for beetee, designed to literally strip him of anything that made him recognizable while they killed him. beetee and his family didn't even have a body to bury, just a pile of bones

we also know that at the end of sotr, beetee's wife is pregnant, but when beetee comes to district 13 in mockingjay he is alone. was his family killed in the uprising, or was yet another one of his children sent to the games as punishment for beetee's actions before and during the 2nd quarter quell?

effie was the last person haymitch saw before the games began. she came into his launch room before he went into the tube... she was the last face he saw, the last person he touched, before the games changed him forever. she was the last person to know the "old" haymitch

maysilee didn't even like the mockingjay pin- it wasn't a beloved token that had a deep meaning to generations before katniss. it meant nothing until katniss made it mean something- until madge, maysilee's niece, made it mean something

gale mocking madge for wearing an especially nice dress and trying to present herself well on reaping day, and her defending herself by saying "i want to look nice if they send me to the capital" - maysilee being scorned by haymitch for her nice clothes and her necklaces until he realizes it's her own way of rebelling against the capitol... "i am going to make you see me as human too if it kills me" (they all try to dress their best for reaping day but gale & haymitch were bothered by madge & maysilee’s clothes as a status symbol)

haymitch mentions that hattie used to tell him "fire is catching", which later became one of the slogans of the rebellion via katniss's propos with plutarch

haymitch's token being a flint striker, and katniss being the girl on fire. katniss inciting the rebellion by succeeding at the exact task at which haymitch failed- destroying the force field. she wasn’t special, she was just in the right place at the right time and got enough support

we've always seen the quarter quell as a way of snow getting back at katniss for her rebellion in the 74th games, but after sotr we know she is hardly the first victor to rebel against the capitol. beetee was already a rebel in his own right, wiress and mags were instrumental in haymitch's victory in the 50th games, we can infer from johanna's characterization as loud and outspoken and certainly less than palatable to the capital's propoganda that she may have had a less than ideal (to the capitol) history... how many victor tributes were reaped on purpose? how many of them won their games through an act of defiance that was covered up?

similary, we know plutarch's plan with katniss was similar to his plan with haymitch... but surely they weren't the only two. how many other tributes, district 12 or otherwise, did plutarch and co. try to use as weapons, simply by being victims of circumstance? how many families of rebellious tributes, whether they were victors or not, were punished, because they went along with plutarch's plan thinking they had nothing left to lose seeing as they were probably going to die anyway? so much of haymitch's games was covered up and rewritten to hide his defiance of the capitol,,, how many other games were significantly or almost entirely fabricated by the capitol because of "unruly" tributes? was any of it real?

anyway i may be reaching with some of these but suzanne collins just gave us so much to think about with sotr!!! i've seen some dissent about how some of sotr disrupts the canon of thg but i think that's entirely the point... none of what katniss knew about haymitch's games was real to begin with, it's just what was fed to her by the capitol.

don't let media literacy die friends there are too many stupid people in the world already!!! mwah

[madamechrissy]

Pour it Up Masterlist / Stripclub Owner Sukuna headcanons

Part One - Part Two - Part Three - Part Four - Part Five - Part Six - Part Seven - Part Eight (final)

Pairings: Stripclub Owner Sukuna x Stripper F!reader

Summary:- You are a single mother, your baby daddy is not just worthless, he also is actively trying to sabotoge you, so you go out on your own and raise your kid by yourself. Struggling your ass off, a friend of a friend named Toji decides to offer you a hell of a deal, a few hours a night at a strip club to make BANK. While there, you meet the other owner, Sukuna, and the moment he sees you? You annoy him how beautiful you are, how much he wants you, pushing him to insanity. He knows he must have you- no matter whose ass he needs to beat.

Warnings:- reader is a mom, lowkey/highkey Yandere Sukuna behavior (He's obsessed) recreational drug use, drug dealing Sukuna (the club lowkey a front lol) Mafia ties, EXPLICIT sexual content, blow jobs, cunnilingus, fingering, masturbation, teasing and mafia related violence, some former trauma of reader, lots of smut and also fluff, watch Kuna morph into a softie hehe.- Ties into the Satoru x reader story Losing Control Now

FInished- WC 54k - ao3 link here - Playlist

Headcanons/story preview below!

Stripclub Owner Sukuna- who loves what he does, the money he makes, the women, the entire atmosphere. What more could he really need in life?

Stripclub Owner Sukuna lights up a blunt with his co owner, Toji, as they lounge back on one of the bright red Sofa's, watching their girls dance around them while they hold business meetings. Sukuna certainly doesn't mind beautiful women, nor does he mind snorting coke right off them.

Stripclub Owner Sukuna throws back a shot, when suddenly he sees someone so different, so fucking pretty it makes his heart thud in his chest. He can barely stop himself from yanking you right away from this. He's slicking back pastel hair when Toji introduces you so casually, wearing a pretty silver bikini that shows too much of your sexy body. You look shy? You look nervous?

Stripclub Owner Sukuna takes your hand then, smirking at you, watching the blush decorate your cheeks, when he finds you're going to be a dancer, he immediately wants to say no, dance for just him, a level of possession he's never even felt with his girlfriends. Sukuna's shared plenty of women, but if he got you!?

Stripclub Owner Sukuna smacks Toji for even bringing you here later, and Toji scoffs. 'She has a kid and shit, she'll make top dollar here' Sukuna falters at such news. 'Don't ya think she'll make bank?' 'Tch, of course she will... it's just she's so...' Toji snorts. 'you got the hots for her, huh? Well she ain't some easy girl, I know her'

Stripclub Owner Sukuna knows he must have you, when you're stepping around the stage, and he's eyeing you, sitting right in front of the stage as you get on your knees, crawling toward him and smiling shyly. 'how're you a shy stripper, huh? not gonna work' he huffs, and you tilt your head, hand slipping down his tie. 'No allure in a shy dancer, Mr. Sukuna?'

Stripclub Owner Sukuna loses his mind when he hears his name spilled from your glossy lips, as he thinks of shoving his cock deep inside that mouth, so close to his when you turn. You bend over, ass right in the air, begging for a smack as you look back at him, hair falling over your face. 'Why're you here?' he demands, eyeing the curve of your back, cock hard like he's some pathetic teenager or something.

Stripclub Owner Sukuna tenses when you say - 'I need the money, isn't it why everyone does this?' 'Toji says you got a kid' you tense then, turning toward him nervously, as the stagelights glimmer all over your skin. 'That a problem?' Sukuna shakes his head. "Nah, lots of girls here do...' You exhale. 'I'm a single mom, my friend can watch her at night, why not work while she's asleep? I can spend my time with her'

Stripclub Owner Sukuna admires the fuck out of you as you dance your pretty ass off, but he hates the men that see you, see you in just your little bottoms and tassells, breasts bouncing, ass jiggling as you shake it, as you move. You're a whole star quickly, the few hours a night you come in you make bank, but as soon as you leave, he's in his office, jerking it to you, imagining those nipples, that pussy he sees hints of with your spandex panties.

Stripclub Owner Sukuna On one particular night forgets to lock the door, you're still out there dancing but he can't take it, you're too fucking sexy, he's picturing burying his face in that nice ass of yours as you step inside, shutting the door quickly when you see it, his enormous dick in his hands, covered in precum. You gasp, looking away quickly. 'shit I'm sorry, it's my ex... he's such an ass and I didn't want him to see me...'

Stripclub Owner Sukuna pauses, in shock as you look back down at him, licking your lower lip. 'I'm interrupting...' you come closer though, watching, breath catching in your throat. 'Want me to beat him the fuck up? ruin him?' Sukuna murmurs, voice husky, when you keep walking towards him, and he slowly strokes, from the base to the tip of his veiny length, acting so casual. 'No, you don't have to do all that, you're already so good to me' he laughs then, shaking his head. 'You are, maybe I should... be good to you?'

Stripclub Owner Sukuna can't form a thought when you're stroking his cock, leaning so close, lips just a breath from his, taking two of his fingers and sucking his precum off them, cheeks hollowing. Sukuna loses his control then, using those two fingers to slip so deep you cry out, earning his groan, uncaring if anyone heard. He's curling them up in your walls as you stroke, his eyes laser focused on your pretty face when he grips your hair by the nape of your neck. 'wanna suck me, huh brat?' he tries to keep it together, but when you nod eagerly, on your knees, he can't take how good your throat feels.

Stripclub Owner Sukuna has his cock fucking up into your throat, his salty precum against your tongue, and he wonders if it's some dream it has to be, you're too fucking beautiful to just be doing this, you shouldn't even be working, he thinks. He'd like you just naked around his house, to fuck you on every surface, fill you up with so many kids you'd never leave. Sukuna is groaning while you suck him greedily, looking up at him with dilated, beautiful eyes, making him simultaneously want to fuck you and want to make love to you, stupid insane shit that irritates him.

Stripclub Owner Sukuna stutters when you suck harder, and he's cumming deep in your throat, not meaning to. No he wants to fuck your pussy, not this, but you make him cum so fast it's stupid, swallowing him with a pretty smile, as you lean up on shaky legs. He presses a kiss to your lips, desperate and messy, tasting all of his cum all over your mouth. You're gasping, until the door opens, and you pull apart, seeing an amused Toji. You are losing your mind later as you clean up to go home, wondering what's gotten ahold of you, when Sukuna is waiting right outside.

Stripclub Owner Sukuna loves it when you look down so shy and pretty, you're biting your lower lip to death, he releases it from the grip of your teeth. 'you free tonight, brat?' you blink in confusion. 'you want...' 'want you at my place, spread wide f'me, yeah?' you gasp at the thought, shaking your head then. 'I'm not, I have to get home to my kid... but tomorrow night?' he nods, ushering you to your shitty car, picturing you in something so much better soon, leaning over with a smirk as he seatbelts you in.

Stripclub Owner Sukuna now that he's had a taste, he can't stop thinking of you, when you're at work the next day you're quickly in his office again, this time he's got you grinding on his lap, slick arousal pooling in your little outfit. 'I'll fuckin pay you triple, take the day off' "Mr. Sukuna...' 'Take. The. Day. Off.' Sukuna finally gets you home, having you bent over his couch before you can blink, ripping your pretty costume to shreds, pumping you so full of his cock you're trembling, shaking, head falling back as he fills you so good, slamming your cervix.

Stripclub Owner Sukuna has never felt anything like you, like your cunt pulsing around his cock, like his balls slapping your twitchy little clit, as you're sobbing it hurts so good, tears streaming down your pretty face while he rails his cock so deep. Sukuna busts deep in you as he wraps a big hand around your throat, fucking into you over and over, feeling you milk his cock for all he's got. 'Gonna fill you the fuck up, huh brat? gonna drip on the goddamn stage'

Stripclub Owner Sukuna has your pussy on his mouth when he's busted in you, starting to lap all the gooey white cum from your pretty pussy. 'Sukuna! ah!' you've never felt like this, so fucked out as his tongue scoops all your cum out, he's leaning over you, spitting it right into your mouth, chuckling. 'pathetic, just how I fuckin need you'

Stripclub Owner Sukuna is pathetic for you, he doesn't let you leave, he pays you for another day, fucking you in every position, at some point he's holding you upside down, you're bobbing on his cock as he's gripping your ass, moaning against your hole, you're falling apart, so weak and sore. when you finally have to go home, because you have your kid, Sukuna can't stop thinking about you, about how he wants you to have his babies, to be under him every goddamn night, so excited when you come into work, only to see you devastated.

Stripclub Owner Sukuna demands to know what's wrong, only to see your shady ass ex, who wants to saunter up to him like he's shit, you shake your head, but soon Sukuna is beating the fuck out of him. 'you have no clue who he is, Mr. Sukuna...' you tell him then, earning Sukuna's chuckle, his big grin. 'You don't know who I am, baby'

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[du-hjarta-skulblaka]

What if I made Johaan's toxic yaoi bf John Crichton from Farscape

[metranart]

Imagine Gojo setting a condition to his Clan for him to give them an heir. "It's HER or no one." The elders aren't happy that he chose a non-sorcerer, but they reluctantly agree... that is, if Gojo manages to convince you.

“Come here-...I’m far from done, kitten.”

God, Gojo still makes you nervous, with his mouth buried between your legs for longer than you can even imagine. Why are you still so nervous? Is it the proximity? Is it the way he leans in to make eye contact while he licks you? Is it those blue piercing eyes? Or that immensely amused smirk that twists his lips just enough so he can keep eating you out?

"Mmmmm... stop moving so much, (Y/N). We are making a mess of my desk..." he purrs, all too pleased to watch your eyes roll to the back of your skull. "That’s my good girl..." the man between your legs, praises, "my future bride to be...-"

"T-...that's still u-...under discussion, S-Satoru." Your quivering protests are sweet chords of music for him, "I already t-.... told you that I d-don't want to be part of the jujutsu world.... nor b-belong to a-.... any clan."

"Not any clan, pretty. MY clan." 

You hear him slurp greedily at your folds and feel a warm trick of saliva run down your ass, and when your mouth is about to throw another protest-... Satoru Gojo makes a vacuum on your quivering clit with that annoying mouth of his. Your thighs tense and the muscles of your stomach follow, a quake that rakes your entire form, making you a pathetic mock of a human.

Both your hands fly to cover your mouth and Satoru chuckles deep, amused rumble that cracks the rest of your self-control. Your cheeks grow in the most adorable shade of pink, and your breathing hastens.

"So CUTE~"

Satoru whimpers, dumb founded, his broad chest puffing with so much fervor, so much blinding endearment that he feels like about to explode. He can see the doubt in your beautifully contorted features, and he dips his tongue inside you, fucking you with that fat tongue to try to make you agree to his terms, to be HIS.

Dammit! You feel… amaaaaaazing. Why? It’s like a flip inside you only he can switch at will—... even so, he’s dangerous, you remember. He’s a special grade sorcerer, you remember. He’s a mystery, he’s unpredictable—he’s invincible, unreadable, impenetrable and lethal with a playful smile, and you really know absolutely nothing about him. 

Yet, he insists that you belong together. He insists on putting his child inside you, he insists that he will take care of you and his life will be yours. He insists that you belong in his world and if you're not there, he won't be there either. He insists on fucking you stupid every chance he gets, bending you over surfaces, of course! Always putting his coat or his shirt or any piece of his clothing, just so your skin never comes into contact with any unworthy surface. He insists, he insists and insists and insists...

“Fuck—” he growls, grabbing your hips, “—why are you... h-how do you manage to always have me wrapped around your little finger—?” 

“I want you, Satoru-u... but I can't-” 

He stops you with a soft but firm, squeeze to your waist. 

“Not like this,” he pants, tipping his head to slowly lick a strip down your sweet cunt, a farewell caress, the whisper of a kiss to his last effort before lunch time is over and he can try again, later. “Let me pretend just for a little longer that you said yes—"

Your gaze drops to his trembling thighs and the warmth that settles in the pit of your tummy is intensified by the clear drop of precum shining at the tip of his gloriously thick and long cock, now achingly swollen and a mouthwatering shade darker in color than the rest of him.  

“I'm yours, Satoru-” you offer in a quiet whisper and can feel him shake his head. “You aren't.... but I’ll make you change your mind. You, just watch me, kitten."

➡️ 👀 NSFW Sneak Peek artwork HERE ;)

➡️ FULL NSFW ART of this story