#as always relevant tie in to

[sonknuxadow]

i assume the filmmakers listened to the criticisms of the wedding subplot and that’s why they seem fine with filming the third movie without human actors right now, as they’ve probably cut back on the humans’ screentime even more

yeah thats another thing i considered, that the human characters might get much less screentime in this movie which is why they feel comfortable starting without any actors.. but surely theyre gonna need human actors at SOME point, like didnt they already say that agent stone is gonna be a major character in the third movie. and we can also assume that tom and maddie are gonna be in it too. and a bunch of unnamed human background characters.

[moe-broey]

GOD. HELP. PLEASE FORNTHE LOVE OF GOD. HELP ME <- is slightly self-conscious and extremely worried about doing something Incorrectly

[sateurn]

😵‍💫😵‍💫😵‍💫

These sobs really limited my tags?????

I have so many more thoughts this is so so much less than 1/2. Broski. Big dislike

[cheswirls]

buzzing w cyberpunk au thoughts but theyre so far out that all i can do is scribble down generic details and add it to the Bullet Point List

[miraculouslbcnreactions]

Regarding the post about Marinette being punished for trusting people and the response to it, this is something I always have trouble explaining because it sounds callous? But fictional characters aren't people. It's not that their lives just so happen to get in the way leading to something bad happened the writers decided that should happen, and it's important that you stop and ask WHY this happens. If the camera is "on" per se, people assume it's relevant and will tie into something larger. So like if the camera is on and all we see is Alya revealing her identity and then the result is she's outed in the same way she was in Heroes Day, the audience naturally concludes it's connected and thus realizes the lesson is either "Alya learns she shouldn't share her identity" OR "Marinette learns she shouldn't trust people" or both.

Secret identities are a great example of this phenomenon. We're NOT shown every time a villain's plan is foiled because they didn't know the heroe's identity, we ARE shown every time a heroe's identity causes friction in their lives. As such, large parts of the audience think of secret identites as inconveniences because that's what's shown (not just in Miraculous Ladybug, in tons of other shows)

Like you are supposed to make connections in Television about what's being shown to you that no one would make in real life (or at the very least no one SHOULD make in real life) because there's a limited space to tell the story and the audience is assuming the writers aren't wasting our time.

If these were real people it would be unreasonable to say because people have their own lives Marinette can't trust them, but in a story where Marinette is the main character who is explicitly always supposed that's. An accurate way to read the story!

And I also understand that this is a very boring construction if you're making headcanons or thinking about these characters! But that's a different lens, it doesn't make the broader writing lens invalid. You're speaking different languages at that point.

Anyway I hope that helps someone, that's my two cents

You summed it up perfectly! There's a ton of valid criticism to be had of Miraculous, but you can tell from the narrative framing that almost all of it comes down to writing choices and not things that are supposed to be seen as in-universe issues even though a lot of fans treat them as such. It's really weird to see things like people complaining about everything revolving around Marinette as if it's a personal flaw of hers and not the result of her being the main character in a fictional world. "Main Character Syndrome" literally pulls its name from the fact that this is how main characters work in a lot of media. It's a flaw when a real person does it, but in terms of story telling, it's extremely normal - and often good story telling - to have everything revolve around your main character or a core cast.

The issue with Miraculous is that they chose a lot of poor conflicts if they wanted Marinette to be the one and only main character, but that's not her fault. She didn't decide to have the rules around identities make no sense. The writers did. She didn't decide to make the main villain Adrien's dad while also keeping Adrien from being involved in the story. The writers did. The list goes on and on and, because none of it reflects badly on Marinette in the writers' eyes, the show doesn't act like Marinette is in the wrong. Remember, these are the same writers who think that Derision was a great episode that added depth to Marinette instead of destroying her character and making her look unhinged. Their judgement is clearly a little skewed.

While the writers love to make bad plot choices, they are generally using proper story telling language to make those choices, which is why I can tell you how characters' actions are intended to be read. The Rena Furtive and Nino example is a great one because it allows me to show that the writers do understand how to set things up. In fact, once they've decided that they're going to do a thing, they pretty much always set it up at a basic level. It's rarely spectacular and often frustrating, but it's never shocking.

In Rocketear, Alya promises Marinette that Nino will never learn about Rena Furtive. The episode then ends with her breaking that promise via the following exchange:

Alya: (sighs) I'm still Rena Rouge. (Nino gasps.) But now I'm in hiding and that's why Ladybug asked me not to tell anyone. Nino: But why are you telling me if no one's supposed to know? Is Ladybug cool with this? Alya: I can't hide it from you, because I love you, Nino, and we share everything.

Look at how this confession is presented. Look at what the dialogue focuses on. When Marinette confessed her identity to Alya, it was all about the confession and supporting Marinette. There was no discussion of this being a problem for Chat Noir or anything like that because - in the writers' eyes - that wasn't a problem for some reason. This is why Chat Noir almost instantly absolves Ladybug of blame once he finds out about the identity reveal (see: Hack-San.) The writers didn't want it to be an issue so it wasn't:

Ladybug: I'm really sorry, Cat Noir. I should've told you. I mean, if I found out that you told someone about your secret identity, I'd... probably be upset, too. I'm really sorry I hurt your feelings. Cat Noir: You didn't hurt my feelings. You did everything right

But when Alya confesses her identity to Nino, the conversation is not just about her confession. It's about her confession and how she's not supposed to do this. That's why Nino's response is not loving support. Instead, he asks if this is a good idea and if Ladybug knows.

These things are getting focused on because the writers are telling you that this is a bad thing. It's supposed to feel ominous. When I first watched Rocketear, I assumed that the season was going to end with Gabriel getting the fox off of Alya due to Nino because that was an obvious way to raise the stakes and they'd just heavily implied that Nino knowing would be a bad thing. I was, unfortunately, right. The only on screen consequence of Nino knowing is that he outs Alya to everyone in an incredibly forced series of events (see: Strikeback):

(Ryuko successfully prevents the Roue de Paris from hitting them, yet, it flies to the direction where Rena Furtive is. This causes Carapace to panic.) Carapace: Rena! (takes out his shield) Shell-ter! (Carapace's superpower successfully prevents the Ferris wheel from hitting Rena Furtive on top of the Tour Montparnasse. But the information of Rena Furtive's active status shocks the heroes, as well as Shadow Moth.) The heroes: Rena?! Shadow Moth: (from the top of the Eiffel Tower) She's still active?

Of course the Ferris Wheel goes straight for Alya's hiding spot and of course Nino screams her name before casting his power and of course the villain overhears it. It's all so forced and unnatural, which should make it glaringly obvious how much the writers wanted this to happen. This wasn't something they were kind of forced to do because it made sense for the narrative and they wanted to tell a good story. Instead, they wrote an awkward series of events because they really, really, really wanted Nino knowing to be a bad thing that outs Alya so that Marinette loses all of the miraculous even though none of this makes much sense.

How the hell did Gabriel hear Nino's shout from so far away? Is he able to overhear everything the heroes are saying? How does Nino even know that Alya is hiding there? And since when was a Ferris Wheel a threat to these guys? Your girlfriend is a magical girl and she's in her magical girl form, dude. You could drop a building on her and she'd be fine, a thing you have to know because this scene literally goes on to have Chat Noir go flying into a building, hitting it so hard the cement literally cracks, and no one really cares. I guess it's fine if Adrien is a punching bag, but Alya must be protected at all costs...

Anyway, while the above series of events was annoying, none of it was surprising. In fact, it would have all be perfectly predictable even if Alya outing herself was that treated as a more neutral event. Her choice leading to bad things falls perfectly in line with a truly bizarre running theme in the show: outing your identity to the person you love romantically is a bad thing that leads to bad consequences. That's why Chat Blanc and Ephemeral ended the world and why Nino knowing cost Ladybug the fox and why the character they call Joan of Arc has to give up her miraculous to be with her love and why the Kwami's have this absolutely asinine dialogue in Kwamis' Choice:

Plagg: Sugarcube! Having to force them to choose between love and their mission is just awful! Maybe Master Fu was wrong to choose them. Tikki: No, they’re made for each other. Love is what gives them their strength. Plagg: But the impossible part of that love is destroying them, and I know a thing or two about destruction. Tikki: (sighs heavily) What can we do? Plagg: We must free them of that impossible choice. We must… free them of us.

This is the voice of the author telling you that outing the identities is not and never will be a good choice for the love square. Never mind that Alya is allowed to know Marinette's identity or that Gabriel finding out is what actually ended the world in the alternate timelines or that Felix outted himself in public but is still wielding or that freaking Gabriel was allowed to know half of the temp heroes' identities while they were still actively wielding. For some reason, those things don't matter to the narrative, probably because romantic love wasn't involved. The "identity reveals are a bad thing" rule only seems to apply when romantic love is a key element to the point where it's a reoccurring theme in this supposed power of love show.

[fuckthisshitimin]

How the Straw Hats react when Sanji (Sanju?) comes back with her gender thoroughly transed:

Luffy: Does NOT notice. Not in a million years. At some point Sanji asks him if he noticed something fucking different. He frowns for a long moment and declares "Sanji looks happier".

Zoro: Notices SOMETHING. Stares a lot. Glares, one might stay. Looks very hard. Something about her is different. All his memories of her until now change the moment he sees her and he forgets entirely she hasn't always looked like that. Perona tried very hard to squeeze half a fashion sense into his brain (so did Mihauk honestly) and so what he finds is that this shirt is definitely new, and that Sanji didn't use to tie her hair. Caught staring he deadpans "Nice braid." expecting a fight but Sanji stands startled, she hadn't thought he'd be so classy about it.

Nami: "Now that you have your own boobs you can stop fixating on mine." She offers to take Sanji shopping. As a paid shopping assistant. Her fares are outrageous but she cuts her many great deals.

Usopp: The least normal about it because human bodies don't work like that and the weirdness of this crew is still growing. Relaxes when he hears about Ivankov's powers.

Chopper: Does NOT notice. He forgets human gender characteristics if they aren't medically relevant. He has to be told that Sanji is a woman. He asks what difference it makes and he gets extremely worried when he's told that Sanju will now sleep in the women's quarters. Will she die of blood loss in her sleep?

Robin: Sanji fusses over her like she usually does, asks her if she likes her new look, and with a soft smile Robin says, like she told Franky "you haven't changed at all".

Franky: So. Very. Emotional. Can never shut up about how brave and SUPER Sanju is for this. Calls her SISTER every time he sees her and Sanju thinks he's forcing it but Franky is just teary-eyed and thrilled to call her sister.

Brook: Politely requests to see her panties. Is kicked in the face he doesn't have. Writes a song called "She's not who he used to be" with puns such as San-judas, Coq/Chick/Kitchen/Cook, she's a woman/she don't woo men/she, who? my Sanju-san-chan, nii-ju-sai-ma'm, she's not playing around, she won't even show me her - Saaaaan-juuuuu-daaaas!

[boowritess]

i love love love the headcanon of the 141 not having kids and babies and ewey.

i think that john price is still very relevant to that. kinda. i don't really seeing him having a pet honestly. unless you wanted one... sure... but nah y'know... he's old tired af. maybe a cat. probably definitely a cat.

but it's been you and john for as long as you can remember.

happy to be in each other's presence from morning to night, or simply just exist in a shared life that means you two don't have to always be around each other.

you could be shopping and he could be sleeping. he's outside tending to the stuff he had supposed to finish before he left deployment while you're reading on the couch inside. he's on a long deployment again, and you're at work.

plus the prospect of kids just never seemed to work into the schedule. "nah," john says to one of your friends, "can handle kids fine, but when i'm home, this old mans bones are good for sleep and not much else. i mean the breeding kink can get me goi-" john grunts when you elbow into his side.

"crude." you huff with an eyeroll.

"but true." he says into his beer as he takes a sip, eyes sparking with mischief.

your friend turns to you. "but doesn't it get lonely?" they asks. "wouldn't you want a little one running around?"

and well sometimes the days may be lonely for you when he's gone...

but that's become impossibly hard to focus on when your phone is being constantly blown up - not by price though. by the 141.

it's never really anything outrages or civil conversation. it's gaz asking which tie he should wear at an event because price said the black one but gaz doesn't really like the black one. then it's johnny sending you a video of him besting his previous time on a training course. though it doesn't stop there. ghost is messaging late nights for him but mid-day for you, asking about how to deal with insomnia. ghost is asking you because he knows you're awake and the others are asleep, he doesn't want to bother them.

you answer every single one, with so much care and attentiveness. you save every picture, every video and boost about their achievements to other people as if they were your own. however, people always assume you're talking about little kids not grown ass men.

yet on days when you're at home or you've come home from work. you're hardly surprised to find one of them had invited themselves into yours and johns home as if it was their own.

sometimes it's gaz crashed out on the couch who's in a desperate need of a shower but definitely needs sleep more.

or the sounds of soap in your fridge, raking around to find something to eat. "lass, ye out of cheese-" he ate the cheese. the whole newly bought block of it.

gaz and soap like to hover around you when they're home. whereas ghost helps price around the house.

but when it's just you and ghost, the oldest boy. it's quiet. there's no forced conversations but probably a few shitty jokes. it's you or him making food and the other doing the dishes. yet ghost opens up and the conversations turn into some of the most randomist, boyish, silly conversations.

when everyone's at home, it can actually be pretty hectic. so you go do the grocery shopping, but you take ghost along cause he's a little like you in regard for a need of quiet time.

oh and can't forget the days you go out by yourself only to come home with a few other things. socks for john - socks for all of them. you bought johnny a new pair of jeans and gaz a couple of shirts. and simon some more sweaters.

christmas, easter, new years - every single holiday is always hosted at yours and price. where everyone comes. farah, alex, laswell and her wife. rudy and alejandro making their way- then of course your boys...

and it's there where you've kinda realized.

you and john do have kids.

just in the form of grown men.

which both you and john don't seem to mind.

you end up shrugging your shoulders as you look at your friend, "honestly i have my hands full when they're all home. so... i'm good." you say with a hum, sipping from your own drink with a small smile as john just chuckles softly.

a/n: realized I never posted this. oh well. the no baby saga continues with john price. drink water be well ya'll xx

[sadnightforus]

[10:59 AM] “Hey… HEY!” Riki whispers to you while you both are listening to your teacher who is busy explaining and breaking down about world’s history. 

 According to your seating position, you’re sitting in front of him, though, you’re sitting on the right side of the school twin desk and he sits at the left, not vertically aligned to each other. It has never been a problem for the both of you, as the seats aren’t far away. 

 The fact he cares to disturb you during class is both annoying and questionable, as he rarely does, unless it’s an important business. 

 It startles you out of your trance, as you snap your head to look back at the guy who is now staring at you. 

“What?” You ask, a bit irritated that you’re pulled away from the board. Your fingers stop working to write more notes, but try to keep your ears alert, invade when your teacher mentions any relevant information that might be on the exam. 

“You dropped your pen.” He answers, maintaining eye contact despite the forbidden rule to not talk during class. 

 You look up, observing your desk, realizing that your pen is indeed long forgotten as it must’ve fallen off some time ago when you were trying to take notes during the lessons. You don’t say anything, but instead place your pencil on the top, lowering your body a bit as your right arm works itself to retrieve the school item back to where it belongs. 

 However, a piece of folded paper catches your attention as you don’t remember that any of your classmates litter or there are trash as all of you have mandatory cleaning duties as a group. 

 Curious, you pick it up and place it onto your table, unfolding it to see the note was written in a messy handwriting, the writing style that belongs to none other than your friend, Riki. 

‘To the cutie whose student number is 9, will you be forever mine and my valentine? - N.R (student number 14)’ 

 Your student number in this class is 9. His student number is 14. 

 You feel like your world spins, but in an agonizing slow manner, the one that is sick and both ecstatic from the realization. 

 You recall back to every moment that you both share; a lot of occasions where you’ve gotten too close to him and subtly held his hand under the excuse of your hands being cold, but never once did both of you want to let go of the fingers lacing motion. 

 Or wore his jacket because you didn’t bring yours and it happened to be chilly (you shamefully admit that you just wanted his scent to linger on you). 

  Or when he bent down to tie your shoes because he noticed you’d trip with your shoelaces not being properly kept in place. 

 Or when he gently wiped your mouth because you have ice creams on the corner of your mouth as you both skipped school that one time. 

 You smile to yourself as you remember and get mushy as you now know that your love wasn’t always one sided. 

 Giddily, you begin to write your response under his words. And when you’re done with it, you hand Riki the now shared response note as you notice that his eyes were trained on you the entire time. 

 And as he opens the note to see the response ‘To the boy whose student number is 14, yes I’ll be yours. And I hope to spend every Valentine with you. - Y/N (student number 9)’, you giggle as you see that he can’t help but his face dusts in every shade of red, eyes now glistening with sparkles as he has received the best news of his life. 

COPYRIGHTED BY SADNIGHTFORUS, 2024

A/N: if you ask me, pure insanity

reblogs, comments and likes are appreciated!

[rahuratna]

Nanami Kento: Relationship Headcanons (now a fic), Part 7

Contents: relationship, establishing feelings, slow burn, office kisses.

Warning: Things get a little ... spicier from here on out. Content warnings will be given for the relevant chapters.

You lingered with him in the little alcove, listening to the rhythm of his breath in the grooves of your ear. You lingered on the stairs leading back to the car. You traced the elusive outline of his fingers with yours, again and again, committing them to memory. There were no words passed between the two of you, from the moment he'd kissed you outside the restaurant, until you parted ways outside your apartment. There was no need for words. Neither of you wanted to break the spell that this evening had cast upon you.

When he finally said goodbye, the hoarseness of his voice, the softness of it, was enough to tell you how much he wanted, how much leaving you there was costing him. It was the same in your mind, of course. Discipline, control over desires, the measuring of love in increments until some vital point was reached, what was the need for it all?

You'd happily open your front door to him, lead him into a place you'd make sure he'd never want to leave. And yet, there was still something holding you back. It must be the same for him. Something that had been slinging you both in natural trajectories, the orbit of celestial bodies that slowly swayed each other's tides until the season came for you to be closer than ever.

You could be patient for this. You could watch this sweet, gentle unfolding between the two of you, as patiently as a predator in ambush. If nature was to take its course, then it was well worth the wait.

The way Kento walked you to your door without touching you, but then snatched up your fingers and pressed them to his lips, told you how much he valued your time together. It wasn't so much that he had kissed your fingers, it was more like he was committing the feel of them to his lips, as if he'd drink from the sensation on every night he'd spend without you.

Until the night it wouldn't be necessary any longer.

He began to make an effort, of course, to bind your lives more fully together. The things that were important to him were things he wanted to share with you. Sometimes, those moments of sharing were performed unconsciously on his part, in ways that made you want to take his face between your palms and plant soft kisses on his eyelids.

On one fateful afternoon, he'd purchased some specialty mochi from a store near where he'd been posted for duty. He knew how much you loved them freshly made, with red bean filling.

You hadn't seen him for almost a week at this point, messaging him regularly to check up on his safety and whether he was eating and sleeping on time. He always replied promptly, unless deeply occupied with something.

When he strode into your office that evening, the small parcel in one hand, tie slightly askew, you knew he'd rushed to catch the last train to be here. Jujutsu Tech vehicles were not always on call at this time. You stood and beamed at him, watching his shoulders relax and the tension that hung about his face disappear.

At work, you both were very careful to keep gestures of affection to a minimum. Not that you were concealing what was growing between you. It was simply a matter of not wanting anyone else to intrude on the moments between you that were truly special. Nanami couldn't help himself, though.

Drawn across the room, as if in each other's magnetic pull, you both met halfway, his hands coming up to enclose your own. You gently extricated one of them and brushed it lightly over his forehead, smoothing out some of the lines there.

"What's this in the bag?"

"Mochi. The kind you like."

"You should have gone home and rested. The mochi could wait."

The soft smile you were giving him took the edge off your strict words.

"Hmm. But it was fresh. I saw them stocking the shelves."

"Come, sit. I'll make you some tea."

He sank onto the couch set to one side of the room with a sigh, loosening his tie. Unable to help yourself, now that he was in your presence, you traced the line of his jaw delicately on your way to the kettle. Kento leaned slightly into your touch. He didn't have to tell you how much he'd missed you.

The kettle was soon boiling merrily while you prepared the cups and saucers. You kept many different tea blends in your office, and you knew, by now, which ones he preferred. You could feel his gaze tracing down, over your shoulders and back, down to your hips and then to your fingers on the smooth porcelain.

He insisted that the mochi was for you, and that he wouldn't eat any of it. Kento could be as stubborn as a bull when it came to things like this. Sighing slightly, you took a sip of your own tea, then a bite of the mochi, Kento's eyes now following the shape of your lips over the rim of his cup.

You almost choked.

Now this was unexpected. Glancing down, you desperately fought the urge to burst into laughter when you realized what had happened. He'd purchased mochi filled with natto instead of red beans. In his rush, he must have got them mixed. Natto wasn't a common filling either, but this was a specialty shop, so it must have been made on the day.

"Something wrong?"

"Not at all. They're so soft and fresh. It's been a while since I've had any like this."

"Oh?"

He looked so pleased with himself that you silently patted yourself on the back for managing to conceal that so well. At that moment, the door to the office burst open and Gojo strolled in. Tall and charismatic as ever, he glanced around, gaze almost traveling right over you as he focused on the target of his attention.

"Nanami! Why are you holed up in here? I've been looking for you all over. Where's the report?"

The tension lines on Kento's forehead were back in full force.

"I'm attempting to sit down and take a break after a long day, as you can clearly see."

Gojo grinned and knocked Kento's knee with his shin.

"Okay, Mister Grump. But where's the report?"

"Filed with Ijichi, obviously. I always send my paperwork in first thing. You know this."

Gojo clicked his tongue and Kento's eye twitched alarmingly.

"Why you gotta be so proper. Now I have to go find Ijichi."

"You could have - "

"Ooohh, what's this?"

To your immense alarm, Gojo had spotted the mochi. Everyone and their grandmother knew about the special grade sorcerer's penchant for all things sweet. You attempted to push them aside slowly.

"Uh, you don't want these. They're - "

"Huh?" He pointed at you, scandalized. "Are you trying to keep them all to yourself?"

"What? No, I - "

Kento stood and folded his arms in a manner that showed just how much he meant business.

"Gojo, leave those mochi alone."

"Oh hell no. You go all the way to the mochi store I've been dying to go to all week, and you don't even get me any? What kind of friend are you?"

Before either of you could stop him (for very different reasons) he grabbed one of the mochi and popped it into his mouth. He chewed happily before stopping suddenly, face crumpling, gagging slightly.

"What the hell? Why is there natto in these?"

Kento turned, very slowly, in your direction. Studiously avoiding his gaze, you cleared your throat.

"That was at my request. I love natto mochi. That's why I tried to stop you from eating them."

Grabbing your half-full cup of tea, Gojo took a large gulp in an attempt to wash away the flavour.

"Natto mochi? Why? Just .... why? Oh, never mind. Thanks for trying to stop me anyway. Oi, Nanamin, you owe me some strawberry mochi for next time, okay?"

So saying, the whirlwind that was Gojo exited your office, footsteps shuffling away on the floor outside. You examined your fingernails. Kento's gaze was burning into the back of your head.

"Ahem. Is there something you'd like to tell me?"

"No?"

"Why didn't you tell me these were natto?"

"I like natto."

"Liar."

You huffed out a small laugh, finally meeting his disapproving expression with a mischievous one.

"Fine. I'm not a fan of natto. But you were so happy to give them to me, Kento. I just wanted to see you smiling and looking relaxed for a change, so I - "

Before you could utter another word, he had plucked the glasses away from his face with a decisive motion and taken two strides into your space, his arms coming up and surrounding you in an embrace that pulled you like a vice into his chest.

"Kento?"

Your voice was a little shaky, not in an unpleasant way, as he leaned forward without hesitation, tilting his head. You swiftly dodged away, your breathless laugh mingling with his own unsteady breathing.

"The door isn't closed all the way. And I've just... wait! I've just eaten natto, you - "

His mouth was positively hungry on yours this time. Regardless of whatever flavour was lingering there, he was pushing you back until the desk collided with your thighs, his hand coming up to grasp and tilt your face until your mouth fell open helplessly against his. He was licking into you like a man starved, pausing in between to whisper to you about how he'd missed you, how he wanted you, how you looked so beautiful today and now his lips were on your throat, then on your mouth again, teeth knocking against yours, clumsy in his passion. There was something so fierce, uncontrolled, so primal about the way he was touching you, as if every restraint he had placed on himself (and by extension, yourself) had come crashing down among the rapidly narrowing spaces between your bodies.

Your hands were on his shoulders, and it probably looked as if you were trying to push him off you, but you were actually bracing yourself as something warm and molten started to run straight down the middle of your body, making you hyper-sensitive to his touch, to the feel of him on you. He was so large, so warm, so solid, the ripple of sinew against underlying muscle so evident under your fingers. You could run your hands over him like this forever, mapping out every new delight he laid bare for you.

Something like sanity was beginning to make itself known to the both of you now, the awareness of where you were, of the rules of propriety, and Kento removed his mouth from yours with a twist of his neck, looking away from you, breathing hard. He was now murmuring a soft apology, but you weren't having it. You covered his mouth with your hand and tugged slightly, making him look at you again, forcing him to take in your appearance, as he'd left you. He was none the better.

You removed your hand and took him in, the flushed cheeks, the blonde strands coming down around his ears, the glazed molten honey of his eyes and moistened lips. This man was so beautiful, he'd be the death of you. You told him so, and he gave a small, slightly disbelieving chuckle. But you let him read the truth in your regard of him all the same, the way you were drinking in the sight of him.

If you didn't know any better, you'd say Kento was overcome with a little shyness then. He lowered his face and his nose found purchase on your collarbone. You closed your eyes and wrapped your arms around his shoulders, holding him tightly, but gently. After a few moments of him basking in your embrace, he pulled away and cleared his throat, smoothing out his shirt. You took in a steadying breath and did the same to your own rumpled appearance.

He spent the remainder of your shift seated at a safe distance behind the other desk in the room, using the desktop PC to order up a replacement for his leather blade holster that was showing signs of wear. At times, your eyes would catch his, regarding you with a certain kind of tenderness in the dim glow of the office lamps. That expression was new. You delighted in it, as you did in every new aspect of himself he revealed to you.

When your shift ended, he insisted on walking you to the train.

Of course, he apologizes for his behaviour later. Even though the thought has long since ceased to bother you, he has been going over it in his mind, as you expected. He was the one who initiated the kiss in your office, after all. When you arrive home, warm up the food you'd pre-prepared in the fridge and finish with your bath, your phone is lit up with a small, insistent reminder.

Unable to help the small laugh that escapes you, you read his message.

"I don't know what came over me earlier. Please pardon my behaviour. I'm not offering excuses, but I did miss your presence."

The infinite sweetness that wells up inside you threatens to have you type something that you might want to take back. Like inviting him over so that he can fall asleep in your lap while your fingers card through his soft hair.

"Please don't apologize. I enjoyed that as much as you did, and you know it."

"You did?"

"Absolutely."

There is a pause before his next message.

"I did miss you."

"I missed you terribly, Kento. Was it a tough week?"

"Not difficult. Just draining. On surveillance."

"Please go to sleep soon."

"Are you already tired of me?"

"Are you already being melodramatic?"

"Nobody has ever called me melodramatic before."

"You just hide it well."

"As well as my desire to hold you?"

Your fingers still for a moment. How brazen.

"Not as much as my desire to kiss you all over your handsome face."

"You find me handsome?"

You can clearly picture that subtly pleased expression of his and almost roll your eyes. Of course Kento wouldn't take much note of his own appearance.

"Can you think of anyone who wouldn't find you handsome?"

"That's a matter of perspective."

"Name one. Go on."

"Gojo."

"Now you're playing dangerous games."

"How so?"

"If he were to receive an anonymous email asking him to sing praises to your beauty all week ... "

"All right. I take it back."

"Too late. Now go to sleep."

"Have mercy on me."

There is a small pause before his next reply comes.

"Goodnight, my darling."

For a long time, before you go to sleep, your heart hums a pleasant, warm rhythm to that word.

@tsukimefuku @kentocalls @actuallysaiyan @g-kleran

[the-final-sif]

You are Vulnerable to Conspiracy Theories

Right now, with tensions high over the situation in Gaza, there is a prime environment for conspiracy theories to take hold. Conspiracy theories are particularly dangerous in places where there is low trust in media, a rapidly changing situation, and high emotional tensions. When humans are stressed and scared we look for answers, and most often the easiest and most comforting answer is to make a big bad guy that's at fault for everything. Already, I've seen a number of false conspiracy theories that have alleged things like this. The most recent example was someone claiming spotify wrapped was released to drown out a pro-Palestine movement. This post ignored that Spotify wrapped is always released on Wednesday the week after thanksgiving. It's the same time it always releases. I've seen half a dozen other ones about McDonald's french fries or any other mundane corporate nonsense. I understand this is a very scary time, but this sort of thing isn't helpful.

You are vulnerable to conspiracy theories. All human beings are vulnerable to them. They are actively dangerous and they harm actual efforts to confront the actual problems of the world, and a lot of them tie back to antisemitic ideas, blaming a jewish cabal that controls all the strings of the media/world. Spreading these conspiracy theories is not helpful to Palestine, and it actively endangers Jewish people. It means people's efforts and anger is misdirected and makes the movement to help Palestine less effective. Every person has a responsibility to help prevent the spread of misinformation, and that includes you.

IF IN DOUBT, STOP, DON'T SHARE. DO NOT SHARE INFORMATION YOU CANNOT VERIFY.

This is a guide put together by the European Commission for COVID-19 conspiracy theories, but the same basic principles hold true. I've added the two most relevant infographics below. Plain text versions of these can be found at the link above.

[dedalvs]

Hey! I'm David Peterson, and a few years ago, I wrote a book called Create Your Own Secret Language. It's a book that introduces middle grade readers to codes, ciphers, and elementary language creation. The age range is like 10-14, but skews a little bit older, as the work gets pretty complicated pretty quick. I think 12-13 is the best age range.

Anyway, I decided to look at the Amazon page for it a bit ago, and it's rated fairly well (4.5 at the moment), but there are some 1 star reviews, and I'm always curious about those. Usually they're way off, or thought the book was going to be something different (e.g. "This book doesn't teach you a thing about computer coding!"), but every so often there's some truth in there. (Oh, one not 1 star but lower rated review said they gave it to their 2nd grader, but they found it too complicated. I appreciate a review like that, because I am not at all surprised—I think it is too complicated for a 2nd grader—and I think a review like that is much more effective than a simple 10+ age range on the book.) The first 1 star rating I came to, though, was this:

Now calling a completely mild description of a teenage girl who has a crush on another girl controversial is something I take exception to, but I don't want to pile on this person. Instead I wanted to share how this section came to be in the book.

The book is essentially divided into four parts. The first three parts deal with different ciphers or codes that become more complicated, while the last part describes elementary language creation. The first three sections are each built around a message that the reader can decode, but with language creation, the possibilities are too numerous and too complicated, so there isn't an example to decode, or anything. It would've been too difficult.

For what the messages to decode are about, though, I could do, potentially, anything, so at first I thought to tie them into a world of anthropomorphic animals (an ongoing series of battles between cats and mice), with messages that are being intercepted and decoded. My editor rejected that. Then I redid it so that each section had an individual story that had to do with some famous work of literature. My editor rejected that as well. He explained that it needed to be something that was relevant to kids of the target age range. I was kind of at a loss, for a bit, but then I thought of a story of kids sending secret messages about their uncle who eats too many onions. I shared that, my editor loved it, and I was like, all right. I can do this.

The tough part for me in coming up with mini-stories to plan these coded messages around was coming up with a reason for them to be secret. That's the whole point of a code/cipher: A message you want to be sure no one else but the intended recipient can read in case the message is intercepted. With the first one, two kids are poking gentle fun at a family member, so they want to be sure no one else can read what they're writing. For the last one, a boy is confessing to a diary, because he feels bad that he allowed his cat to escape, but no one knows he did it (he does find the cat again). For the other, I was trying to think of plausible message-sending scenarios for a preteen/teen, and I thought of how we used to write notes in, honestly, 4th and 5th grade, but I aged it up a bit, and decided to have a story about a girl writing a note to her friend because she has a crush on another girl, and wants her friend's opinion/help.

Here's where the point of sharing this comes in. As I had originally written it, the girl's note to her friend was not just telling her friend about her crush, it was also a coming out note, and she was concerned what her parents would react poorly.

Anyway, I sent that off with the rest of my draft, and I got a bunch of comments back on the whole draft (as expected), but my editor also commented on that story, in particular. Specifically, he noted that not every LGBTQ+ story has to be a coming out story, the part about potential friction between her and her parents because of it was a little heavy for the book, and, in general, not every coming out story has to be traumatic.

That was all he said, but I immediately recognized the, in hindsight, obvious truth of all three points, and I was completely embarrassed. I changed it immediately, so that the story beats are that it's a crush, she's not sure if it'll be reciprocated, and she's also very busy with school and band and feels like this will be adding even more busy-ness to her daily life as a student/teen. Then I apologized for making such a blunder. My editor was very good about it—after all, that's what drafts and editors are for—and that was a relief, but I'm still embarrassed that I didn't think of it first.

But, of course, this is not my lived experience, not being a member of the LGBTQ+ community. This is the very reason why you have sensitivity readers—to provide a vantage point you're blind to. In this case, I was very fortunate to have an editor who was thinking ahead, and I'm very grateful that he was there to catch it. That editor, by the way, is Justin Krasner.

One reason I wanted to share this, though, is that while it always is a bit of a difficult thing to speak up, because there might be a negative reaction, sometimes there is no pushback at all. Indeed, sometimes the one being called out is grateful, because we all have blindspots due to our own lived experiences. You can't live every life. For that reason, your own experience will end up being valuable to someone at some point in time for no other reason than that you lived it and they didn't. And, by the by, this is also true for the present, because the lives we've lived cause us to see what's going on right before our eyes in different lights.

Anyway, this is a story that wouldn't have come out otherwise, so I wanted to be sure to let everyone know that Justin Krasner ensured that my book was a better book. An editor's job is often silent and thankless, so on Thanksgiving, I wanted to say thank you, Justin. <3

[3hks]

3hks' Guide to Plot (2024)

Alright guys... Here's a big one! These are MY personal thoughts on how to create and write plot. As time continues, I'm positive that some of these things will change, which is why I included "(2024)" in the title! Let's start with some of the basics and definitions, shall we? Hint: you probably want to see the last tip!

~PLOT STRUCTURE~

For 99.9% of novels, they follow a similar--if not the same plot structure--so let's take a look at them chronologically!

>>> Exposition: The beginning of the story, the starting characters, settings, relationships, and ideas are established. This is meant to give the reader a basic sense of the story.

>>> Inciting Incident (initial conflict): This is what sparks the conflict. The characters themselves may not realize it, but this event ultimately changes the whole course of the plot! (This may not always be before the rising action.)

>>> Rising Action: The GOOD stuff starts here! More introductions, more development, more action! Tension builds as the story continues.

>>> Climax: The climax is NOT equivalent to the conflict. The climax is the most exciting or tensest part of the story. The protagonist often is forced into making a difficult decision, whether it be self-inflicted or by another character's hand.

>>> Falling Action: The climax has ended, and things are coming to an end! The falling action is always shorter than the rising action, because there isn't much to introduce, and the characters are simply rolling through the consequences (good or bad) of their previous actions.

>>> Resolution: This is the end of the story. Many people will tell you to tie all the knots together during this part, but it's ultimately up to you! However, there should be some sort of ending to provide closure, at the very least. The conflict should also be resolved (hence the name).

Let's look at the diagram itself! (I'm using Freytag's pyramid because it's well-known. Thank you Writer's Hive for the image!)

~CONFLICT~

Alright, let's talk about the types of conflict real quick!

Character v.s Character: This is your typical conflict, where there are two opposing characters struggling against each other.

Character v.s Self: This is a less common conflict that takes place within the character's mind. (Examples: Self-doubt, decision making, moral dilemma, etc.)

Character v.s Society: This is a conflict between a character (or even a small group of characters) struggling against a larger, typically oppressive society as a whole.

Character v.s. Nature: Just like in the name, this is a character against a force of nature: a tornado, storm, flood, etc.

Character v.s Supernatural: Simply put, this is just a character struggling against a supernatural force.

While knowing and being able to identify the different conflicts doesn't necessarily help you write, it's important to understand what your character is battling against in order to build the conflict.

~BUILDING THE ARCS~

If you watch a lot of shows or movies, you're probably familiar with the term "arc," which is just another way to say plot or subplot, depending on your story.

When writing plot, you want to have a MAIN or LEADING ARC. This is your character's goal that's usually established at the exposition. However, there is usually more to add so your storyline isn't too one-dimensional. These are more arcs or subplots that simply branch out. In a way, it's meant to slow the plot down and add more content while still advancing the story.

So yeah, subplots are able to assist in slowing down the story but they need to help advance the main arc.

This can be done by simply connecting the two--making sure that both of them are at least relevant to one another.

Here's an example! Let's look at HunterxHunter (Yoshihiro Togashi)

The main character, Gon, has a goal to locate his father. This is what HunterxHunter is mainly about. The leading arc, main plot, etc.

It's incredibly simple and straightforward, but it's not that easy.

Along the way, you see different problems arise, creating more subtle and smaller arcs. For instance, there's the Yorknew arc, the Greed Island arc, and the Chimera Ant arc.

The focus of those arcs aren't necessarily for Gon to find his dad. As a matter of fact, his objective is kind of an afterthought in the presence of these subplots. Still, they are connected to Gon's objective and push the story!

See how modest the main plot is? It does not have to be the world's most complex storyline.

Your protagonist's goal is the leading arc, and things just get in the way of it.

Keep this in mind and it may actually help you design your plot events!

~KEY POINTS~

Character introductions: By the end of the rising action, you want most of your characters to have been introduced. This may vary for some certain scenarios, but logically, most characters are going to be involved in the climax, so they must be introduced beforehand.

Environment: Your character will typically start out with a set view of their society, world, and people. Through your developing plot, there should be some changes in their view. What they believe is true could prove to be false.

Triumphs and losses: Sometimes, your character needs to win, and sometimes, they need to lose. This adds a sense of naturalness (not everyone gets what they want) and aids your character development. There are times when a loss is actually the foundation of the exposition! (Wink-wink, nudge-nudge)

~WHERE TO PLACE "THAT SCENE"~

Here's a pretty big one! As writers, we often have just "that scene" pictured out in our minds--it's absolute perfection and a REAL piece of art.

But where are we going to insert it?

If it's not too important, there are three places I suggest! 1. The exposition, 2. the rising action, 3. the falling action.

If your moment is able to introduce a relationship, character, or setting, the exposition is the way to go. If it can build on the three things I listed AND may have a part in the conflict and/or climax, then rising action it is! If it's somewhere in between and somewhere else, then try falling action!

And it can even be the inciting incident if begins the conflict!

Resolution is also a possibility, but because it's near the end, your scene may have less impact than you want. However, if you're still into that idea, then I suggest placing it at the very end! (You'll just need a lot of patience to get through your whole story just for that part, though lol.)

The most important part is to understand what the moment can contribute to the plot, because then you'll have a much better idea of whether you should place it closer to the climax or further away!

Did this help? Let me know!

Happy writing~

3hks <3

[tempting-andromeda]

I missed my boys so I’m back at headcanons

Misc headcanons

Characters: Arthur Morgan, John Marston, Dutch Van Der Linde, Charles Smith, Javier Escuella, Sean MacGuire, Lenny Sunmers, Kieran Duffy, Micah Bell, Eagle Flies

Arthur Morgan

Super awkward about gift giving but he loves giving you little trinkets from his adventures. Like a small flower or a pretty Little Rock

He’s just like “here” drops it in your hand and then stands there awkwardly

Doesn’t hide his facial expressions as well as he thinks he does.

He loves to gossip. If you tell him something juicy he acts like he doesn’t care but he’ll drop something even crazier with a smirk

Reluctantly tells you about his adventures but he just doesn’t want to brag

John Marston

Every time he asks for you to bathe with him it ends up with him getting a scrub down instead of getting headed (he doesn’t know why he expects anything else anymore)

Thinks burps are peak comedy.

He likes when you ask his opinion about things even though he’ll bullshit his way through

Like a purple or blue shirt? Hmm it’s cold so wear the blue one because blue is for cold.

Accidentally shows his buttcrack a lot. His pants just never sit on his hips right and I just…I can feel it.

Dutch Van Der Linde

He likes dates where you two go out into Saint Denis and pretend to be someone else for the night.

Likes picking out your outfits for you. He finds it romantic.

Has a thing for helping you tie or buckle your shoes

Always thinks the smallest knees is the biggest news or the other way around

Tries to dance with you in the most random of moments. Like you’re a little pissed about something and he’ll come up to you and just start swaying

Charles Smith

Cannot stand when people share food by sucking on peoples fingers. Like when people dip their finger into the cake batter and share it.

Has the most obvious side eye ever. He simply cannot hide it.

Favorite cuddling position is where you lay on top of him

He doesn’t drink much but when he does he’s a completely different person.

Will bluntly ask you a weird question like “what alcohol do you think would be your horse’s favorite”

Javier Escuella

Likes lipstick marks. Thinks it’s one of the most attractive things ever. Has a shirt where you left a lipstick stain on the collar

Says the sassiest shit under his breath 5 minutes after it’s relevant and gets pissed

Rehearses a conversation in his head before he has it

Makes you learn Spanish for “code words” but reallt he just wants to teach you Spanish

Has a habit of repeating words just for himself outside of conversations

Sean MacGuire

He thinks he’s the suavest mother fucker around. He will randomly share how he pulled you to random people

Makes the worst inside jokes he’ll never drop

Loves to spin you around randomly. He doesn’t care if you hate it.

Keeps food in his pockets (sometimes wrapped in cloth) and doesn’t see a problem with it

Thinks cringy pet names are the best like “snugglemuffin”

Lenny Summers

One of his favorite dates are leisurely strolls

He liked when you help him get dressed. Like help him with his vest

Idk why I think he has like the same idea as romance as those really happy old people

Likes when you keep him company while he’s patrolling

Loves cheek kisses! One of his favorite things ever!

Kieran Duffy

He likes to join you if you have a self care routine.

Likes to share things with you. Like some food or his clothes.

Makes the most out there “what ifs” or “would you rather” questions

Just casually knows how to do decent hairstyles because he got bored while working with the horses.

Wakes up too easily. At the smallest thing. You could twitch and he’s stirring awake

Micah Bell

Thinks it’s funny to ghost you. He always says stuff like “distance makes the heart grow fonder”

Really good at catching flies and mosquitoes

Will prompt the weirdest shit as if it’s normal just to fuck with you

Will give you the meanest compliments like “I hate inbreds…not you though” because he thinks it’s charming AND funny

Randomly gives you a good shove every now and then

Eagle flies

He absolutely loves getting a rise out of you like sometimes he does something stupid just for you to scold him

Affectionally bites. At first it was a joke but now he just casually does it. He’ll grab your hand and pressed a light bite to your wrist

Gets comfortable in the weirdest positions. Even while cuddling.

Talks about your future with him way too soon.

He thinks it’s funny to randomly “propose” to you

[beguines]

As neoliberalism has infected higher education, research on "mental health issues" in the academy has become increasingly conservative. My own subject area, sociology, is as guilty as any other. We have lost sight of what it means to think critically about the mental health system, to be able to challenge the work of the psy-professions, to interrogate meaningfully the production of knowledge claims on "mental disease," and to adequately contextualise the expansion of the psychiatric discourse with reference to theoretical sets of ideas which refer to labelling, power, and social control. We have effectively become pseudo-social psychologists whose research agenda is passed down to us by state agencies, requiring us to do little more than identify marginalised groups who can be labelled and policed by the psychiatric authorities and the criminal justice system. Having a once proud tradition of highlighting the systematic, oppressive practices of the mental health system, the sociology of mental health is now in severe danger of simply becoming another arm of the state. Far too much of what passes for "research" in the discipline is flawed from the beginning: it takes for granted that the mental health system is a fundamentally caring, scientifically sound discipline; it accepts mental illness diagnoses as valid and having a proved aetiology; and the empirical lens is focused outward on "undetected" pathologies in the general population rather than inward on the pathological behaviour of the institution of psychiatry and its allies. The result is that we end up with sociological research and scholarship which perpetuates the myths of psychiatric knowledge and aids the expansion of psychiatric hegemony (how many times have we read at the conclusion of such articles and books that there is a gap—an "unmet need"—in current mental health provision for which further resources and staffing is required?).

Thus, we need to resist the top-down state-run agenda and reject funding streams that tie us into conservative, surveillance-focused projects. We also need to be vocal in challenging the scholars who take on such projects and reproduce the same old nonsense on mental illness prevalence which reinforces the hegemonic view of black, female, young, LGBT, working class, and other marginalised populations as pathological. As always, sociological investigation needs to focus on the powerful rather than the powerless. This requires the revitalisation of a truly critical research agenda for the sociology of mental health in which the operations and practices of the psy-professions and their production of knowledge claims are prioritised. Research would then focus on the politics of diagnostic construction and professional power, on how psy-professionals turn subjective, personal understandings of human beings into categories of pathology, on the inner workings of the mental health system, on the conflicts and alliances made internally and externally to these professions, and on their constant need to justify mental health practice as medically and scientifically relevant.

Bruce M.Z. Cohen, Psychiatric Hegemony: A Marxist Theory of Mental Illness

[inkdemonapologist]

Way back before we got the BatDR trailer I had this wild theory -- basically, that the reason they couldn't show any concept art/trailers/etc was that BatDR was gonna pull a wizard of oz and suddenly be in colour partway through. So then that's why we were getting teasers like "look, its a model of A SHELF," because all the actual interesting stuff would've obviously been in colour and spoiled the surprise.

Part of the reason I thought this would work really well was that I assumed Nathan's acquisition of the Bendy IP and "revival" of the franchise in-world would be thematically relevant, rather than just... an excuse to have a second game. Like, Bendy is in new hands now, the cartoons are essentially being rebooted, and there's a LOT of thematic potential in that concept of Old vs New or the good and bad aspects of Change, and the idea that reviving Bendy in the real world would impact the ink realm was a fascinating concept to me. Now that we know the main thrust of the story........... actually I still think this could've worked with it? The sepia-toned Memory of Joey's Regret and the evil of the Ink Demon lingers over the studio and corrupts this new colourful world, while Wilson, the Man Who Killed The Ink Demon, is the one trying to forcibly extinguish these old stains and make the machine useful again.

Geez, you could tie Wilson's motivation in pretty directly actually if you dropped the ENTIRE thing where he says he's trying to BETTER THE WORLD THRU THE POWER OF THE MACHINE or whatever and instead just make him an actual janitor whose dad just gave him this bottom-tier job at his company. Give Nathan one audiolog about how his son is neglectful at work and its hard to find a job he can actually do or some such, and then you have Wilson as someone desperate to prove he deserves more. He sees his father's idolisation of Joey is naive, is able to realise the memory of Joey may be literally corrupting the business through the machine, and wants to eradicate that -- including Audrey, the most subtle infiltration of Joey Drew's influence. He's essentially the force of the New applied with no respect for the Old -- and then you could still give Wilson ties to that psychedelic neon ink from the Shipahoy battle; in fact, you could probably lean into it more: colour taken to the extreme, colour taken too far, something just as destructive as Joey's monochrome obsession.

(I've always loved the idea that Wilson isn't actually an artist and just stole the Shipahoy design while janitoring, which works great with the Shipahoy Monstrosity at the end being part crab because he couldn't actually create an isolated model to feed the machine... in this current era of The Threat Of AI Generation, the idea of wilson introducing a lot of mechanical innovation and incompetently dumping artwork into the machine to make new, too-colourful horrors in the interest of impressing his father while destroying all the old things these cartoons were first built on feels apropos lmao. obviously AI wasn't a huge talking point while BatDR was in production, but "ppl who assume more technology automatically makes art better while inadvertently destroying its heart" is extremely not new)

So the ink realm could be partially in colour (a world changed by the new cartoons), partially sepia (the infected memories of the old studio), and partially glowy neon (wilson's overzealous renovation). It'd be neat if Audrey became a bit of both -- partially colour, partially sepia -- and represented the new cartoons' ties to the old. Learning about the horrors that befell her father's old studio and the Gent technology that Wilson is now using are both relevant -- Joey's exploitation of actual artists who care was bad, and so is Wilson's complete disregard for the heart of these artists' work. The memory of Joey can't fix it because he is part of the problem -- he and the demon are the source of the monochrome infection -- so you have to be the one to bring heartfelt colour into this world, a power none of the others have; find a way to heal those trapped by old wrongs and restart the cycle in a better direction. Then, when Audrey says she wants to create a kinder cycle at the end, we have an idea of what that means and that she can do it b/c there's simple symbolism associated with it -- the new, colourful world that's neither corrupted by festering wrongs nor torn apart by Wilson's machines.

anyway. thats my half-baked idea. i still think its a shame that there WAS colour in there for like 2 seconds and they did NOTHING WITH IT!!!!

[satoruwiki]

feed us more naoya headcanons!!!

…more?? 🧍‍♀️ who am i to deny you

♡₊˚ Naoya is the type of man to…𓈒 ˚ ⟡ pt.2

content: jjk headcanons; half sfw/half nsfw; afab!reader; another glimpse of the horrors you’d be going through as his partner lol

n/a: i almost went bald from how hard i was scratching my head to come up with more hcs, but i think i made it?? lol

these are my hcs! feel free to agree or disagree :b any request/interaction supporting this post is very much appreciated <3

sfw ver! ୨ৎ

Naoya is the type of man to… be excessively controlling. From what you eat to what you wear, Naoya will strictly decide it for you, because he always knows what’s best for you, so don’t even try to object. Unless you want to put him in a bad mood.

Naoya is the type of man to… act like a loving husband in public but treat you like trash at home. Only the clansmen and whoever is close to you would actually know how your life is as Naoya’s spouse. Naoya cares about being the best at everything, therefore he’d pretend to be a good husband to you when going out.

Naoya is the type of man to… have a long lasting situationship. If it isn’t by an arranged marriage, don’t expect him to ever commit to you. He hates any type of commitment that isn’t with himself. He’ll make up excuses or will simply tell you that you are both fine just like you are. However if you ever try to distance yourself from him, that is something he won’t allow you. You guys aren’t nothing serious, but he still wants to keep you within reach.

Naoya is the type of man to… gaslight you and purposely guilt trip you so you never leave him. If you ever get sick of him and try to leave, Naoya will literally make everything your fault and/or harass so you end up feeling bad and comeback to him. And no, he won’t change for you.

Naoya is the type of man to… make everything about himself. Naoya doesn’t care about what you like or your thoughts, they aren’t important or relevant to him. But you should listen to him ramble about his cousin or his ideology though. Most of the conversations with Naoya would consist of: how great he is, he’s the only one who truly ‘understood’ Toji and everyone is weak except him.

nsfw ver! ୨ৎ

Naoya is the type of man to… choke you. Not to the point of killing you, of course. He still needs his little cockwhore alive and well for him to bury his cock into your warm walls whenever he pleases.

Naoya is the type of man to… have a huge dacryphilia kink. He won’t cum if he doesn’t see you cry.

Naoya is the type of man to… edge you. You would have to beg for mercy in order for him to even consider let you cum. He can go on for hours edging you and never get tired of your pleas. He finds pleasure in reducing you into a needy pathetic slut.

Naoya is the type of man to… be into shibari. He probably knows every knot in the damn book and will tie you up with ease and differently each time. You would look cute tied up though.

Naoya is the type of man to…. into knife and wax play. No big explanation here, he’s just really into bdsm and making you feel some sort of pain.