#do the kids still do that? the “in this essay I will” thing

[smallpwbbles]

ngl as someone with d.i.d. (dissociative identity disorder) the tiny jax au is really, comforting? honestly? even tho thats not at all whats happening and the situations are completely different its kinda nice seeing something similar being portrayed where the "second personality" isn't "evil".

the fact regular jax causes all the issues because hes a little bitch™ and tiny jax is just along for the ride (while being scared) is just a really refreshing take on this sorta idea. regular jax may be a victim to the circumstance hes under, but so is tiny jax. neither asked to be in this situation, and whether regular jax likes it or not he's stuck with a second person in his body. he's gonna have to adjust to it if he wants things to stop getting worse (even if adjusting to it is only temporary since in doing so might cause it to go away).

it is stressful to deal with sharing a body with even just one person. communication is key to make things work without causing a massive headache. it is scary to suddenly black out and not know what happens when you aren't in control. it is also terrifying to be threatened and yelled at for existing when you didn't ask to. the only way to get better is to communicate and accept the situation you're in instead of fighting it (more of a lesson regular jax needs to learn then tiny jax. especially since tiny jax is literally just a kid who did nothing wrong).

even tho its all unintentional, a lot of stuff just kinda hits. ofc this isn't me claiming this situation is d.i.d., im very aware its not. just wanted to share how despite it being a completely different thing, it's still relatable. really good au 10/10. my bad for the accidental mini essay. i'd be doing our english teachers proud right now with this shit.

skibidi toilet ohio rizz fortnite battle pass or whatever the kids say

- @carnivalcentipede

Yoo, I really appreciate this, like I defo don’t wanna dismiss the themes of DID I may have accidentally put in this AU especially if yall see it that way. So I’m glad I haven’t done anything disrespectful in how I portray Jaxs inner turmoil of having a part of himself be open and vulnerable with the others

I hate that I’m becoming so old that I only get half of the references kids be making nowadays

[mariacallous]

Perhaps you’ve heard: Young people aren’t dating anymore. News media and social media are awash in commentary about the decline in youth romance. It’s visible in the corporate data, with dating-app engagement taking a hit. And it’s visible in the survey data, where the share of 12th graders who say they’ve dated has fallen from about 85 percent in the 1980s to less than 50 percent in the early 2020s, with the decline particularly steep in the past few years.

Naturally, young people’s habits are catnip to news commentators. But although I consider the story of declining youth romance important, I don’t find it particularly mysterious. In my essay on the anti-social century, I reported that young people have retreated from all manner of physical-world relationships, whether because of smartphones, over-parenting, or a combination of factors. Compared with previous generations of teens, they have fewer friends, spend significantly less time with the friends they do have, attend fewer parties, and spend much more time alone. Romantic relationships theoretically imply a certain physicality; so it’s easy to imagine that the collapse of physical-world socializing for young people would involve the decline of romance.

Adults have a way of projecting their anxieties and realities onto their children. In the case of romance, the fixation on young people masks a deeper—and, to me, far more mysterious—phenomenon: What is happening to adult relationships?

American adults are significantly less likely to be married or to live with a partner than they used to be. The national marriage rate is hovering near its all-time low, while the share of women under 65 who aren’t living with a partner has grown steadily since the 1980s. The past decade seems to be the only period since at least the 1970s when women under 35 were more likely to live with their parents than with a spouse.

People’s lives are diverse, and so are their wants and desires and circumstances. It’s hard, and perhaps impossible, to identify a tiny number of factors that explain hundreds of millions of people’s decisions to couple up, split apart, or remain single. But according to Lyman Stone, a researcher at the Institute for Family Studies, the most important reason marriage and coupling are declining in the U.S. is actually quite straightforward: Many young men are falling behind economically.

A marriage or romantic partnership can be many things: friendship, love, sex, someone to gossip with, someone to remind you to take out the trash. But, practically speaking, Stone told me, marriage is also insurance. Women have historically relied on men to act as insurance policies—against the threat of violence, the risk of poverty. To some, this might sound like an old-fashioned, even reactionary, description of marriage, but its logic still applies. “Men’s odds of being in a relationship today are still highly correlated with their income,” Stone said. “Women do not typically invest in long-term relationships with men who have nothing to contribute economically.” In the past few decades, young and especially less educated men’s income has stagnated, even as women have charged into the workforce and seen their college-graduation rates soar. For single non-college-educated men, average inflation-adjusted earnings at age 45 have fallen by nearly 25 percent in the past half century, while for the country as a whole, average real earnings have more than doubled. As a result, “a lot of young men today just don’t look like what women have come to think of as ‘marriage material,’” he said.

In January, the Financial Times’ John Burn-Murdoch published an analysis of the “relationship recession” that lent strong support to Stone’s theory. Contrary to the idea that declining fertility in the U.S. is mostly about happily childless DINKs (dual-income, no-kid couples), “the drop in relationship formation is steepest among the poorest,” he observed. I asked Burn-Murdoch to share his analysis of Current Population Survey data so that I could take a closer look. What I found is that, in the past 40 years, coupling has declined more than twice as fast among Americans without a college degree, compared with college graduates. This represents a dramatic historic inversion. In 1980, Americans ages 25 to 34 without a bachelor’s degree were more likely than college graduates to get married; today, it’s flipped, and the education gap in coupling is widening every year. Marriage produces wealth by pooling two people’s income, but, conversely, wealth also produces marriage.

Contraception technology might also play a role. Before cheap birth control became widespread in the 1970s, sexual activity was generally yoked to commitment: It was a cultural norm for a man to marry a girl if he’d gotten her pregnant, and single parenthood was uncommon. But as the (married!) economists George Akerlof and Janet Yellen observed in a famous 1996 paper, contraception helped disentangle sex and marriage. Couples could sleep together without any implicit promise to stay together. Ultimately, Akerlof and Yellen posit, the availability of contraception, which gave women the tools to control the number and the timing of their kids, decimated the tradition of shotgun marriages, and therefore contributed to an increase in children born to low-income single parents.

The theory that the relationship recession is driven by young men falling behind seems to hold up in the U.S. But what about around the world? Rates of coupling are declining throughout Europe, as well. In England and Wales, the marriage rate for people under 30 has declined by more than 50 percent since 1990.

And it’s not just Europe. The gender researcher Alice Evans has shown that coupling is down just about everywhere. In Iran, annual marriages plummeted by 40 percent in 10 years. Some Islamic authorities blame Western values and social media for the shift. They might have a point. When women are exposed to more Western media, Evans argues, their life expectations expand. Fitted with TikTok and Instagram and other windows into Western culture, young women around the world can seek the independence of a career over the codependency (or, worse, the outright loss of freedom) that might come with marriage in their own country. Social media, a woman veterinarian in Tehran told the Financial Times, also glamorizes the single life “by showing how unmarried people lead carefree and successful lives … People keep comparing their partners to mostly fake idols on social platforms.”

According to Evans, several trends are driving this global decline in coupling. Smartphones and social media may have narrowed many young people’s lives, pinning them to their couches and bedrooms. But they’ve also opened women’s minds to the possibility of professional and personal development. When men fail to support their dreams, relationships fail to flourish, and the sexes drift apart.

If I had to sum up this big messy story in a sentence, it would be this: Coupling is declining around the world, as women’s expectations rise and lower-income men’s fortunes fall; this combination is subverting the traditional role of straight marriage, in which men are seen as necessary for the economic insurance of their family.

So why does all this matter? Two of the more urgent sociological narratives of this moment are declining fertility and rising unhappiness. The relationship recession makes contact with both. First, marriage and fertility are tightly interconnected. Unsurprisingly, one of the strongest predictors of declining fertility around the world is declining coupling rates, as Burn-Murdoch has written. Second, marriage is strongly associated with happiness. According to General Social Survey data, Americans’ self-described life satisfaction has been decreasing for decades. In a 2023 analysis of the GSS data, the University of Chicago economist Sam Peltzman concluded that marriage was more correlated with this measure of happiness than any other variable he considered, including income. (As Stone would rush to point out here, marriage itself is correlated with income.)

The social crisis of our time is not just that Americans are more socially isolated than ever, but also that social isolation is rising alongside romantic isolation, as the economic and cultural trajectories of men and women move in opposite directions. And, perhaps most troubling, the Americans with the least financial wealth also seem to have the least “social wealth,” so to speak. It is the poor, who might especially need the support of friends and partners, who have the fewest close friends and the fewest long-term partners. Money might not buy happiness, but it can buy the things that buy happiness.

[maxdibert]

They butchered all female characters and it's true, but people can simply don't like Sansa's chapters or don't enjoy her character because she's classist. She thinks bastards are beneath her in earlier chapters and in Alyanne. She's disgusted by Arya spending time with Butcher boy and other peasants because they're beneath her.

I'm not saying she's s bad person or the worst one or that we should blame her for being passive while being hostage. She's a kid, she's s victim, she can still have a positive change. but I'm reminding that saying people are misogynist because they don't like her is a reach. And it's not that people hate her, they just point out things she did or thought about in canon and her fans scream "you hate her! You hate women!" No. It's okay to not like a character, you can point out their flaws, it doesn't make you a mysoginist.

Oh, trust me, the issue isn’t that people simply don’t like Sansa—it’s why they don’t like her and the patterns that emerge when you look at how traditionally feminine female characters are treated in fandom discourse.

See, I don’t care if someone criticizes Sansa for her classism. That’s a valid discussion. I don’t care if someone dislikes her personality. Not every character is for everyone. But let’s not pretend that the dominant criticism Sansa gets in fandom spaces has ever been about her early prejudices. No one’s out here writing essays about how Sansa Stark needs to deconstruct her internalized feudal biases. What do we see instead?

“Sansa is useless.” “She’s weak.” “She’s stupid.” “She just stands there and does nothing while other people suffer.” “She should have done something.”

And that’s where misogyny enters the chat.

Because when you actually break these takes down, what they boil down to is that people resent Sansa for not being proactive in the way that they think a strong female character should be. She’s written as a character whose resilience is passive rather than active, who survives through adaptability rather than aggression, and fandom hates that. This is a known trend in media reception.

Feminist film and literature studies have examined this bias for decades. De Beauvoir discusses how femininity is traditionally coded as passive, and because of that, it is devalued in comparison to traditionally masculine-coded traits like physical strength, direct confrontation, and assertiveness. Susan Faludi discusses how women who embody traditional femininity often face more ridicule than those who adopt “strong” or “unconventional” roles. And the male gaze, as theorized by Laura Mulvey, conditions audiences to respond more favorably to female characters who are active participants in traditionally masculine-coded spaces—combat, strategy, direct rebellion—while dismissing those who navigate systems through softer, less immediately visible means.

Sansa fits this mold perfectly. She does not fight with a sword, she does not make grand speeches, she does not take direct violent action, so fandom deems her “useless.” But here’s the catch—this standard is not applied equally.

Think about how Tyrion is treated for his ability to navigate the political landscape through words rather than force. Is he called “useless” for not picking up a sword and charging into battle? No—because intellect and political maneuvering, even when nonviolent, are still considered active and thus valuable in a way that Sansa’s more passive survival is not.

Now, compare Sansa’s treatment to Arya’s. Arya is beloved in fandom spaces, and yes, she has her own set of haters, but notice how different the tone of that criticism is. Arya is rarely called “useless.” She is rarely ridiculed for being afraid. She is allowed to be traumatized, to make mistakes, to be messy and complicated in ways that Sansa is not—because Arya performs a more masculine-coded form of resilience. She fights, she kills, she runs, she rebels.

And just to be clear, none of this means that Arya’s arc is bad or that her popularity is undeserved. The problem isn’t that Arya is liked—it’s that traditionally feminine resilience is not. The issue is that Sansa is not disliked because of her flaws in isolation, but because those flaws reinforce her femininity, and femininity is what people are actually responding negatively to.

This is why calling Sansa hate misogynistic is not a reach. It’s not about saying that everyone has to like her. It’s about looking at the larger pattern of why she is dismissed, why she is mocked, and why so many people cannot accept a female character whose form of strength does not align with masculine-coded ideals.

So no, I’m not saying that every single person who dislikes Sansa is a raging misogynist. But I am saying that if your criticism boils down to “she’s useless, she’s weak, she’s stupid,” you should probably examine why those specific critiques keep coming up for female characters who embody traditional femininity. Because it’s not a coincidence.

[armadillo-arts]

What are your personnal characterisation for owl houses characters that doesnt appear in the serie ? (Fang for luz, scars, blood pendant ?)

AAA bro the can of worms you just opened is huge. i doubt you were expecting an essay’s worth of headcanons but that’s what you’re getting.

ok so you listed a few of them already but i’m just gonna do an all extensive list from off the top of my head, if i remember any more i’ll add them later!

tw// mentions of s//lf h//rm and physical ab//se

* luz retains her fang from her titan form, and her hair stays a bit longer after she transforms back

* luz’s hair and nails also grow much faster in general post-titan form, and her hair is much thicker. if her nails get too long they’ll start to taper into claw-like points. her “WEH” also still retains a fraction of power, though nothing like king’s

* luz, vee, and camila carry a small vial of titan blood with them at all times while in the human realm once the permanent portal is built. luz is paranoid about losing a way back to the boiling isles and likes everyone to have a backup, just in case anything were to happen to the portal (again)

* luz, amity, hunter, and willow all struggled with self harm at some point, and the girls all have scars in various places to show for it. hunter’s methods were less “conventional” so they didn’t usually physically scar (though that doesn’t make his less damaging!! self harm has a lot of different meanings and no one way is more or less valid than another)

* hunter still has an assortment of scars though, from years of abuse from belos and within the emperor’s coven

* amity is also pretty scarred up from years of being her parents’ test subject (if their test on luz is anything to go by for how little they care about child safety)

* all the kids have at least a couple scars from assorted battles/mishaps. for example: luz having scarred fingertips from belos’ killing blow in w&d, and amity having a scarred stomach from where her dress is ripped in the king’s tide battle

* alador has freckles and he gave them to all his kids :))

* the whole squad have varying amounts of freckles tbh. i’m a SUCKER for giving characters freckles (luz got hers from her dad <3)

* amity’s original pink necklace doubled as a concealment stone to hide things about herself that odalia deemed “imperfect.” (freckles, scars, acne, etc). she gradually hid less and less of herself with the stone as she got to know luz, until eventually breaking it in escaping expulsion when she realized she cared more about luz than being perfect. seeing amity as truly herself with nothing to hide was part of what made luz fall for her on the spot

* luz and amity accidentally wore each other’s earrings one morning after amity slept over and just never went back

* amity starts wearing a lesbian pin to go with luz’s bi pin, and the other kids eventually all wear pride pins too

* vee has a flapjack tattoo as well! it’s on her inner right ankle, opposite to where gus’ is

* i haven’t worked out exactly what yet, but at least some of the squad have multiple tattoos (which i’ll be designing alongside the scar maps). luz definitely has the concept tattoo honoring her dad, for example

* vee molded her preferred human form to have camila’s eye shape, luz’s freckles, the signature noceda overbite, and hunter’s hooked nose. she wanted to resemble her mom and siblings :))

* luz and amity’s wedding rings are designed loosely after their grom crowns <3

* timeskip hunter has a patch on his apron for each of his friends, and timeskip luz has a patch on her pants for each of the magic tracks

* when gus tries beaded hairstyles he uses beads color-coordinated with his friends :)

* post w&d, the kids picked up multitracks at hexside: amity in abomination and bard, hunter in all tracks, gus in illusion, plant, abomination, construction, and oracle. willow i’m still on the fence about whether she’d take on any more tracks, but if she does, i think she’d pick up beastkeeping and/or illusion alongside plant, based on brief characterizations from a couple episodes

* luz and vee have to stay primarily in human school post w&d, but they go to hexside over summer breaks for their summer semester. luz stays on all tracks and vee joins beastkeeping, healing, and illusion

* vee definitely gets her own palisman, though i haven’t designed it yet rip

* the kids all get assorted piercings! luz has her earlobes, helixes, and septum, amity has her earlobes, helixes, bellybutton, and a nose stud (and maybe tongue?), gus has his earlobes and eyebrow, vee just morphs whatever she feels like day to day, willow has her earlobes, eyebrow, and nose stud/ring (maybe vertical labrel or snake bites), and hunter has his earlobes

* hunter’s facial possession scar stretches up through his opposite eyebrow instead of just across his nose as is in canon, and the rest of the squad give themselves eyebrow slits to match luz and hunter’s eyebrow scars :)

god i love being autistic, thank you for giving me a chance to talk about my hcs for these losers /aff. anyway it’s 3:30am, i just spent an hour writing these, and i have work in 8 hours so good night

[doverstar]

it struck me today that a massive part of what makes the Doctor the hero and not the villain of the show is that he actually is not a good guy. he's not good. he's terrible, and he could be really bad for the universe, but the thing that makes him the hero is that he knows what he is really like sometimes and he is actively trying to do the right thing at every opportunity and be better, so in this essay I will-

[shannonsketches]

[evorathesylvurr]

i cannot wait for outis's canto and for either the outis apology forms to occur or for there to be so many video essays about why whatever she did in the canto was completely justified

[bittersweetresilience]

say hi to me i don't know, i just remembered being so much brighter, i guess

cigarette ash like wildfire burning holes in the nighttime open scars feel like barbed wire white lies flying high like a ceasefire dropping flags on the shoreline this is as far as i can feel right 'cause what you don't know can haunt you

and all we ever wanted was sunlight and honesty highlights to want to repeat let's get away from here and live like the movies do i won't mind when it's over at least i didn't think for a while

don't drag it out living like that doesn't mean a thing

so let's, make a great escape and i'll be waiting outside for the getaway it doesn't matter who we are we'll keep running through the dark and all we'll ever need is another day we can slow down 'cause tomorrow is a mile away and live like shooting stars 'cause happy endings hardest to fake

and i wanna let you know i wanna let you go but i just can't bring myself to speak but this is how it goes the end credits, they roll this bridge was built over kerosene but we can watch it and all i ever wanted was sunlight and honesty highlights to want to repeat let's get away from here and live like the movies do i won't mind when it's over at least i didn't think

so let's run, make a great escape and i'll be waiting outside for the getaway it doesn't matter who we are we'll keep running through the dark and all we'll ever need is another day we can slow down 'cause tomorrow is a mile away and live like shooting stars you can wish away forever but you'll never find a thing like today

[sskk-manifesto]

--

[morocosmos]

FFXIVWrite 2024 Day 11 - Surrogate

Masterlist Fandom: Final Fantasy XIV Characters/Pairings: Leofard Myste & Warrior of Light Rating: Teen & Up Additional Notes: Takes place at during HW patch 3.5. Major spoilers for the Shadow of Mhach alliance raid questline. Ao3 Link

Lady Raimille. The picture painted by Stacia's tale was everything an orphaned child could want from a parent. Everything except that she'd passed on too soon — but not before giving her foster son one last gift.

The noblewoman’s real portrait hung above them, enshrined in Leofard’s quarters. Presiding over his affairs and his family; watching over the man himself. Moro'a knew that paintings like this cost a considerable sum to commission, and that taking care of them required specific knowledge and attention; unexpected obligations for a sky pirate. 

But the painting gleamed, immaculately free of blemishes. “I had wondered as to the origin of his vessel's naming,” Cait Sith said softly, his voice touched with emotion. “‘Tis a most beautiful painting.”

Moro’a’s time in Ishgard had also taught him that portraits like this one were made to memorialise — a likeness captured in brushstrokes, preserved from time. Remember me as I was, in this moment. Remember what this person means to us. Situated where their loved ones could gaze upon them, and never forget.

I doubt I'll ever feel worthy to sit where he sat.

Throughout their adventures, Leofard had pretended as though the portrait wasn’t there, and it was all Moro’a had needed to know not to bring it up. He’d accepted it without judgement, without ever considering otherwise. What was he here for, if not to hide from ghosts and broken hearts; from memory?

But now that Stacia had told them what Leofard would never impart himself, the pieces that made up the leader of the Redbills had finally begun to click: why a man who prized freedom so highly would build his new home a stone's throw from the Holy See, and why the loss of his airship had made Leofard retreat into himself, like a creature seeking familiar refuge. 

It seems she kept him safe until the very end, Utata had said, and Moro’a’s heart had clenched so tight that he thought it might shatter.

It wasn’t any of his business. The voidsent had been stopped, and Cait Sith had found a new home. His time with the Redbills was coming to a close. It’d been an engaging distraction, which was precisely what Moro’a had needed; there were no stones left to overturn, no more accidental revelations to be had. He would go his separate way, into the unknown, and then…

Later, as he was stowing the few essentials he’d brought into the manacutter, Moro’a heard footsteps approaching. He turned to see Leofard, who was already dressed in a clean set of clothes and red-tinted goggles. “I almost forgot,” the sky pirate said, as breezy as could be now as he held something out in his hand. A Redbill scarf.

“You didn’t have to,” Moro’a murmured, feeling a strange mixture of reluctance and guilt. 

“And I say otherwise, Warrior. I reckon you’ve done more than you’ll ever need to to have earned this.” His hand stretched closer, and Moro’a considered refusing. He was ready to quit this place, to move on. I’m not who you think I am, he wanted to say. 

Instead he found himself reaching out for the scarf, and tucking it in with the rest of his things.

If, after he'd said his farewells, his hand reached under the collar of his shirt to gently hold the necklace that rested against his chest, to remember, he was the only one who needed to know.

[blackjackkent]

Me> [struggling to unravel a very annoying UI bug]

My brain, entirely unprompted> H E Y. IF JAHEIRA HAD USED SOME MORE MINOR VERSION OF THAT RITE OF THE TIMELESS BODY ON RASAAD TO EXTEND HIS LIFESPAN, IT WOULD RESOLVE THE MORE FINICKY TIMELINE ISSUES ABOUT RION BEING THEIR KID.

Me> ...ok? I didn't ask right now but thank you for working that out I guess.

[kimbapisnotsushi]

i for real think bnha should be academically studied honestly

[fruitsofhell]

[still talking about this but i feel like this would be lost if it was just a reblog addendum]

For real my greatest regret with my time in this fandom is not finding enough people who talk about Kirby STORIES nor doing that enough myself. Like its always kinda just between "ah my adorable and/or tragic blorbos" and "MOST FUCKED UP KIRBY LORE!" as I've complained about 100 billion times now, but I really wanna talk about the evolution of the series' storytelling under Kumazaki's direction more and how you can really feel them finding their footing on What Kirby "Lore" Means.

Ever since Robobot the games have tackled more direct themes and science fantasy tropes and it's also when it's really started coming into it's own. Return to Dreamland and Triple Deluxe and wonderful but you can see where the team holding back on detail and leaning into more cliche platformer-y things didn't let them reach full potential. Robobot and KatFL on the other hand excel at the more sci-fi themeing because they really let that more out there stuff absorb into the fabric of the gameplay and visuals, and while I've touched on KSA not being as lush as those other two, it makes up for it with sheer volume of content in the end. Evil cults are more fantasy than sci-fi so it didn't have ideas as extreme as those other two to latch onto, but it could still be more purposeful with the levels in the middle yknow. But still, the writing of the Jamba and the design of Void Termina have a lot packed into them that make it work once you unpack it.

RTDL and Tripluxe you can maybe say theres like a theme of greed in a nebulous sense, but it is genuinely fluffy platformer fair with an interesting villain thrown in at the end, Robobot, KSA, and KatFL are like actual great sci-fantasy stories wrapped up in fairytale-like bow. RTDL and Tripluxe become good when you fill in blanks*, but the last 3 just Are Good, Straight Up*.

*I know some of you people out there think pause screens are supplementary but it is literally The Game's Text, so I mean good with the pause screens.

Like Kirby "Lore" HAS gone from What If There Was A Platformer Villain But Really Fucked Up to actual really cool commentaries on imperialism/industrialization, bonds and religion, and life. I think its really fucking cool and what actually has kept me a Kirby fan. I can find a platformer that gets really complicated the more you look into it's flavor text, or one with cute character designs, or sad moments, but you don't find one so often that like cares. That really cares about the characters and the world and stuff, but about saying something confidently. Kirby storytelling may not come off as confident to people because it's not overt, but the confidence is in the details that surround and support those ideas that in any other series would just be pedantic "lore".

Like Robobot doesn't have "lore" about Susie and Haltmann, it has a backstory complimenting a power struggle in the plot's climax that ties into the idea of imperialism being a cannibalistic pursuit. Star Allies doesnt have "lore" about doomsday cults and gods, it has a story about how real bonds and connections can form even in dark places and its important to cherish those and not let circumstances corrupt them (or something, it has been a whilehgjh). And KatFL doesnt have "lore" about ooooo all the humans are dead this IS THE DAHKEST KIRBY GAME!! Its fucking aboyut how animals and joy and whimsy will reinherit the earth!

im justfuskdgs WHOS DOING THE KIRBY LITERARY ANALYSIS?? Where are they? They have to be out there im so fr ghsf

[suffarustuffaru]

friendly reminder that reinhard is approximately the same age as his parents when they had him

[fullmetall]

thinking abt hohenheim 2day

[toestalucia]

anyway if ure ever in need of heartwarming stories about love and characters relations to e/o u should check out prommy of wizard