#furuta reference

[wisheslost]

The white-eye warbles, the camellia blooms.

As a writer of Yae Publishing House, you have to visit the shrine for work purposes quite often— and it is on these shrine visits that you came to be even more acquainted with the yashiro commissioner, of whom you were previously known to only as that writer he had bumped into at the Irodori festival, in his sister's words; the most cliché way possible.

cw : mutual pining, friends/strangers to lovers, fluff, reader gets screamed at but its fine its not by ayato, no use of y/n, reader is technically an oc but is never referred to with a name. pls lmk if I should add more!

a/n : ive been meaning to post this but i kept stalling😭 sorry

wc : 5.4k

Kamisato Ayato is a smart man. The revered head of the Kamisato clan knows all there is to know about what's going on amidst the different commissions in Inazuma, but not a single clue does he have about the feelings you harbour for him, and who knows when he will?

You seldom had the opportunity to go to the shrine, and so, everytime you came down from the shrine, everytime you hurriedly made your way through Chinju forest, you did with the same intention in mind— to see Ayato. It didn't matter if he didn't notice you, just a glimpse of his face made your day better.

One of these very days, Ayato saw you pass, and much to your surprise, invited you in to have tea. In an attempt to be polite, and since you were done with work at the time, you accepted his sweet offer.

And so it continued — each time someone of the estate saw you passing by, they'd invite you in and offer you tea, while you tried your best to decline most of the time, sometimes it was just… not doable. Convincing Thoma was a hard job, but to persuade Miss Furuta to let you go was even more difficult. 

Now, Ayato wasn't always there, sometimes he was out for a meeting or was doing work in his chamber ( the same chamber you found yourself too unimportant to enter, the chamber that felt almost suffocating to you the one time you went in there. ) but even when he was, if he heard of you having came, he'd offer you to tea with the condition that you had to wait till his work was done. You loved his company, so who were you to deny it?

And perhaps that love you had for the time you spent with him turned into the love you had for him. 

You two weren't strangers. No, not at all. You bumped into each other during last year's Irodori festival, and in the most clichesque way ever, all your documents had fallen down, and being the gentleman he was, Ayato helped you pick them up ( obviously !).

Ayato found himself writing you a letter ever so often, and your reply to it that laid there among his official documents was the last to be opened of the day—but not the least, no, it was a way for him to conclude his day positively, or so he had told you. And as you two grew closer, you only found it easier to share your work with him, snippets of something you wrote that you were somewhat proud of , but that didn't make it into the published version of the story, a verse from a poem you gave up on writing, anything you thought he would like— you sent him, and eagerly waited for his reply. 

You'd read him some of your poetry time to time— each time you came by his castle of a house, and each time he simply stared at you until you finished, and would then ask you why you used a certain metaphor to describe a certain thing, to which you'd happily answer, or commend you for having thought of something in such a different way, and at the end, he'd pass a rather funny comment, even if unintentionally, such as one like "I want this framed on my wall." to which you could do nothing but laugh, while he simply gazed at the beauty the sky harboured, seemingly deep in thought. Why he always did that, you did not know, and you could only wonder, what exactly did he think of each time?

Is showing your unpublished work to someone outside the Yae Publishing House breach of contract? No... Well, not exactly. You had agreed to abstaining from showing anyone anything that has to do with your unpublished literary pieces, but you knew the publishing house wasn't ever going to publish the poems you wrote on your own. They would say things like the topic's too vague, the metaphors don't make sense, and that the writing didn't flow, whatever that meant. So, what you wrote for the publishing house was what they demanded from you— quite different than what you actually wrote. Alas, they don’t understand your words when they're not catered to them. But it's fine, Ayato did, and what more could you ask for? 

Actually, if given the chance, you would definitely ask for something more.

Kamisato Ayato understood social cues quite well, or atleast one would think he would, as that was a big part of his duty. So why he couldn't comprehend your feelings for him, was a mystery to you. But I guess understanding if someone likes you or not isn't really something listed in the skillset a Yashiro commissioner requires. 

Now, what he could and couldn't understand was not your problem, and would no longer be, not after you confess your feelings to him. You figured it would be easier to do if you just played it out like one of your usual interactions, and so you wrote a poem. A poem you'd innocently read out to him one of those days you happen to stumble upon his house, and with it, he'd finally understand. Finally understand you liked him. 

Something else popped up. A question much unappreciated. The worst outcome possible. “But what if he didn't like you back?” Well the poem isn't even for him then! It's from the point of view of one of my original characters— yes, that excuse is good enough.

But then the day finally arrived, you were finally there, sitting in Kamisato Estate's courtyard eagerly waiting for Ayato to be done with his meeting that had started just as you came, it was not often Ayato had meetings in his chamber, so it seems you just happened to have bad luck today. Sitting on the cushion, waiting for Ayato to be done, you found yourself making multiple revisions to that poem of yours, and in the middle of that, you were suddenly reminded of the meeting at Yae Publishing House you had this evening, but the thought soon slipped your mind as you thought of another line for the poem.

He had promised it would not take too long, but one hour had gone by just like that, and before you knew it, you were barely keeping awake, you couldn't help it, running on 2 hours of sleep from having worked all night, your mind was starting to shut down. Resting your head on the table was probably the first mistake you made that day— but one could argue there were plenty other mistakes made before that, such as not having slept in the first place. 

You usually came to meet Ayato around the evening, not only because his workload was lighter that time of the day but also because the publishing house's important meetings and discussions of the sort were held most often, if not all the time, early in the day. And that was precisely why you had forgotten about that meeting you had this evening. Was it the two hours of sleep or the anxiety from the whole confession thing? whatever it was, it was just making your day harder and harder.

It had been an hour and a half since you arrived at Kamisato Estate, the hour spent waiting and scribbling, and the half spent peacefully sleeping as no one bothered to wake you up. It wasn't that the staff of the estate couldn't care less about you, in fact, everyone around noticed you having succumbed to slumber. But who dare to awaken you, Clan Head's possible significant other?

It's true that Ayato was unbeknownst to your feelings towards him, but those at Kamisato Estate weren't. It was easy to tell you had a thing for him, much too obvious that every time you saw him in the eye your heart skipped a beat, and practically every one of the estate's staff thought you two were together, and just trying to hide it. To them, the way you looked at Ayato, was the way he looked at you. His, a loving gaze that never lets go of your frame, and a soul that so desperately wants to tell the whole world how much he loves you(— but hell, he couldn't even fathom telling you) and Yours, a stare that quickly tries to focus on something else when noticed by him, a heart too heavy with emotions— emotions that cannot find their way through speech, and are expressed only through words. 

And that serene and loving gaze was the first thing you saw being woken up, because in that whole house, no one except Clan Head himself would have the courage to wake you up. 

It's not until Ayato's voice echoes in your ears accompanied by the faint pitter-patter of the rain that you realise your noses are barely inches away from touching as he knelt down to your level.

“Oh, my writer, it seems you've slept most wonderfully in my absence, and on Thoma's jacket, huh?” his tone had a bit of sneer in it, as if he was jealous of the fact you had used Thoma's jacket as a pillow. And there was that— “my writer”, it stemmed from an inside joke, wherein once when he was transcribing a poem you wrote, you called him ‘my personal calligrapher’ which warranted the “That would make you my writer, hm?” and you knew it was a joke but goodness, he called you that only when people weren't around, and the way he said it everytime, Oh Archons!

But wait— You weren't supposed to be swooning over Ayato right now! You should be at the publishing house, attending that meeting— and so you rose up frantically to leave, apologies leaving your mouth rapidly,

“Lord Commissioner, I'm so sorry but I must go, I had an important work thing and I- I'm sorry! I should hav-'' and that is when you get cut off by Ayato's forefinger upon your lips, if that was an attempt to shush you- it worked. “Just go. I understand.” he said, and the reassurance in his voice and the slight smile on his face brought you right back to your senses.

And so you hurriedly put on your shoes to make a run for it, uttering one final ‘sorry’ to him, much to his dismay. And as you made it out the door of the estate, you heard Ayato's voice calling to you- “Take an umbrella!” to which you could only respond— “I'll be fine! The rain's not that bad!” because right now, saving face at the publishing house was far more important than a few drops on your clothes. 

Except it wasn't a few drops, you had greatly underestimated the power of the Hydro Archon, because by the time you reached the doors of the publishing house, you were completely wet from head to toe— and saving face was no longer present in your dictionary. In fact, you never even wanted to show your face again- and god, how many and who even were the people attending that meeting? because you were going to embarrass yourself in front of all of them right now.

The second you entered that room where the meeting was going on, as if your bad luck wasn't bad enough, you saw a figure too striking, bright pink hair.. fox ears.. and those eyes, those eyes that didn't take even a full two seconds to notice your presence and announce it to the whole room.

“Oh, look who's here! did the Yashiro Commission- er, reject you, my dear? or did you finally realise where your priorities should lie?” and right after she had said that, you could feel that theories about you and the commissioner had already began floating in the air of that room— whispers of a mixture of words like yashiro commissioner, head of the kamisato clan could be heard, and among them was that name a bit too familiar- Kamisato Ayato. How she knew about your yashiro commission shenanigans, you had no idea, but you weren't about to question her— Guuji Yae was no god, but people were convinced she definitely was omniscient, the way she never lacked information about the people she worked with. 

You could swear on your life that the stutter after the words ‘yashiro commission’ was done on purpose, and you'd live. What she was trying to imply wasn't too obvious, in fact, the way she said it, it could easily be interpreted as something entirely different— but what was also true, only it wasn't something you were comfortable with everyone in that room knowing. You couldn't manage to respond to that, ‘tleast not in a way that would allow you to keep your job. And so Guuji Yae's lips spoke again, this time out of pity for you. 

“But hey, better late than never.” she said, gesturing for you to come sit next to her. 

And so the meeting went on like normal. You were trembling terribly from the cold, dripping wet still but there wasn't anything you could do about it, and as the guy sitting next to you took notice of that and offered you his jacket, you could feel watchful eyes throughout the room landing upon you two, waiting for your response. With the amount of writers present in this room, you knew this interaction was making its way into a light novel soon. Thinking of a response was hard, accepting it would give birth to more conspiracies, but not accepting it would blatantly prove Guuji Yae's previous comment about the yashiro commissioner right. And before you could think of a response to that awfully nice gesture, you were snapped out of your thoughts by your editor, who was currently explaining something on a whiteboard, something you failed to understand because of the preoccupations your mind currently had. “(Name), are you even paying attention !?” were his words, and as if enough people weren't already staring at you, now the whole room was. A nervously spoken ‘sorry’ was all you could let out, and it wasn't even a proper answer to his question. 

The meeting dragged on for another 15 minutes— 15 dreadful, cold minutes. And when it was finally over and people were getting out of their seats and as if your luck wasn't already the worst, it only got worse-r as your editor called out to you right as you got up, “Not you. I still have to talk to you.”  Did he not see you shivering? Looking like a sopping wet cat? Did he not have an ounce of sympathy? 

As everyone else exited the room, you were forced to sit until who knows when. Guuji Yae was the last to leave, and before she stepped out the room, she called the editor over to speak to him, uttering something along the lines of what you thought was “Go easy on the poor thing, ok?” and was that poor thing in question you? most likely, yes. And good for that— he shouldn't think to disobey the owner of this whole establishment right? 

But he did. Or atleast, the words that followed after she left did not seem like him ‘going easy on you’ at all. 

The way he had his arms on the desk, the way his figure loomed over yours, that expression on his face… oh, you were about to be scolded big time.

“You, tell me. What exactly is your problem?” 

“I'm sorry, sir. It won't happen again, I apologise.” You couldn't even make eye contact with him as you spoke, and while your attempt at an apology was well delivered, it was terribly timed. 

“If you were so fucking sorry as you claim to be, tell me, what the hell has been bothering you so damn much to arrive late to an important meeting when i had reminded you so many times the previous day!?” 

Oh. That was a first— never before had you heard him swear like this, and you're pretty sure it probably falls under top 10 things you shouldn't do if you don't want to lose your job, but who were you to say? your job was being held together by a single thread made of miracles. 

“I'm really sorry sir, it was just something personal- I can guarantee you, it won't ever happen again.” Ah yes, the infamous personal issue: the inability to manage a schedule.

“Did someone pass away?”

“..No.”

“Someone fall gravely ill?”

“..No”

“Family issues?”

“No-”

“Then WHAT the hell’s been bothering so much you show up late to a meeting with GUUJI YAE? Do you seriously not understand how fucking embarrassing it is? For the writer I had to practically beg for the higher-ups to not fire even though you kept being late and crossing deadlines, to show up late again?” He had yanked you out of your seat with his right hand midway through his speech out of the anger he possessed as of current, becoming physical when angry wasn't uncommon, but for someone who you always saw as calm and cool, for someone who always put up with you no matter what, the breaking point had arrived, and it was wholly your fault. 

But you understood. Understood the reasons behind his furious reaction, for he was right, it was truly embarrassing, because that thread made out of miracles that was holding your job in place wasn't made out of miracles at all— it was made out of your editor's continued efforts to keep you in this organisation. 

When you didn't, well, more like couldn't respond to him, and he realised the outburst he had just made, he let go of your upper arm, and his hand went back to the desk with his other arm, and as he regained his senses, looking down at the desk realising what he just did, he tried to apologise-

“I didn't mean to-”

“I-it's fine. You don't have to say anything.” Cutting him off was usually not something you would do, but at this moment, it felt right.

“I'm sorry, Please leave. And please, please don't tell anyone about this.” You could see the regret in his face as he sat down on his chair, head in hands refusing to make eye contact with you and instead choosing to stare at the hardwood floor instead, and you knew if anyone found out about this you both would be kicked out the publishing house together.

“I won't. Good night, sir.” and as you exited that room, you could hear a faint “good night” from your editor, who was too ashamed to even speak any louder. 

And as you left, you failed to notice the bright pink figure of the Guuji beside the entrance of the conference room, who had eavesdropped on that entire conversation.

________

It had been 11 days since then. 11 days of Ayato wondering whatever it was that you wanted to tell him that day, hoping you would at least write him a letter. But no letter came, and neither did you. 

While the Kamisato's days went by quite peacefully and ordinarily, yours were much, much different. 

Back at Yae Publishing House that day, the Guuji held your editor back to tell him to get you to write some sort of romance novel around this plot– A careless writer who has amazing skill in writing, but barely manages to keep her job due to the troubles caused by her family, and her editor who has to beg the higher-ups to let her keep her job, who's also hopelessly in love with her.

While the plot is good, you weren't too happy having it recommended to you in that way. Does the Guuji think you have romantic feelings for your editor? or is it vice versa ? 

Whatever it is that the Guuji thought, it didn't matter right now, because she demanded the first volume of the comic book that was about to be serialised be done in 15 days. With 11 days already gone by, and everything done on your part, you finally had some leisure time to enjoy, leisure time you were spending laying on the floor in front of the fan sipping cold lavender melon juice peacefully, almost on your way to dreamland.

That is, until you heard a knock on your door. When you went to open it, no one was there, or so you had thought, not having noticed the little kid dressed like a mujina at your doorstep at first, looking sleepy as ever.

“Oh, hello! What is it that brings you here to my doorstep, little one ?” as you bent down to greet the sleepy child, you felt a muscle in your back ache. Ah, the consequences of having the worst sleeping posture known to man.

“I'm not ‘little one’. My name is Sayu. I'm from the shuumatsuban, and Mr. Yashiro Commissioner sent me to relay an important message to you.” as she finishes her sentence, she hands you a little paper from her back pocket that says “I have something important to speak to you about. Come meet me.  -your personal calligrapher” 

 Oh. You're done.

What could it possibly be about !? What could Kamisato Ayato, Clan head of the Kamisato Clan and the Yashiro Commissioner have to talk about that would be important to you !? Whatever it was, it was scaring you. 

“Do I have to go right now?” as nervous as you were, you were also curious, what the hell was this man upto? and actually, was he even upto something, or was this just something to get you to come to the estate as quickly as possible?

“Yes, that's what he said anyway.” as she said this, Sayu sounded so, so done with you and Ayato that you couldn't really do anything. It seemed like if you didn't go right now, as soon as possible, Sayu would fall asleep right on your doorstep. 

“Alright, then, let us leave. But wait- just one thing-” and so, you went to your bedside table to pick up that diary you always took to Kamisato Estate, the one you wrote that damnee confession in- but, it wasn't there? surely you placed it somewhere else when under the influence of fatigue and forgot.. Well, with Sayu's patience running thinner- you should probably just leave finding that diary to your future self.

Sayu was not at all interested in whatever it was that went on between you and Ayato, she kept quiet the whole way from your house to the Kamisato Estate, except for a yawn or two in the middle.  

Your attempt at distracting yourself from whatever it was that Ayato wanted to talk to you about by looking at the flowers and the trees as you made your way to the estate was not quite successful.. for as the dew drops fell off from the roses, you could feel yourself perspire as well.

When you finally stepped foot in Kamisato Estate, you saw him, Kamisato Ayato, simply leaning on his balcony ledge gazing at the horizon, unaware of your resence and all he made you feel. You were quite sure this amount of sweating could submerge Jinren Island. 

Jinren Island being submerged aside, no one was there at the estate except Ayato. Miss Furuta wasn't standing at her usual place, Koharu wasn't busy cleaning something that doesn't even look like it needs cleaning, and even Mr. Madarame was nowhere to be seen.

As you were busy analyzing the current state of the ground you were standing on, Sayu's voice spoke—

“Mr. Yashiro Commissioner, I brought them.” 

Ayato turned around, his eyes finally meeting yours after what seemed to be an eternity to him. 

“Oh, thank you Sayu. You may go now.”

As the man came to sit down, he signaled you to sit near him as well, contrary to how you would usually sit, on the opposite side of the table. “Sit here, you sure look like you need to.” his voice beamed, and you could feel your heart burst into eight thousand pieces upon hearing him talk to you again. 

While you were most delighted to finally talk to him again, you couldn't help but wonder where the staff went, therefore naturally, you asked him as he poured his tea from the kettle into his little cup,

“So… where's all the staff gone?” 

“Disappointed no one's here to give you free snacks, huh? Don't worry, I'm quite generous when it comes to my food, Here, want a sip?” and as his sentence came to an end, he offered you a cup of tea by raising it to your lips, which you pushed away as politely as you could. “You know I don’t drink tea, right? You asking me multiple times isn't going to change that..”

“Well, it was worth a try.”

“But seriously, where are all the staff? in all my days spent procrastinating here, I've never seen it so empty..” 

“I told them to take a break as I was going to have an important person over to discuss some very important, urgent matters, and for that discussion, I need some privacy.”

“But then why not have the meeting in your chamber? Enough privacy there, no?”

“Of course, of course, but you see, this client of mine, they think my chamber is really stuffy and feels suffocating. So naturally, I decided to have said meeting here.”

“Oh, so uhm, when is this meeting of yours? considering the staff are already gone..It must be soon, yes?”

“Oh yes, yes.. Infact, for the staff, the meeting has already started.”

“Wait.. Am I..?”

“Go on, you're almost there.”

“Jackass, I'm the ‘super important’ person you were meeting, huh?”

“See, this is exactly why this meeting is being held. The way you address me, the way you talk to me.. it's not exactly the usual way I'm addressed.. Not even my friends behave this way with me.”

“You have friends?”

“Of course I- See ! that's my point, you talk so nonchalantly to me, what do you think people would think of you as when they see you acting like this in public ?”

“Disrespectful? Discourteous? Rude? Impolite? Ill-mannered?”

“My beautiful Oxford dictionary, that's not what I meant. Don't you think people would look at us joking around and think of us as lovers ?” 

As soon as you heard that “beautiful”, oh goodness, you were done for. you had fallen so deep in love with this man it was beyond any find and rescue team to help you. you couldn't make an answer to that statement, no, you were busy in dreamland wondering if all these people at the estate saw you and Ayato talk to each other and thought, “oh, these two definitely have something going on.” 

Snap. one snap of his fingers in front of your face, and you were thrown right back into reality. 

“So?”

“Uhm, we don't go out much, actually, we've never gone out together, so that's not a problem as far as I'm concerned.”

“The way you say it.. it's almost like you're mad we never go out.”

“Well, we don't. I've never even stepped foot on the east side of the estate.. let alone go anywhere with you.”

“Hm? Let's go there then.” near the end of his sentence, he placed his teacup down and got up, walking to the same place he was standing before you came here, and so you followed. 

As he leaned on the ledge of the balcony, his body facing the horizon, he looked at you, hands crossed, yours facing him. 

“So? What do you think, are we qualified to go out now?” he spoke, turning towards you, and as he turned, he looked up at something and then smirked, his eyes returning to you. Goodness, he looked so hot— but wait, what was he staring at? before you could fully turn your head to face behind you, his left arm quickly got hold of the side of your neck that you were about to turn, “Why are you-”

“Answer my question first.” throughout this exchange, his hand was still there on your neck holding it from turning around.

“Yes, we can go out together, but what the hell is behind me that you don't want me to see?”

Leaning in towards your ear, he spoke. And to say his lips were one breath away from touching your temple is an understatement. “You remember the thing i told you about the staff, right? Well, they've all gathered near the first window of the second floor, and are currently looking at us, waiting for something to happen.” while he said all this, he was staring daggers into Thoma's soul, who, being the one who accidentally spread the rumour that Ayato was going to confess his feelings for you today, was awkwardly smiling at the slightly pissed off clan head, whose confession of love was about to turn into a source of entertainment for his staff, and of course, something to tease him about later for his sister, also present with the staff. Finishing his sentence, he finally pulled away from you. 

“But.. waiting for what to happen..?” trying to get the butterflies in your stomach to calm down from what just happened, you focused back on the conversation. 

“Waiting for me to confess.”

 Stop the clock. He didn't mean confess his love, did he? Surely there's no way.

“C-confess what!?” 

“That- ah, I can't believe I'm saying this in such an ordinary way, but listen, I'm not a man of poetry, or atleast, writing it. I tried to, believe me, but it just looked so awkward to me, nothing compared to what you wrote for me in your diary-”

“YOU READ THAT POEM?”

Ayato put his hands on your shoulders, and in an attempt to calm you down, spoke forth. 

“Hey now! Let's calm down, alright? I didn't read anything beyond the 9th line because Ayaka snatched it away from me, so please, don’t be mad. I should have realised I was in no place to open someone else's very personal diary, and I don't even know if that poem was meant for me, but I just-”

“No.. Ayato, you're.. You're too sweet. I'm sure you had no ill intentions, I only freaked out because it was so surprising, and since it was indeed meant for you. And you can read the whole poem afterwards, but for now, please, please go on about what you were telling me.”

“I can't just go on like this, not after you've told me you wrote about me- Me, of all people! Me, after you've written about the sun, the seas, the sky, the surreal- after all that, you wrote about me. And so beautifully, too, I can't go on, not with my life, not with whatever it was I originally wanted to say.” his expression was one you had never seen before, so full of innocence, he looked like a wet puppy in the rain, like he'd die of a cold if you didn't shelter him right away, and you could swear you saw tears welling up in his eyes, and all this because you wrote about him, all this because his feelings were returned, all this because he finally felt loved. 

You couldn't even respond, hell, you couldn't even choke back tears, and so as you were processing his words, you wrapped your arms around his torso and went in to hug him, sobbing into his chest. He returned the hug, one arm around your shoulders, and one running over your head, a tear dropping on your head as he did.

When you both pulled away from the hug, it was just laughter and wiping away each others’ tears, until you both were staring at each other fondly. And then Ayaka's voice could be heard from the back— “I told you they wouldn't kiss!” followed by a subdued Thoma, “my mora..”

“You know we can hear, right? And betting on my love life? Seriously?” As Ayato turned to reply to his sister, the staff scurried away, not wanting to be noticed by him, and as amused as you were, you didn't join in on the conversation, instead choosing to pull Ayato's collar towards yourself and pulling his lips onto yours. Before Ayaka could respond, Ayato leaned in to the kiss, cupping your face with his hands, and you could feel him smirk a bit.

He chuckled while pulling away from you, turning to a very surprised Ayaka and Thoma, mouths open in bewilderment,

“So... I guess Thoma wins?”

[dollishbabess]

Smut fics getting weirder and weirder is so real. Although this is happening in almost all media (a similar example is the hype over dark romance books that many literally romanticize rapists), the desensitization of society is something real and worrying that we seem to be ignoring.

And if you refer to the case of Junko Furuta, that is also an example of desensitization. I have seen many people tell that terrible story in a morbid way. There are True Crime channels that tell stories while eating or various activities that in my opinion are very disrespectful for the seriousnes of what they tell.

Sorry if this text is not understood, it is translated with Google Translator, but I wanted to offer my point of view on the subject.

Have a good day.

(I understood very well no problem) but genuinely it’s gotten to a point where smut fics and hcs generally aren’t really normal anymore, and just making the whole thing just very weird but I was disgusted by the fic but genuinely I feel like it’s became to a point where smut was like heavily normalized to a point ‘normal’ smut isn’t as ‘appealing’ to anyone anymore and now they try to make it just weird and weirder it’s gotten to a point where they’ll say it’s ‘bondage’ but then show r@pe in the fic which is heavily so so so wrong

[witherydithery]

Another list of things they omitted from the Tokyo Ghoul re anime, which will be undoubtedly less exhaustive and more disorganized than the first because I don't re-read the latter half nearly as often as the first.

Urie and Matsuri's whole strange dynamic

Introducing the new Quinx

The new Quinx as characters

How the Quinx function now

Tsukiyama interrupting Touka and Kaneki when they're having kind of a moment

The whole plan where Kaneki and the others have to dress up as White Suits and break into a CCG lab

How Goat functions and Kaneki's role as King

Kaneki making a spectacle of taking weapons from members of CCG

Furuta's obsession with Rize and their shared background

Furuta's motivation, as said by him

A lot of the intrigue around who the One-Eyed King is was left out. No emphasis on Arima's potential to fill that roll or on Donato (who I'm quite sure the Clowns refer to as "King"? He's got a little crown)

The fake execution of Kaneki

The member of the Oggai that was taken prisoner by Goat (iirc)

The conclusion of the situation where Yoriko was suspected of harbouring a ghoul.

Matsuri getting stabbed through the head

Hide's backstory

Toru assaulting Uta

Toru's weird little obsession wall

Saiko attempting to hold a bit of an intervention for Toru

Saiko becoming a bit of a caretaker figure for the new Quinx!

Kaneki not caring about Furuta's monologue in their final battle

The context of Matsuru showing up nearly nude to the battle against V??

V and the Washu's motivations

I'm pretty sure the head Washu was meant to die (the old man) but he didn't?

The explanation as to how the CCG functions in the epilogue

Explanation as to how ghouls are being integrated into society in the epilogue

Toru, Saiko, and Urie visiting Kaneki and Ichika in the epilogue

Ichika's name!

Just. Absolutely bonkers how much they cut out. And I'm sure there's more.

[linkspooky]

CHOUJIN X, CHAPTER 41 HYENA

Hello, it's time to cover the climactic battle and rescue of Palma a recently introduced character who will probably turn out to be a major player considering the sheer amount of time that has been spent on this battle. This is also the first time we've seen the trio truly work together in a fight since they got separated before the time skip so there's a lot of interesting character and thematic moments to dig in here.

I think if there's any central statement that Ishida is trying to get across in this long drawn out fight scene it's that old cliche.

GOOD INTENTIONS LEAD TO HELL.

Tokio's mentor Sato reminds him of this. While he is trying to make Tokio into the successor of Sandek because of this heroic and selfless attitude he has, he's also the ahrshest critic of that same attitude. That no matter how hard he fights, or how beautiful the path he walks, or what his ideals are intentions are not outcomes.

The power of choices is a common theme in Ishida's works, often used with a railroad motif at the same time. We are capable of making choices, we are capable at switching tracks at critical junctions too, but oftentimes there are unforeseen consequences for our choices and because of that no matter how much you overthink a choice it at times feels like you've been railroaded into an unexpected result. There is always a choice and always a consequence, and sometimes these things aren't fair or just or logical.

Azuma makes a pretty clear reference to the train tracks monologue in Tokyo Ghoul when he's going to fight the scissor choujin to try and rescue Tokio. In both cases protagonists make a wrong choice that they are then locked into for different reasons. Kaneki correctly understands that Furuta might raid his home base, but instead of splitting his forces appropriately goes alone.

Azuma similiarly is told he can't handle fighting against a Choujin and to stay out of it, and goes anyway. In Azuma's case he's told straight up to his face that his intentions aren't as noble as he makes them out to be. Did he want to save Tokio because he wants to be the kind of person who save others, or did he just want to test himself because he thought being put in life threatening danger would activate his choujin powers?

The road to hell is paved with good intentions can mean two things, number one good intentions don't always lead to good results or number two people's good intentions aren't always as good as they make themselves out to be.

Tokio post timeskip is so far shown to be true to his good nature. However, he is an Ishida protagonist and Ishida doesn't really write straightforward heroes. There is a similarity between the two scenes as I mention, Azuma and Tokio both willingly choose to charge into fights that are far out of their depths and they're warned beforehand that while sitting and doing nothing might seem crueler it also might be the smarter choice and they might make things worse by intervening. Tokio is told that he was the one who asked to take the lead on this Opium operation and now he might throw it all away to save a random stranger by charging in with no backup.

When Tokio is fighting he's able to hear Palma's cries for help in her chaosified state because of their shared connection to Zora's blood and we see he is forcibly flashing back to critical moments of his life. The scene on his beach where he made the decision to leave his life and friends behind for one year and devote himself entirely to training. The memorial for the dead he left behind in his final battle where he beat the tyrannical choujin yes, but lost most of his allies.

The text are Palma's thoughts, but they are probably things Tokio highly identifies with because they're things he's said in his personal narrative before (I want to be stronger, I want to smarter, why am I weak? i can't anymore? Why? I can't give up) something that has even appeared to us in his internal dialogue right before the timeskip.

Palma is lamenting her fate, how weak, useless and helpless she feels and how it feels like nothing she did amounted to anything and begging for help while at the same time succumbing to her berserk state. Part of me wonders if Tokio is overinvested in saving Palma not because of some higher mind heroic goal, but because number one a year later he's still stuck with the feelings of uselessness he had on the beach from watching everyone fight and die for his sake. He's stuck with the idea that if he does not do everything on his own from now on that he'll revert to his old useless self.

Is Tokio trying so hard and so recklessly to save Palma because it's the right thing to do? Is he doing it because their psychic link makes him project his own feelings of uselessness and helplessness onto her? Is it survivor's guilt from all the people he couldn't save in Iwato?

Is it because Tokio like Kaneki hates being made to feel weak or useless so at moments like this he will act on his own and act recklessly so he can pretend he's in control. I think these chapters in general are setting up more for Tokio's character, at least to add a level of complexity because really importantly if Azuma had not shown up when he did Tokio would have completely lost.

It's also narratively interesting to me how this scene compares to when Azuma charged in blindly to save Tokio from the scissor choujin when he was warned against it. In that case Azuma's good intention truly did lead to hell because he got the worst result possible. Not only was he brutally cut in half and didn't succeed in helping Tokio at all, but he also turned into a Choujin and immediately brutally attacked the person he was trying to save. Azuma wanted Choujin powers too but when he awakens he's immediately told he's dangerous and needs to control himself.

Things just don't work out for Azuma narratively. That's always been the case since the beginning. The things Azuma wants get just kind of dropped into Tokio's lap. Tokio has more potential as a Choujin. Tokio awakens first. Tokio has spent years slacking off unlike Azuma who was a martial arts prodigy and overachiever, and in just one year of hard work Tokio has far surpassed Azuma. Tokio is Sato's star pupil, while Sato remarks to Azuma's face that Yamato Mori's quality of peace keepers is on the decline. Tokio is put in charge of a large operation when he speaks up against his superiors, whereas Azuma's attitude is keep your head down and listen to your superiors and he remains in relatively the same place.

Tokio is the protagonist so the story moves forward with him and it's about his growth, whereas Azuma is continually frustrated by both his lack of mobility and lack of growth. SO in this scenario where Tokio and Azuma basically do the same thing, run in to fight without backup Azuma's ends with this horrific scene of him turning against his best friend and even losing his status as "Tokio's hero" while Tokio gets to fly off into the sunset with Palma.

I'm not saying Azuma deserves better anything, I'm just observing that things work out for Tokio and they don't really work out for Azuma. Tokio keeps movig forward while Azuma stays in place and is oftentimes left behind. That's what Azuma long suspected and feared that if Tokio put the effort in that not only would he be on Azuma's level, but he'd be much higher than him.

It's why Azuma freaks out on Ely for not taking his side in the conflict between him and Tokio. In Azuma's mind at least everything he wants, Tokio just already has. Ely doesn't mind that Tokio ditched her for a year because she's more relaxed about those kinds of things. Not only is Azuma more sensitive he's also known Tokio for all of his life as opposed to Ely who only met him recently. From Azuma's point of view though the connection he's built up with Ely for the past year as her partner means almost nothing because he thinks she's naturally siding with Tokio, because Azuma fears Tokio's just naturally better. That there's something internally missing in Azuma that Tokio has and that fear makes him play stupid high school games with Ely. "Well, why are you on his side? You're supposed to be on my side" he yells in the middle of an important mission even though hes supposed to be the most mature and goal oriented member of the main cast.

Of course, there's the fact that Tokio didn't save the day in this situation because of anything he did specifically, besides making the decision to save Palma and not give up on that even when things were looking bad. No the day was saved because Azuma and Ely showed up and they were only there because Azuma considered Palma suspicious and was following up on a lead he established beforehand. It's Azuma's detectivework that brought them there, and luck to salvage things after they went south and Tokio wasn't strong enough to handle it, not anything Tokio did specifically.

It's still a pattern though Tokio tends to get good outcomes, and Azuma tends to make choices that lead to bad ones. I'm curious as to why this is though I don't think it's going to settle on a simple answer like Tokio good, Azuma bad.

Sato's heavy emphasis on "good intentions lead to hell" makes me think that the happy ending to this chapter mini-arc might get the rug pulled out of it at a later event. Palma turns into a hyena, and Azuma had a lot of connections to hyena symbolism early on in the manga.

Something tells me we might get a scene like this with Azuma and Palma at a later point, that the happy ending with Palma now might somehow lead to a tangled tragedy in the future. It might even be a romantic thing, because Azuma's jealousy over his perception that Ely is taking Tokio's sides has shades of romantic jealousy and possessiveness to it too. I'll talk about this theory more when I'm analyzing all the reveals in the next chapter though.

[morbidology]

The gruesome details of the murder of Junko Furuta are forever etched in the consciousness of Japan. On the 25 November, 1988, 17-year-old Junko was abducted by a group of teenage boys in the city of Tokyo. 

The boys included Hiroshi Miyano, Jō Ogura, Yasushi Watanabe, Shinji Minato, and Mikio Ōtani, all of whom were between the ages of 17 and 19 at the time. After the abduction, Junko was taken to one of the boy’s homes, where she was subjected to 44 days of hell. During those 44 days, Junko was sexually and physically abused. She was also tortured and confined in a coffin-like space. 

Eventually, Junko died from her horrific injuries on 4 January, 1989. The four teenagers that were responsible for Junko’s torture and murder were tracked down and charged with her kidnapping, abuse and murder. All four of them were convicted. Some were sentenced to just juvenile detention, while others received a prison sentence of twenty years.

The disturbing case became a source of public outrage and the criminal justice system received a plethora of criticism. There was a massive public outcry that the sentences should have been much harsher. Moreover, many Japanese people feared that the murder was influenced by the epidemic in the United States of violent crime, something they referred to as the "American disease."

All four killers have since been released, although in 2018, Minato was arrested again for attempted murder.

[roleplayhonestybox]

You can play unique and interesting murder/crime roleplays without idk referencing real people who lost their lives 😭 when you do a true crime rp do you reference the real victims? Do you make them plot points? Your oc’s friend/family? Do you look up photos and interviews of victims and their grieving families so you can rope them into it? Do you get excited when you learn about how dahmer tortured a child because that would make a great plot point? 😭

There’s a difference between roleplaying taboo/dark/controversial topics/characters, which is valid even if some people would personally not like it, because it’s not real, and taking real life people, victims who went through horrific things and families who will never get real peace because people are infatuated with murderers. It’s gross and insensitive when you start using real people, real victims. It’s always the same 3 cases too. You’d never see an ad for a rp about junko furuta, and just saying that is fucking weird, right? But the same handful of gross men that have become true crime characters and not real people with an impact in the real world are seen as cool and interesting.

.

[ipsen]

eto's right eye (kakugan) looking at people

idk just a collection of things. too tired to analyze but i'd like to share. the rest under the cut.

(re 62) shiono. interesting transition to softness here.

(re 82) furuta. static glare. she hates this guy.

(re 86) arima. no point of comparison, so who knows, but she looks tired.

(re 54, re 56) kaneki. from interest to joy.

(ch 142) kuzen. a single point of reference. she looks a bit sad.

(ch 114) hinami. from disgust to some strange sort of... envy?

---

there's a lot you can glean from how someone looks at something, huh?

[rz-jocelyn]

Itoshi no Hakana: "Live Spectacle NARUTO" Cast Members who Attended "Itoshi no Hakana"

"LIVE SPECTACLE NARUTO" CAST MEMBERS WHO ATTENDED "ITOSHI NO HAKANA"

Team 7 / Team Kakashi

Nakao Masaki (Uzumaki Naruto)

Kimisawa Yuki (Hatake Kakashi)

Sadamoto Fuuma (Sai)

Team Hebi / Team Taka

Maeda Ryuutarou (Hozuki Suigetsu)

Ohno Ryota (Juugo)

Others

Daigo Cecile (Tsunade)

Sena (Hyuuga Hinata)

Kojima Sari (Shizune, Uzumaki Kushina, Yamanaka Ino)

Kitazono Ryo (Namikaze Minato)

Kitamura Keigo (A)

Katayama Hironori (Tobi)

Ibuki Furuta

NOTE:

[1] Nakao Masaki and Ryuji have known each other since 2014. They have also co-starred with in the "Nelke Idol Stage" series and the "Musical Touken Ranbu".

[2] Kimisawa Yuki and Ryuji have known each other since 2013. They have also co-starred in "Musical The Prince of Tennis", and are both starting members in the "Live Spectacle NARUTO", who have been with the production since its first production in 2015.

[3] Sadamoto Fuuma has also co-starred with Ryuji in "Jujutsu Kaisen" The Stage, the "Musical Touken Ranbu", "REAL⇔FAKE" and the Movie Theatre "Success Sou".

[4] Ohno Ryota has also co-starred with Ryuji in the "Musical Touken Ranbu" where he is a member of Ryuji's team for the solo performances that Ryuji did as Kashuu Kiyomitsu in 2017, 2018 and 2019.

[5] Sena has also co-starred with Ryuji in "Fire Force Stage -Hakai no Hana, Souzou no Oto-".

[6] Kitazono Ryo has also worked with Ryuji on "Castor & Pollux", the stage play that Ryuji wrote and directed. Additionally, he has co-starred with Ryuji in the "Live Spectacle NARUTO", the Online Reading "Lily & Rose" Vol. 01 and the Movie Theatre "Success Sou".

[7] Katayama Hironori has also co-starred with Ryuji in the "Musical Touken Ranbu".

GOODS AND BLU-RAY/DVD FOR "ITOSHI NO HAKANA"

For more information on how to purchase the goods and Blu-ray/DVD for "Itoshi no Hakana", please refer to this link: HERE

Source(s): ( x , x , x , x , x )

[arrowpierce-art]

Some snowy owl studies for my aunt 💫

Reference photos used from Zdeněk Macháček, Ronan Furuta, and John (Unsplash)

[tatatatatara]

1, 2, 4 and 11 with TG!

1. What originally drew me to TG

Uhm I read TG when it was on going in 2015 but I wasn't really into it back then so let's talk about the present

Okay so in 2021, I was in another fandom and into a character that doesn't have any backstory, only appeared in very minors scene and is basically forgotten by the developers and fandom. So one day, I was scrolling through my feed and saw a photo of Tatara, who looks like that favorite character of mine. After a small lookup in the wiki, I found out that Tatara's description is similar to that character too so I read TG and fell in love with HouTata, thinking that since TG is a big fandom I should have more contents to scroll through.

I have never been so wrong in my life.

2. What I like most and least about TG

Most: HouTata

Least: HouTata's ending

Most: I like the symbolic meaning of things in TG. In my country, TG was a really big fandom until 2019 but no one even talked about the tarot number, the literature reference, the flower reference. There were only fake quoters and the war between people who hate KenTou vs people who hate slash ships of Kaneki. So when I seriously got into TG in 2021, I was really surprised and captured by the meta posts on tumblr and reddit. If only people know more about this side of TG.

Also I think this is a common opinion but I love the artstyle

Least: The fact that Houji didn't have any introduction pages in :re and have his own profile, even in the volume that he died.

Alright aside from the HouTata stuffs, I don't like how Ishida Sui handle the LGBTQ+ and mentall illness in this. I mean I don't expect much from a manga, but the whole Mutsuki things and Kaneki's "DID" make me reluctant to recommend it to my friends. Not the best representation, don't you think?

4. A character I couldn't care less about

Uhm, maybe Rize? She's not visually appealing to me, she doesn't have any character development and she mostly existed as a plot device. She was there to be the reason of the main character's tragedy, and then her next appearances were just to push his character development, and her final appearance was to mark the end of his tragedy. I don't know how to put it, but to me she's barely a character, she was created for the sake of Kaneki and Furuta's motives. Sure she had potentials, I think her side story is very interesting but overall she's just plain to me.

11. A ship that makes me want to look into the camera like I'm on The Office

I don't have one, I think. I don't like the idea of Tatara x Tomoe but so far I haven't seen anyone ships them (thank God).

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part I:  Poem 17.

〽 Hanaire ni dai-shō ara-ba mi-awase yo           kane wo hazushite utsu ga kane nari

     [花入に大小あらば見合せよ、           カネを外して打つがカネ也].

    “If, depending on the largeness or smallness of the hanaire, it appears to be displaced from its kane, the place that it touches¹ [should be understood to be] its kane.”

      Usually this poem is interpreted as referring to a hanging hanaire, but since the hook is always nailed into the central kane, there is no opportunity for a kake-hanaire to be displaced from its kane.  Therefore it must refer to an oki-hanaire arranged on an usu-ita [薄板]², and this is how it is explained here.

    Here, all of the versions of this poem agree, so there is nothing more that needs to be said.

_________________________

¹The verb utsu [打つ] is generally translated with words such as strike, run into, collide with, strike, hit, impinge on, knock, strike hard, run into, jar against.  As a result, this poem is usually understood to be referring to the hook for a kake-hanaire, and the place where that hook has been nailed into the wall (or pillar) -- a perhaps natural forgivable interpretation, given that this poem often follows the preceding one (which discussed the place where the ore-kugi [折れ釘] was nailed into the wall).  The problem with this way of understanding it (or, perhaps it might be better to say the clue to its actual meaning meaning) is that, irrespective of how high the hook might be nailed above the ji-shikii (which was the question discussed in the previous verse), the hook is always centered on the back wall of the toko, meaning that it will always nailed into the central kane.  Since it is centered on the kane, any hanaire that is suspended from said hook must necessarily be centered, too, since the kan [鐶] (the little metal ring attached to the back of the hanaire) from which the hanaire is suspended on the hook is always (as a feature of gravity, if not intent) in the middle of its back side.  So the largeness or smallness of the hanaire itself could have no impact on whether it is centered on its kane or not -- since the detail of its actual size would only reveal how far the hanaire projects on both sides of that central kane.  Utsu could refer to a hook that was nailed into the pillar on the outer-wall-side of the toko*, but in this case it is displaced from the kane entirely (so that, for purposes of kane-wari, it would have zero value).

    Consequently, the closest meaning for utsu (from the list quoted above) would be “to impinge upon,” or “to touch/strike.”  In other words, the place (on the mat) under the usu-ita [薄板]†, on which the hanaire is centered, is its kane. ___________ *Hanaire hung on the bokuseki-mado [墨跡窓] -- one of Furuta Sōshitsu’s ideas that was latter adopted by Rikyū -- are suspended from a narrow piece of sheet copper that is temporarily twisted around one of the horizontal laths in that shitaji-mado [下地窓], with the free end then bent into a hook.

†A wooden board, usually lacquered with black lacquer, originally based on the measurements across the rims of the Gassan-nagabon [月山長盆] (the “highest” of the six large trays used by Yoshimasa):  it, thus, measured 1-shaku 3-sun 2-bu by 9-sun 2-bu.  The edges of the board were notched unevenly (to represent the rim and the foot of the tray) -- the wider side should face upward when the board is used.

    The history of the usu-ita is this:  Jōō obtained Yoshimasa’s Gassan nagabon, but he said that, because he could not obtain the other utensils used for the gokushin futatsu-gumi temae [極眞二ツ組手前] (because they had been lost in the fire when Yoshimasa’s storehouse was destroyed during the incident that precipitated the Ōnin wars, and Jōō only wanted to do the temae with the original utensils -- though this was likely just an excuse for his not knowing the temae, since Yoshimasa subsequently used other chaire and temmoku to perform the temae with the replica of the Gassan nagabon that had been made for him by Haneda Gorō, and which was the tray that subsequently came into Jōō’s hands).  Since he refused to use the tray on the daisu, he had to do something with it, and he decided to use it as a base for his karamono sorori [ソロリ; sometimes written ���呂利] hanaire.  He also placed the tray below his bronze tsuri-bune [釣船], to catch the drops of water that dripped from the hanaire (since the tsuri-bune should always be splashed liberally with water, because, as Jōō wrote, it is the nature of boats to be wet when they are in use).  When repeated use threatened to damage the tray (even the most highly polished bronze can leave scratches on lacquerware), Jōō retired it in favor of a black-lacquered usu-ita that replicated its dimensions.

    Because the chajin of the Edo period did not understand the history of this board, they likened the notched edge to the nock of an arrow, and so called this board the yahazu-ita [矢筈板] (arrow-nocked board).  This was the only usu-ita used by Jōō and Rikyū; the other rectangular usu-ita were either made (during the Edo period) by sanding off damaged edges so that an old board could be reused, or created from scratch (often using pieces of wood that were found somewhere, such as on the beach).

    The round board was based on Yoshimasa’s naka maru-bon [中丸盆], which was 1-shaku 2-sun 3-bu in diameter.  Originally this board was used to display an incense burner in the toko (usually following the appreciation of incense) -- for which purpose Yoshimasa had used his tray (since the original naka maru-bon featured a heat-resistant brass inlay on its face).

²Traditionally, the usu-ita was placed on the mat in the toko, and then the hanaire was moved onto the usu-ita.  Once the usu-ita was in place, it was not considered proper to move it back and forth in an effort to associate the hanaire with its kane.

==============================================

◎ If these translations are valuable to you, please consider donating to support this work.  Donations from the readers are the only source of income for the translator.  Please use the following link:

https://PayPal.Me/chanoyutowa

[pink-pages]

The Girl From The Well

Spoiler Alert

Ok, so I really went into this one blind. Like literally all I could get from the summary was that it was about Okiku from the Japanese ghost story and that she goes around getting revenge on child murderers. The whole thing about getting wrapped up in a mystery involving a haunted boy is not something I was expecting. Honestly, I was probably expecting it about as much as Okiku herself was.

Rin Chupeco’s writing was incredible. She was so creative with the way she spaced out words and formatted the sentences. I especially liked how some of the sentences dropped

Like

This. At first, I was pretty certain that I was missing something important. Then I realized that it mimicked the way Okiku stood upside down and things made a lot more sense. Chupeco also did a fantastic job giving Okiku her own voice. The counting was a really nice touch. At first I was confused about why she counted everything, then I remembered the story about the 10 plates.

I also loved the haunting scenes. Those scenes remind me of hauntings from famous Japanese horror movies, notably Ju-On; The Grudge and The Ring. I also recognized a reference to a very famous real life Japanese crime. One of the victims Okiku avenges while in Japan is a 16 year old who was tortured and killed by a group of male students. That parallels the torture and murder of Junko Furuta.

One thing that I found really interesting was that one of the characters, Tark, was introduced through two different layers of observation. In the beginning of the book, he’s introduced by Okiku observing different people’s observations of Tark. He’s also noticeably missing from point of view chapters. Both Callie and Okiku (the two other main characters) get point of view chapters but Tark does not.

Characters

Okiku: Okiku is exquisitely characterized. As I mentioned earlier, even the writing style contributes to her characterization. Every little detail is thought out. From her non involved ways of intervention (she almost never interacts with characters even when she’s attacking or saving them) to the little names she comes up with for the people she attacks (Smiling Man, Stained Shirt Man, etc). She really does feel like a ghost. Because of this, her interactions with Tark and his family are made even more striking. She does talk to Tark and even Callie. She physically attacks both people and ghosts to protect Tark and Callie instead of attacking them after the fact to get revenge.

Tark: I like Tark. We don’t really see much of his thinking process because we don’t get Tark point of view chapters, but he’s funny. I like his dark sense of humor and I love the way he cares for Callie. I think the way he was introduced was really interesting and also really clever. It mimics the way people get to know other people. First, we get to know him through others as a “troubled teen” then as Okiku gets pulled further into his orbit, we get to know his true personality.

Callie: Callie is such an interesting character to me and also kind of relatable. The way she views Tark changes throughout the book. At first she kind of views him as a child, mainly because she’s getting most of the stuff she knows about him from his dad. Then later on in the series, Callie starts to see Tark on more of an equal footing. I think a good way to view it would be that at the beginning of the book, Callie kind of mothers Tark but by the end she acts more like an older sibling. I have about the same age difference between me and my youngest sisters (about 3 years) so I can kind of relate to Callie and how she views Tark (at the end of the book). I also think her relationship with Okiku is interesting. They both are very protective over Tark but Callie is wary about Okiku’s intentions which makes for an interesting dynamic when they work together.

[pseudocitrus]

[furuta&rize] hc where, when he came to visit her at the usual time, she didn’t turn to greet him: instead, she kept staring at the mirror, intently.

((content warnings))

her gaze was fixed. when she finally does turn, he almost jumps back in surprise.

“what? what’s — that?”

rize smiles at him. some teeth show, and they are all the brighter now for how red her lips are, as vivid as blood. she clips a tube of lipstick shut, with a sound like a crisp bite.

“what do you think?” she asks. she purses her lips, pushes them out again, smiles again, glances at herself in the mirror again. furuta remains near the door. he isn’t sure what to say. in the end, it just tumbles out.

“you…you were already beautiful without it.” he frowns, and then says, “where…did you get it, anyway? did you go out? or did — did someone give it to you?”

“it’s a secret,” rize tells him. her voice is airy. she looks back into the mirror, sits up, gazes at herself from the side. she still doesn’t invite him in, and finally furuta enters himself, at first hesitant, and then with a march. he steels his voice.

“tell me how you got it,” he says, firmly, and she laughs.

Read more

[elmaxlys]

#I didn't know that about furuta but that is very interesting *vibrating* look at that (not all illustrations of him picture suicide after checking but that's still. a lot.)

this one especially goes with his birthday message that still fucking destroys me to this day. fucking "never in my life have i felt grateful for being born." fucking "if you die you can get cured, you know (this is true)" my god... "I want four times more of that love or hate." and the legendary "PS: (laugh, it's fun!)"

Good old chapter cover for ch101 hhhhhh Kaneki's there too but while Kaneki wears the noose. well. like a noose, Furuta wears it like a goddamn tie. help me i'm on the floor there are even the mourning ribbons helppp

Obvious

Ch133 cover.... When this one was released, I still remember the people going is he drunk? is it a reference to his act in the rose investigation? why does he have a gun? and then someone pointed out. his feet aren't on the floor. the placement of his legs. his loose hold on the gun. he's just missing the noose: this is a suicide again.

The next one isn't a suicide pose but it's so. so!!!

1, 9, 10, 13, 22 VIOLENCE

VIOLENCE

1- the character everyone gets wrong

If I say the Clowns, how in character is it for me? I trust exactly one (1) other person with them and it's not Ishida.

(and I gotta answer for Rika for Tenkuu Shinpan)

9- worst part of canon

The way Shuu is treated by everyone but his family. There are other bits that really fucking annoy me to varying degrees but Shuu's treatment gotta be the most recurrent thing in canon that I wish I could erase. Sure he's a weirdo in the Gourmet arc! Sure he initially tries to eat Kaneki! But then he spends the rest of the story atoning for that, he pays for all his expenses, lends him his fucking house that Kaneki then forbid him to stay at, he's excessively loyal, apologizes for being sick, there's the whole thing with his family extermination that I don't know where to begin with, and then? he forgives Kaneki for massacring his family. And Kaneki? Treats him as his walking wallet. He trusts Fuka - whom he's known for exactly two minutes - more than he does Shuu. And everyone follows. How much of that is because he's queer and flamboyant I wonder. Anyway Shuu deserves better both in canon and in fandom.

(for Tenkuu Shinpan, the panty shots every two seconds. give me a break. i do appreciate the shirtless Juo bits tho. Double standards what can I say.)

10- worst part of fanon

The treatment of Kaneki lmfao he's either woobified either edgified beyond recognition. To each their own, I mean i post a lot of fluff about Donato after fucking all, but that's not my Kaneki

(for Tenkuu Shinpan, same as above but with Sniper)

13- worst blorbofication

huuuuuh any character can be a blorbo to anyone who likes them enough so i don't think anyone qualifies

22- your favorite part of canon that everyone else ignores

If I say the Clowns again, how in character is that for me? particularly the part where they're all fucking depressed and suicidal haha looking at Roma that wants to die if she's not distracted 25/8 :))) at Uta that needs to kill his best friend to feel something :))) at Nico's quote about living beautifully or for the sake of someone beautiful :))) at Donato who cried when his son told him he loved him :))) at furuta always being represented in various suicide poses in official illustrations :))) I'm okay I'm fine (said with visibly trembling hands)

(and for Tenkuu Shinpan, same as above with every single character)

----

Choose Violence Asks

[coromoor]

Recently a lot of attention has been given to the Guest Cafe & Diner. Ishida-sensei said he modeled the :re cafe after the Museum Cafe & Diner. Also, in an interview after the end of :re he said there "probably" wouldn't be anymore sequels. However, if someday he does choose to make a part three do you think he would model the new Ghoul cafe after the Guest?

Hmm hypothetically, if there were a part 3, I’m not so sure another ghoul cafe would be modeled after The Guest. These “collaboration cafes” for different anime are pretty frequent common and there have been a few for Tokyo Ghoul over the years held at different cafes, like the Myoujin Cafe [x]. The Guest seems to do collab cafes all the time- it just did one for Pokemon, it’s already advertising for it’s next one and it’s had another Tokyo Ghoul one in the past. So it’s not really “unique” to TG if you know what I mean!

For Museum, I’m really curious if Ishida found the cafe himself and liked it so much he used it for :re, or if he sent out assistants to look for a cool place to take photos for reference! That’s a question I’d really like to ask him if I ever had the chance :’D

[daturida]

MAINS LIST

this is for my own reference, i’ve gone through my notifications/relationship page but u know what tumblr is like, so if i’ve missed you, please let me know!

TG CANONS

@white-reaper / kishou arima 

@taubc / yoshiko washuu (she’s canon to me idc)

@megistanis / yoshitoki washuu

@cxrtus / take hirako

@coercitxr / eto yoshimura 

@oneeyedkingken / reaper!kaneki/haise 

@uivispero / ui koori

@visceraetcircenses / roma hoito (forcibly removed if furuta could have his way)

@ghoulmade / oek!kaneki onwards

@ofgourmet / shuu tsukiyama & chie hori

@coscanostra / naki

@prettyreaperxiii / suzuya juuzou 

NON-TG CANONS

@vantrece / mistral

@blessedfate / alex benedetto 

@godscourt / sayu yagami

@askharukakujo / haruka kujo (prepare to be his murder son)

ORIGINAL CHARACTERS

@dolliebird / tsubasa torigoe (hewwos into the void)

@ghouth / seiji ( my shit brain can’t remember her second name HHHH)

@pellecebrae / all of them. they are all mine now :o)

@batoushoujo / tem green (i forced mains w/ u because i love u HEHEHE)

@glxtzy / minami yuki