#i think we ought to live happily ever after

[liviatrivia]

“Sophie was the most studious. She read a great deal, and very soon realized how little chance she had of an interesting future.”

Howl’s Moving Castle Chapter One: In Which Sophie Talks to Hats

I drew Howl the other day and had to make a Sophie to match. This is before her moving castle and old lady days if you couldn’t already tell by the dreaded grey dress.

[blondewelshhimbo]

the only thing that should be romanticized is the ending of howls moving castle. whether the book or the movie it should 100% be romanticized

[girleulogy]

“I was just describing howl” formative line in how i now conceptualize love genuinely changed me

[bookstofilms]

“I think we ought to live happily ever after," and she thought he meant it. Sophie knew that living happily ever after with Howl would be a good deal more hair-raising than any storybook made it sound, though she was determined to try.

Howl's Moving Castle dir. Hayao Miyazaki | 2004

Adapted from the novel Howl's Moving Castle by Diana Wynne Jones

[hoshigray]

So here's the scenario: Toji is your hot dilf apartment neighbor. You moved in next door to him, and you two hit it off as good neighbors ought to be. You're already in a relationship, but that "unfortunately" leads to a rocky end. But have no fear because Toji is here!

A/n: Just a lil' smthn I have to write out for a fic I'm about to write and not post bc I'm hella busy this week;;;w;;; But anyways, here we go, and I hope you enjoy! This was a lil rushed so sorry for typos or incorrect grammar!!

Cw: soft dom! Toji x fem! reader - it gets cute the first half but smutty the next, so minors DNI - makeout session - daddy kink - pet names (baby, good girl, mama/ma, sweetheart, sweetie, princess) - praise - missionary position - his dick touches your cervix - mention of violence and blood on Toji's end.

Wc: 1.7k

Dilf! Neighbor Toji...

...who rolls his eyes when he realizes someone will live next door to his unit. You first meet him on the day you move, happily introducing yourself to the tall man. Once he saw you, Toji was captivated by your kind tone and inviting atmosphere.

...who slowly but surely gets to know you as the days go on. You share moments of your life, and he shares some of his. You find out about his children, Tsumiki and Megumi, who you propose to babysit if he ever needs it, which is considered. Toji is told about your boyfriend whom you've been seeing for a long while. He pulls back from this information, but that doesn't mean he can't look at you when he pleases.

...whose children are the sweetest around you. Tsumiki enjoys playing and being around you, while her younger brother, Megumi, practically follows your every move like a baby duck. The more you spend time with them, the more you play a role in their life, and Toji can't help and think what if you were in their lives.

...who briefly meets your boyfriend and immediately catches a bad vibe from him. When he doesn't call or text you back after literal days go by, when he doesn't give you a ride to work even though you'd do so for him, even Toji's kids avoid him when he's around.

Oh, but the worse case of all was when Toji caught that little devil bringing another woman inside your apartment.

He wanted to do nothing but screw that man's face down, painting the hall with his blood. But he knows you'd be horrified, or worse, faint at the petrifying scene. So now, he stays quiet and waits for the perfect time.

...who loves the beautiful sound of your angry voice through the walls, with your door bursting open and your boyfriend's feet scampering down the stairs. Toji opens his door to see you breathing heavily, tears leaking on your face that's hot with anger and shame.

It hurts him to see you so broken, so he brings you inside for a cup of tea. It's up to you whether to talk about the issue; he knew you only needed company.

...who notices you hang out with him and his family without having to invite you over. Rather than going to your own apartment, you spend more time in his, playing games with his kids and making lunch for them or watching over the place while he's off doing hitmen business (which you don't know about yet).

He's not complaining at all, though. He welcomes you and would rather you be by his side than some other bastard who'd break your heart again.

...who enjoys it when it's just you two. The two of you are watching a movie together at Toji's, and the kids are at a sleepover.

You're lying next to him, your head resting on his shoulder with his hand stationed on yours. The television had your attention for quite some time until you felt someone's eyes looming into you. As you turn to see Toji, his gaze captures your eyes, and a smirk is thrown your way.

"What are you smiling about?" You raise a brow at him and chuckle.

A brow is raised in return. "Ya know you're very pretty, right?"

You bashfully look away from him. "Oh, stop it," you mumble as you can feel your face get a little hot. Toji snickers, the rise and fall of his chest causes your stomach to do flips.

"C'mon, don't be like that." He grips your shoulder to bring you closer, and his free hand gently pulls your face back to him. "I mean it, sweetheart. You're so fuckin' beautiful. You don't know what you do to me."

Your breathing goes slower, and your eyes can't seem to leave his green orbs. "What do I do to you?" Your voice drops down into a whisper.

There are no words. The two of you stare at one another as the movie fills the silence.

Toji's eyes don't leave yours, gaze so sharp as if you aren't allowed to either. The uncomfortable lack of response was gnawing you alive, and all you could do was hope for something to end this.

And then something does happen. Toji moves his face close enough for your nose to lightly brush his. Your body went rigid.

His chuckles were too low for your brain to function in this situation. "Nervous, huh? Close your eyes, baby. I'll take care of you."

You blink. Is this really happening right now?

Hesitation is present, yet your eyelids curtain your eyes. Toji grins harder in satisfaction and fulfills your silent request as his lips land on your anticipating plump ones.

Jerking a little, you reciprocate and kiss him back, your hands placed on his chest for some support. He brings one hand down to your back while the other holds the back of your neck, deepening the kiss as his tongue governs over yours.

The kiss is broken, in addition to the shaky breaths you inhale to steady yourself. Toji peers at you through a haze, drinking in your soft expression and the cute whimpers.

He grins at you. "So beautiful fr' me, sweetie, so fuckin' beautiful." He kisses you again, and the sound you make when he bites your lip has him wanting more. "Damn..." Toji grabs the TV remote to mute the television and cups your face with his big hands. " C'mere, mama," he says, his lips taking control with lustful haste.

You yelp into his mouth when you lose your balance, and Toji takes the initiative to lay you on the couch. Comfortable with the new position, your hands can roam around his back that hides under the black turtleneck, and your legs hold onto his waist as he rocks into your throbbing core.

Toji is absolutely relishing this moment. All this time, he could only watch and respect your prior relationship. But the more you smiled at him, played and cared for his children, wished him luck on his missions, and even visited his late wife's grave to pay respects, his resistance was hanging by a thread bound to snap.

And now that he has you in his grasp, mewling and squirming under him and softly gasping out his name in ecstasy, Toji would be even more idiotic than your ex if he let such a darling like you whisk away after all you've done for him.

It took a few moments for the makeout session to end, the two of you gasping for air instantly. You look at Toji, only to be met with the most breathtaking picture of your life.

The light from the TV highlights a side of his face, with his lips a little swollen and red from all the kissing that transpired. Strands of his slick black hair gravitate downwards away from his forehead. His emerald eyes are hooded softly, but the intense gaze isn't hindered as the feeling of hunger is portrayed through them.

You chew the bottom of your lip in anxiousness, and Toji laughs breathlessly.

"See?" He caresses your cheek. "Told you I'd take care of you, princess."

...who can hear the vibration of your phone ringing on the bedroom floor, with the caller ID titled your ex's name. But it doesn't matter to Toji. No, sir. Because at this moment in time is when you deserve his full attention as you're crying and panting heavily under his bow, your figure pressed into the bed as he drives his cock deep inside of you.

Salty tears on your face are wiped away by his calloused fingers. "Hnnngh, shit, shit, shit," curses fly out through gritted teeth as he slows his pace down. "Haaaah, damn, baby. You're grippin' me so hard, I ain't goin' nowhere."

He has you under him in missionary, but it wasn't the first position of the night. You're in your third round, and your body is aching. Your lips are swollen and plump, your legs twitch around his sweaty body, and your abused vulva is now a slick-covered mess extending to your inner thighs. The base of his cock has formed a creamy ring, evidence of the connection between your sexes, along with the sounds of skin slapping against each other.

"Ahhhh, haaaah, Daddy, please—Mmmph!!" You feel the tip of his length brush your cervix, you clamp into him harder, and Toji hisses at your inner grasp around him.

His sultry voice is weighed with exhaustion, but his tone still affects you. "Fuck, ma, I'm gonna— Aishhhh, oh fuck," his groans fill your ears, and a shiver is sent down your spine. "Where do you want it, sweetie?"

"I-I'll take the pill! Ahhaaa, please, Daddy, inside, inside!" Your words are slurred, but you choke them out for him to hear your demands.

"Heh, of course, for being such a good girl fr' me, mama." Toji's thrusts get erratically faster and harsher, your poor cervix being abused by the merciless intrusion of his dick.

Your eyes roll upwards as you let yourself go. You spasm around his girth and wait for him to finish. Toji hammers into you a few more cruel thrusts and then exhales out of heavy groan, eyebrows scrunched together as he releases himself into you.

Once you two come down from your high, he slowly moves off you and pulls his cock out. The cold feeling of cum and slick mixed together dripping out of your puffy cunt has you gasping.

Toji presses his forehead against yours and praises you for being such a good girl. You let out a worn-out chuckle and kissed his nose. The two of you lay together for a bit, harnessing the sense of bliss and peace as your bodies sink into the mattress when sleep succumbs to you both.

...who looks forward to you moving into his unit permanently, as well as Tsumiki and Megumi, counting the days for you to always be beside them. You fit the role of a family member by bringing them together. Toji realizes this and enjoys the thought of you being with his family, especially when the worst comes to worst. And even then, he'd lay down his life for your and his family's sake.

When the time comes, maybe another little being can join this happy union you've created, and Toji will be fully prepared.

[bethanydelleman]

Hello!

I rewatched Pride and Prejudice and it's surprising how my thoughts on it changed over the years 😃

When I was a teenager, Elizabeth Bennet was the plucky heroine that I wanted to be (lol) , now I'm older with a mortgage and responsibilities/bills, I'm like what was her plan in life?

Because she wasn't really educated per se (im thinking about how she answered lady Catherine about what she has to recommend her re:drawing, playing the piano etc) so I guess a 'career'(no matter how little it would be available at that time) was out of the question, but accepting marraige to the (admittedly obsequious) Mr Collins was also out of the question as well as Mr Darcys first proposal (which I get why sge turned it down!) ...I guess I'm asking what Elizabeth's plan for her future.

I've heard this from a lot of people upon re-read, "Why isn't Elizabeth more worried about her future?" I think there are a few things to note.

Early 1800s or not, Elizabeth is 20 years old when the novel begins (the average age of first marriage for women was 23). 27 year old Charlotte is in more of a future panic, but Elizabeth is still young. She has done practical thing like learn to play piano, but like most young people, she's probably just hoping for the best. And it's not like there is much she can actually do, Elizabeth is putting herself out there, she's dancing, she's playing piano, but otherwise she can just hurry up and wait. Her mother's marriage schemes are seen as vulgar and mostly backfire, and we would hardly want Elizabeth to act like Caroline. We read across Austen's novel's that women are largely stationary and it is the men who move in and out of their lives.

Also, I think a big part of Austen's point is that women are in a position where they feel the need to accept any and every proposal, because as Mr. Collins says, they may never receive another, but that this leads to misery (just look at the older couples and how many of them are unhappy!). While somewhat foolish from a financial perspective, Elizabeth is thinking about her long term happiness. She has watched her father turn bitter in an unequal relationship, she does not want that for herself. Elizabeth is choosing possible spinsterhood over being married to a person she knows she could not respect. Marrying for love, or at least on a basis of respect, is a big theme in Austen's novels. Let me add this quote from Mansfield Park to illustrate this point:

“I should have thought,” said Fanny, after a pause of recollection and exertion, “that every woman must have felt the possibility of a man’s not being approved, not being loved by some one of her sex at least, let him be ever so generally agreeable. Let him have all the perfections in the world, I think it ought not to be set down as certain that a man must be acceptable to every woman he may happen to like himself.... And, and—we think very differently of the nature of women, if they can imagine a woman so very soon capable of returning an affection as this seems to imply.”

So yes, Elizabeth Bennet isn't being financially prudent but she is being sensible in preserving her happiness. And for realism, we know Austen made this decision herself! She turned down an eligible offer.

Next, Mrs. Bennet is somewhat exaggerating: they are very unlikely to starve or be destitute. While it is never explicitly stated, Mr. Gardiner seems to be doing very well, and would probably very happily take at least Jane and Elizabeth if Mr. Bennet died. Mr. Philips is also doing well for a country attorney, he could take in his sister-in-law and nieces. It is going to suck, the Bennets should have planned better, but it's not the end of the world. We also do not know Mr. Bennet's age, but he may well only be in his late forties. He's no Mr. Woodhouse who may die tomorrow in a stiff breeze.

So what is Elizabeth's plan? She doesn't have one, she's 20. She's hoping life will throw her a man with a decent income that she doesn't hate. It works out in the end, but I don't think she would live to regret either turned down proposal if she had never met Darcy again.

[furrymintysong]

I was looking for a certain quote in Fellowship of the Ring so I ended up rereading some parts and came across the part where Bilbo asks Frodo about helping him finish his book. Bilbo asks if Frodo has come up with any ideas, which Frodo replies that yes, several, but they're all bad endings. Then Bilbo replies how he thinks a book ought to have a happy ending — "and they all settled down and lived together happily ever after." Frodo responds with, "It will do well, if it ever comes to that." Then Sam joins in wondering about where they will live (in the happily ever after).

And I just thought...woah wait...is this...is this about their ending...?

Cause I'm sure the characters and readers would probably expect or hope for the protagonists of this story, especially the ring bearer Frodo, to be able to live happily ever after; he can come back and settle in the Shire that he loves so much. Frodo, however, is pessimistic about the ending, implying how he feels about his own ending. *cries*

I like how Frodo's pessimism is contrasted with Bilbo's optimism. And how, if we refer to the ending of lotr, it's kind of a mix of both, resulting in the bittersweet conclusion to Frodo's story.

Sam's remarks about where though....OOF IT JUST HIT ME SO HARD cause my mind instantly connects it to how all three of them eventually sailed to the West, especially when it comes to Frodo. He was able to live again in a peaceful Shire, but his happily ever after was not there..... Maybe Bilbo thought it'd be in Rivendell; to Sam and Frodo, the Shire. And yes, Sam did get to live a happy life in the Shire for long enough before sailing but ooh.....that question of where...they don't know what's ahead of them... 😭😭

[liviatrivia]

**This is still getting traction but I deleted tiktok so the link doesn’t work anymore sorry also this short lived meme is long dead. But thank you to all the new people seeing this and liking it!**

https://www.tiktok.com/t/ZTRC5jkH1/

i made a thing, enjoy

here’s a few photos as a sneak peak of the video

[sashamini]

"I think we ought to live happily ever after," and she thought he meant it.

[barelymanaged]

I WILL NEVER GET OVER:

"I think we ought to live happily ever after".

EVER.

[flowerfairyboi]

"I think we ought to live happily ever after," and she thought he meant it. Sophie knew that living happily ever after with Howl would be a good deal more hair-raising than any storybook made it sound, though she was determined to try."l

- Diana Wynne Jones, Howl’s Moving Castle

[blurredblu]

My opinion on IDW being canon to Sonic

I watched a video by GamesCage on the topic, who I've been watching a long while on YT before subscribing to him recently on Twitch, and it reminded me of my own thoughts on the matter as well!

But first some preemptive notes because I am entering Sonic discoursespace:

This is just some guy's opinion about a little blue dude! That's it! If you hate it or me personally because of it, I refer you to this image:

I won't ever go into using insulting or uncivil language. But because this is an opinion essay and I got opinions up the wazoo, I'm also not trying to word things in some neutral, disinterested way to appeal to all audiences here

That being said, game-story-wise, we don't fuck with meta-era shit here. I Do Not See It

I'm all for chats and discussions about the topic, agreement or disagreement alike in response to this essay—things just ought to stay civil and respectful. Think of WWSD (What Would Sonic Do?) and the image above

Sonic's morality and what IDW misunderstands of it

Though I respect what the IDW team does (I fondly remember following Evan Stanley's Ghosts of the Future on Deviantart back in the day), I don't prefer their characterisation of Sonic, and that alone is enough to have me a little chagrined as to IDW's integration into the games' canon. I think it's because, ultimately, it detracts from what makes Sonic's character—specifically his morality—unique and appealing to me. Though he isn't nearly as anti-hero in nature as characters like Shadow, Sonic still has moral tendencies that are atypical for characters that occupy the hero role as he's been avowed to have in the games, e.g. being labelled Team Hero with Tails and Knuckles multiple times

To give some sense of signposting, here are the headings of this essay:

Sonic distinctive moral thinking - The games' simple, reactive Sonic - IDW's merciful, principles-first Sonic: on freedom and oppression - Sonic's self-centred in a way, though, right? The mascot problem - "What's your idea then, genius?" – the reader reading this - Why keep things static - Examples of peak Sonic Conclusion

Sonic's distinctive moral thinking

To contextualise my judgement of Sonic as distinctive in his moral thinking, I think there is a tendency in Western media to give heroic characters very merciful streaks. Think Superman or Batman—codes of never killing or always offering mercy, often with backstory or informed moral reasoning behind it. While these streaks are understandable, they appear often and thus don't ring as special or particularly unique to me. Sonic has always been interesting to me because he explicitly does not entertain such clear moral principles. His attitudes embodied in his SA2 theme "It Doesn't Matter," Sonic Unleashed, or the Storybook Series (Black Knight being my favourite), show that he just does what he thinks is right and shows no qualms using considerable force (lethal in the case of Black Knight) if he has to against those he thinks are doing wrong—even against people who he would be friends with, like Merlina. He does not barter or reason; he takes action, moves before he thinks, and follows his heart

The games' simple, reactive Sonic

From my interpretation of Sonic regarding mercy, examples from the games show how he isn't interested in rehabilitating or looking for threats to neutralise like some Miguel O'Hedgehog. These tendencies become most apparent when his friends are involved. A standout example is when Amy protects E-102 Gamma from Sonic, convincing Sonic that he isn't like the other badniks. Another, more indirect example is Gemerl, where Sonic fights and subdues him from causing more harm but Tails is the one who reprograms and rehabilitates Gemerl, who lives happily with Cream and Vanilla with his more peaceful disposition. Sonic doesn't go out of his way to help Gemerl post-defeat, but he doesn't doubt or attack him further after his integration either

At heart, I find Sonic to be a reactive, not proactive, hero. He won't go out of his way to check if the day needs saving—he's not a dutiful guardian doing patrol like Knuckles or a principled fighter for an organisation like Shadow—but if Sonic sees someone in need, he won't just pass them by. And I find Sonic's moral judgements to be simple, instinctual, and self-centred in the most literal sense. They come from his bias towards his friends' judgement and what he believes to be right, regardless of how others may judge his actions. I've only mentioned some examples, but they highlight to me that Sonic is neither healer nor hunter. His main priority isn't rehabilitating or reasoning with his foes—he will do what he feels he needs to do, even if that means destroying something or someone for good. But, as Amy for E-102 and Tails and Cream for Gemerl show, he won't go out of his way to make sure threats are dealt with through violence if his friends vouch for them.

IDW's merciful, principles-first Sonic: on freedom and oppression

In IDW, the topic of him showing so much mercy and espousing freedom as an ideal he thinks everyone, even his enemies, deserves makes him much more merciful and deliberate in his mercy than I like him to be. I want to discuss this by briefly expanding on oppression and freedom, a topic that comes up in Surge and Sonic's fight and Surge angrily questions why Sonic wouldn't just end her. Sonic essentially answers it's because he values freedom for all, including his enemies', because he can exercise his freedom to stop them. It's representative of why I think some fans take issue with Sonic's characterisation because it warps how much Sonic might believably value freedom versus oppression on two flops: on philosophical concepts and characterisation.

IDW's concept flop, to me, shows a fundamental misunderstanding on the nature of oppression and freedom, assuming some inherent ranking of freedom above oppression. The two are different things: freedom is a kind of instrument, a means of doing things, a concept that has no content in and of itself. In other words, you have the freedom to do X; having freedom is only meaningful insofar as it enables to do what you want. Oppression, however, is not an instrument in the same way; it makes far less sense to say 'you have the oppression to do X' or 'you are oppressed to do X' like you could for 'freedom' and 'free'. Freedom, precisely because it is an instrument, enables far more flexibility—both good, evil, and neutral acts can arise from it. Oppression is a state of being with an inherently negative core, predicated on suffering and the oppressed being harmed.

Quick and messy take from me on this: freedom for all and oppression for some is worse(!) than freedom for some and oppression for none. But here's something that has a source, leading to the characterisation flop: according to Sonic Adventure's DX Director's Cut manual, the only thing Sonic hates is oppression (for, presumably, anyone). Honestly, you don't even need a game manual to tell you that. I think IDW writers make the mistake of assuming the inverse to be true of Sonic as well: that the thing he loves most is freedom (for, presumably, anyone).

Oppression being the only thing Sonic hates does not mean freedom is the only thing Sonic loves.

It may be notoriously slippery to insist on consistency in the Sonic franchise (or maybe franchises, plural), but this philosophical gloss on freedom and oppression starts to explain why IDW's characterisation strikes me as inherently contradictory to Sonic's preexisting values. Namely, it shows how IDW commits a false equivalence between the two and assigns it to Sonic. Sure, Sonic likes freedom, but that's different to showing mercy and second chances. IDW ends up conflating the two. As a result, IDW has Sonic care more about the principle of freedom than about the feelings and suffering he knows he or his loved ones have gone through. Put another way, it makes little to no sense why Sonic would prioritise freedom for all, even his enemies, when he has been shown to much more consistently put the most weight on what his friends feel and what he himself thinks. IDW does little to no detectable work establishing why Sonic would have such priorities either

Also, not a real argument—just taking things to the extreme in a throwaway thought—but could you imagine Sonic in the beginning of Unleashed actually considering Eggman's pleas saying he's changed and telling Eggman he...values his freedom? Like. c'mon

Sonic's self-centred in a way, though, right?

How about that self-centred angle, though? Sonic's way of thinking is highly independent—he will do what he thinks is right, first and foremost. It would be easy to claim that IDW's characterisation is just a mindset Sonic just holds in the comics, and that alone passes muster; his brand of ethical egoism admittedly does a lot as writerly cover to justify nigh anything about him. Looks like a hedgehog, smells like a hedgehog; chances are it's our hedgehog, right?

I disagree. One: if IDW is considered canon and yet is just so different to what's appealing about Sonic in the games, then the decision to make IDW Sonic canon, to be frank, kinda sucks. That ain't my Sonic—that's some Marvelised-DC version of him trying to moralise that I don't find compelling, distinctive, or endearing.

Two: even if you try to adopt the angle that upholding freedom for all would just be what Sonic believes to be right, it would still be the same as saying Sonic cares more about philosophical ideals than what he sees right in front of him. He's famously poked fun at Knuckles for being gullible before—why is Sonic himself showing that same gullibility and benefit of the doubt towards hostile enemies or those who have notably wrought so much damage to the lives of those he loves?

The trouble is that IDW builds no meaningful narrative foundations on top of which to stake this claim on Sonic's mindset when the games exist. Like, I don't even privilege the games just because they've been around first and for longer (even though, hey, that is true)—he's just cooler in them. Sonic is no philosopher; he's repeatedly shown it's genuinely not that deep when it comes to his moral thinking in the games. All it is is that he has a good heart. As a result, it comes off as a considerable mischaracterisation to show his enemies mercy mostly in the name of freedom or hope for their change (i.e. lofty ideals) compared to something actionable he can do (i.e. kick their ass and break their tech so they don't hurt anyone he cares about again).

The mascot problem

GamesCage mentions a worthwhile point which he calls the mascot problem. Sonic, as a mascot for Sega, has certain narrative lines he cannot cross or change for good. Like with Mario, there is a clear status quo to maintain; for one, Eggman cannot ever truly be vanquished. However, unlike Mario (with the one exception of Super Mario Galaxy), Sonic routinely has narratives that he and his friends undergo. There has to be this delicate balance that Sonic Team, IDW, and anyone writing for Sonic must contend with as a result. You have to write stories—events and plot where characters grow and change and are affected—but maintain the status quo where many fundamental things cannot change

In other words: how do you explain that Sonic never gets rid of Eggman or his other enemies because he, as a company mascot, cannot ever do so?

IDW does this one way by assigning Sonic an inadvertent little philosopher's cap, which I've already opined is a mischaracterisation. It also just generates another kind of untenable narrative problem that's even harder to reconcile: how do you justify that Sonic, hero with a heart of gold, just lets his enemies keep on going for freedom's sake? Arguably, all that does is dress up the mascot problem but with worse consequences—it makes Sonic less likable. It casts him as someone who essentially ends up condoning his enemies' actions, which has already led readers to question his judgement and whether they would even want to root for a character like that when you have an alternative and contradicting blueprint that the games have already provided for him. Like, my boy embodies direct action and IDW turns it into direct-ish-but-hey-do-what-you-want-who-am-I-to-judge action. Dress it up however you want; it's a nerf on who he is

"What's your idea then, genius?" – the reader reading this

In my eyes, what could work for the mascot problem is falling back on the static nature of the characters that have already been long established. The basic formula is there: Eggman is tricksy, proactive, and two steps ahead, but Sonic is always good-hearted enough, reactive enough, and fast enough to catch up by the end.

Elaborating on that formula, you have enough of Sonic's existing characteristics to justify why bad things keep happening despite his presence. He's not like Iron Man, who takes it upon himself to leverage his resources and power to look out for the world when no one's really asked him to. Again, Sonic is a reactive hero; he's not a ruthless hunter and he likes his peace and quiet as well as his adventure. He'll do what he can to fight what's right in front of him but may miss the bigger picture or potential traps by going in too fast. That happened in the beginning of Sonic Unleashed and it made sense. Even in Black Knight, you had him try to whale on King Arthur armed with just a decreasing number of chilli dogs. In an extended or episodic storytelling format, this allows other characters to shine—Tails's powers of analysis, Amy's ability to connect with others emotionally, Knuckles' sense of duty—by contributing to plans and helping Sonic because he has persistent, character-defining flaws. Highlighting his non-proactive and chill nature allows for arcs with more breathing room, too, where the characters aren't going up against some world-ending force or they all hang out. On that front, I'd say IDW has done well giving other characters that spotlight

Briefly touching upon Eggman's characterisation and how that might address the mascot problem, his tried-and-true tendencies should be relied upon, too. He is incredibly intelligent but also a massive narcissist—it makes sense that he has his own sense of short-sightedness where he prioritises and secures his own well-being above all else and underestimates the importance or wrath of godly and natural entities he frequently exploits and disrespects. Because of how strong and distinctive Eggman's brand of narcissism and villainy is, it is honestly fitting that he will never change; that alone explains how often he will cause trouble and will never fully succeed. And that also justifies why Sonic will always be the one to fight him. Both have their imperfections and flaws and that has them in a deadlock.

Why keep things static?

Now, this might bring up the question of static-ness. It might seem like an odd solution to mascot problem to just lean into it. Surely, there has to be greater justification or some potential for change for things to stay interesting, appealing, and compelling for Sonic and his stories.

In response, here's my hot take: ya don't need any of that.

Here's a longer version of my hot take: in any given narrative, Sonic is at his best when he does not grow or change. Sonic is already peak. Others may flounder and oscillate, but he remains steadfast with his heart of gold. He is a pillar of strength. He is static. Think of him in the Sonic Adventure games, characters and humans' reactions to him in Sonic X, the knights of the round table's reactions to him in Black Knight, Chip himself remarking that Sonic has such a good heart that not even the powers of a fucking dark primordial god infecting and transforming him can change who he is on the inside in Unleashed. When unstoppable forces come about, lo and behold, he is the immovable object they meet!

Sonic always stays on the move—that's how you can justify all the amazing, different, wild stories he'll go through, because he is an adventurer at heart. You don't need to humanise a character and subject them to point-A-to-point-B arcs to make them enduring, beloved characters. Just because that's a common format for characters and stories and comics to take nowadays doesn't mean that it's a good fit for Sonic. He's never been one to do something just because everyone else is doing it anyway. I, no joke, think Sonic should be treated like a mythical folklore figure, never-changing and transforming the lives of those he meets before breezing on by—and what figures are more enduring in our consciousness than those of mythology?

And, to refer to IDW, there isn't any need to wax philosophical on top of that. Like I've repeatedly said so far, Sonic is no philosopher (and saying this as someone who did philosophy for undergrad, thank fuck for that). Leave the philosophising and podcast soundbites and video essays to the fans—in fact, I'd even wager the simplicity of Sonic's premise and character, or, hell, even the dissatisfaction that can come from that, is why his fandom even thrives (but that's definitely a separate topic).

Examples of peak Sonic

I forget which interview this was, but Sonic's characterisation was inspired off of Bill Clinton (aged like milk I know; this was before his scandal with Lewinsky), from the idea that actions speak louder than words for him. Obviously, Sonic does get in his quips with his friends and enemies alike, but he's not supposed to be Marvel superhero about it and isn't actually a massive braggart. Even the first episode of Sonic X shows his confidence and demeanour so well—he doesn't need to moralise or talk your ear off for you to know he'll fuck you up. And that's just so much cooler than what IDW accomplishes with their version of Sonic

Like, consider my beloved Murder of StH, which the IDW team had a considerable hand in! Sonic—while recognising that the train is more advanced than other badniks, exhibiting personhood and consciousness—still has the sole objective of destroying the train. Everyone shines and, granted, the format has it so that Sonic doesn't really appear till the end, but he's characterised pitch-perfectly there, instilling so much hope and forward momentum not only in his gameplay but in the heart of the player. Honestly, his late contribution arguably echoes Sonic X, where he often disappears or does his own thing, too

Even in a game or storytelling format where he should be front and centre, you could even explore some big themes with Sonic precisely because of his mental and emotional fortitude! The Storybook Series are so stellar in this regard—you got Sonic helping out Shahra, domestic abuse victim, on dealing with sadness, and him helping Merlina with existentialism and death of all the fucking things. And he doesn't flap his lips about it; he shows it through his actions. He's the protagonist but not in a traditional sense—he's the support and passing through and being unfathomably fuckin cool about it. Any lessons he ends up teaching you is not because he's out to teach you—it's because he's just living his own way and, wouldn't you know it, you just happened to be around for the ride

Conclusion

I'm not excited about IDW Sonic being considered canon because he comes off as an overeager philosopher's take on him when game Sonic is fuckin goated with the sauce. Though the story ideas and arcs in IDW seem cool, Sonic is the heart of the series, and if he's off, then the whole thing ends up a little wonky for my tastes.

To be clear, I don't have issues with different iterations of Sonic as some blanket rule—if the writers do the work to establish why and in what ways Sonic in a particular story is different, then that's just plain fun. Movie Sonic, Sonic Prime, and Sonic Boom are all examples of that. But, above all, the kind of Sonic I adore (and there are in fact many kinds) is the one who you meet and your life is irrevocably changed for the better as he hangs out for a while but never for long. In pivotal moments in the comics, IDW Sonic misses the mark on that for me

Though Sonic Team are making clear moves to integrate all the iterations of Sonic as canon regardless. I do wonder if that, as a move in itself, is the meta-narrative equivalent of Sonic Team changing game-mechanic tacks every game after '06 and Unleashed—a well-intentioned but misguided way to try to appease everyone which I've always thought is the most anti-Sonic thing you can do, but that's just the mascot problem in corporate as opposed to story form.

I was fine with Sonic Twitter just saying 'Everything is canon' as a non-starter – I'll just see how they do what they're intending to do and if I don't like it, then I always got an AO3 account handy

[nero-vanderwolf]

Ryuji Sakamoto fucking hates Goro Akechi.

Can’t stand the guy. The rest of the Phantom Thieves are wary of him, distrustful in Akira’s case, but Ryuji is the only one who harbours hatred for him.

But it’s fine. Akechi seems to feel the same towards him. Constant name-calling, casual insults thrown as though it’s nothing.

It’s no surprise they butt heads often. It’s gotten to the point where Ryuji almost enjoys it, almost likes finding out what clever insult the ‘ace detective’ can come up with, what witty retort he’ll have to Ryuji’s suggestions.

In turn, he irritates Akechi. Argues with him, actively voices his distaste for him within earshot, even calling him the Detective Prince instead of his codename. It’s risky, sparking Akechi’s ire, but it’s fun. Sometimes their bickering even draws smiles and laughs out of the others. When Akira had broken up their latest fight, he was obviously fighting back a smile.

What isn’t fun was when it turns physical. It isn’t fun when Akechi punches him in the stomach, it isn’t fun when Ryuji sees Akechi wince after accidentally putting more force behind his back-pat than he’d intended. What also isn’t fun is being dragged away under the pretense of ‘a secret scheme’, only to be on the receiving end of Akechi’s wrath again.

Ryuji stalks behind Akechi as they walk down a random hallway, hands stuffed into his pockets. He, of all people, had been chosen by the great Detective Prince to help him with whatever he was doing.

He thinks nothing of it, until Akechi suddenly whirls around, shoving him against a wall with his sabre drawn and pressed against Ryuji’s throat.

“Woah- what the hell, man-!?” Ryuji yelps, freezing. Akechi’s hand is strong against his chest, and he has a knee pressed into Ryuji’s gut. It isn’t the most comfortable position he’s ever found himself in.

“You, Skull, piss me off,” Akechi growls, ripping off his mask. He looks even more furious without it. Ryuji fights the chill that threatens to creep down his spine.

“Yeah? Mkay, can you tell me what the hell I did? Y’know, instead of pinnin’ me to a damn wall and threatenin’ me!?” Ryuji asks, desperately wishing he hadn’t left his bat with Haru. If only.

“I really ought to kill you instead. You know... I’ve never killed a Persona-user in the Metaverse. I wonder if you’d suffer a mental shutdown?” The sabre is pressed further into Ryuji’s skin, and he tries to escape the sudden wave of burning pain and nausea that washes over him. He hasn’t even done anything, and his knee is screaming. Everything hurts, and he’s helpless.

Akechi laughs. “All out of irritating banter already, Sakamoto? How disappointing. I was anticipating at least one pathetic retort from you.”

“Kinda- hard to talk... When ya’ve got- a damn blade to your throat-” Ryuji chokes out, going cold when he feels something warm and wet dribble down his throat. Blood. Akechi is drawing blood.

“...I really ought to kill you, yes... But I fear if you were to die after I employed your help, it would make the others far too suspicious of me,” Akechi laments, sounds almost sad.

Ryuji keeps his mouth firmly shut, refusing to make any sort of comment. He wants to scream that everyone already is suspicious of him, wants to fight back, wants to see Goro Akechi with a beautiful black eye and a few new bruises, but remains stubbornly silent. Goro Akechi doesn’t deserve a comment. He does, however, deserve to be punched solidly in the face. Just once.

Akechi studies his face, expression unreadable.

“...Why?” He asks eventually, and Ryuji immediately stares at him.

“What? Why what?” Ryuji asks, and Akechi grips his sabre tighter, but doesn’t press it any further into Ryuji’s skin. In fact, the pain alleviates a bit instead.

“Why do you get to live happily? Why do we share such similar stories, but you’re the one who gets to be happy? You’re disgustingly similar to me, but you get to live however you damn well please! It’s not fair!”

Rage is visible on every part of Akechi’s face, and his grip on the sabre is white-knuckled and tight.

“...Your words infuriate me. I wish you would hit me instead,” he mutters, then drops Ryuji, sheathing his bloodstained sabre.

“...We can talk about this later. Right now, we have to find whatever the hell it is you wanted to look for. After all this is over, I’ll give you the biggest black eye you’ve had in your damn life,” Ryuji promises, and Akechi pauses, and his shoulders begin to shake.

He’s laughing. When he looks back over his shoulder, his expression is nothing short of terrifying- but when he speaks, it’s three familiar words that Ryuji loves hearing from him.

“I hate you.”

the girls are fighting in a strangely homosexual way

its like their love language is violence. they might not realize it but they love each other's company just to fight each other. they both have violent tendancies and they let it out on each other. they're so similar in more ways than one. they both want attention and love, they both have a thirst for revenge and hatred... they're just so......

[flowerish-cherry-blue]

howl's moving castle by diana wynne jones

«i think we ought to live happily ever after,» and she thought he meant it. sophie knew that living happily ever after with howl would be a good deal more hair-raising than any storybook made it sound, though she was determined to try. «it should be hair-raising,» added howl.

«and you'll exploit me," sophie said.

«and then you'll cut up all my suits to teach me.»

[lenoreamidala]

“I think we ought to live happily ever after," and she thought he meant it. Sophie knew that living happily ever after with Howl would be a good deal more hair-raising than any storybook made it sound, though she was determined to try. "It should be hair-raising," added Howl. "And you'll exploit me," Sophie said. "And then you'll cut up all my suits to teach me.”

Howl's Moving Castle by Diana Wynne Jones