#see i think where i disagree with a lot of people is that i don't think matty in 2014 did say he was going to grow up and come find her

[wosospacegirl]

I’m not being mean - Head Coach Leah x Arsenal! r (+18)

Summary: Coach! Leah punishes the reader during a forbidden make-out session.

Warnings: +18!!!!!! dominant!L x lots of kissing x fingering x reader being needy and L being mean x little bit of aftercare.

Word count: 1.2k.

Masterlist here

I'm kinda new to the Woso world, so I don't know if you guys like fics like this... but I was I'm a slut for dominant woman so yeah :D.

..

Leah’s tongue was wet and warm against Y/n’s mouth, her icy hand gripping the youngest girl’s hip, pulling her closer as Leah deepened the kiss.

 Y/n moaned, tilting her head to give Leah room to explore her neck. The blonde woman found her lips at Y/n’s jugular, sucking it lightly.

“Don’t,” Y/n whined, pushing Leah away slightly. “You can’t leave marks, or the other will see them.”

“Use a turtleneck,” Leah mumbled unrepentantly, pulling Y/n closer, her mouth back on her neck.

“I can’t use a turtleneck for training,” Y/n said, her words and moans blending together. “That’s so good, Leah, more.” She whispered, opening her legs and grinding against Leah’s knee.

Leah smirked. Y/n was just like that, always worried about everything and everyone, but as soon as Leah touched her, she went limp.

Leah had agreed to become Arsenal’s manager after a career-ending injury had shattered her world. It took her some time to accept her new life, but Leah couldn’t say she was unhappy. The ex-lioness had been very successful in her new role. She led Arsenal to many victories, cups, and titles.

Unfortunately, being a manager also meant that Leah couldn’t kiss Y/n, the new Arsenal signing for the season.

Leah and Y/n didn’t get along at first. Leah was too grumpy and Y/n too enthusiastic. Y/n had said they were like a black cat and a golden retriever. Leah disagreed; she didn’t like cats.

The truth was: Leah and Y/n didn’t get on. Leah was rude when Y/n was kind. Leah was confident when Y/n was not. If they spent too much time talking, they would argue, so that’s when the make out sessions came in.

When the two women were making out, nothing else mattered. It was as if their bodies had known each other for centuries. Leah knew where to touch Y/n and the young girl was quick to do whatever Leah wanted of her.

Leah stopped their kiss to pull at Y/n shirt. It was dirty with grass and dirty from the pitch, but she didn’t care. “Fuck, you’re so hot,” Leah whispered, looking at Y/n’s chest. The girl was wearing a smaller training bra, her erected nipples drawing Leah's attention.

The blonde quickly stripped Y/n’s down to her shorts, her mouth sucking on Y/n’s breast as Y/n rubbed herself even harder against Leah’s leg.

“Can I leave a mark here, love?” Leah asked teasingly, grinding in her teeth on Y/n’s nipple before taking it with her teeth.

Love.

Leah only called Y/n love when they were like... this. Y/n didn’t mind, or at least she told herself she didn’t mind that the only time Leah was affectionate towards her was when they were having sex.

Y/n was ripped from her thoughts as she felt Leah’s firm grip on her jaw. “Look at me,” Leah said. “If I ask you a question, you answer it immediately, understand?”

Y/n nodded, moaning as Leah gave her a sharp slap on her ass. It would have hurt even more if she hadn’t been wearing her Arsenal shorts.  

“Good girl,” Leah smiled, kissing Y/n again, more intensely.

Leah was clearly more dominant than Y/n. She liked to boss people around and hated it when they didn’t do what she wanted. Leah fucking loved it having the upper hand.

Y/n liked being told what to do, she enjoyed when Leah treated her like she was just a stupid horny girl.

Leah knew the effect she had on the girl’s body, knew how wet Y/n’s pussy got when she was a bit mean to her.

“I want you, please.” Y/n murmured against Leah’s ear. The throbbing in her pussy was getting too much, it hurt.

“I don’t think you deserve it,” Leah bit Y/n’s earlobe. “You forget your boots again, didn’t you? That’s why you were a bit clumsy on the field today.

Y/n had a bad habit of forgetting things, being late… all the things Leah hated.

“I—I’m sorry, it won’t happen again,” Y/n promised, whimpering as Leah’s finger finally found its way into to clit. “There, please.” The girl moved herself against Leah’s hand, trying to find more friction.

“You say that every time, love, you never learn, do you?”

Leah noticed that Y/n’s legs were shaking, so she held Y/n tighter against her, teasing Y/n’s wet hole. She put a finger, and then another, Moving them slowly.

“I do learn,” Y/n tried to protest.

“No, you don’t, you need me to remind you of everything, just a little puppy you are.” Leah whispered in Y/n’s ears, her warm walls welcoming Leah’s third finger.

“Please, Leah, let me? Please?” Y/n begged, feeling an orgasm approaching. It was as if her chest was tightening, as if there wasn’t enough air for her to breathe.

“Are you close, love?” Leah asked, cupping Y/n’s face and kissing her mouth softly.

Y/n nodded, moving her hips, feeling Leah’s fingers deep inside her.

Just a little more and she would come, just a little more.

“Too bad, not today, darling,” Leah said, removing her finger from Y/n’s pussy as she held the girls hip firmly, scared that Y/n would fall.

“What?!” Y/n cried. “No, more!” Y/n begged as she closed her hands around Leah’s and cupped them on her pussy. “Don’t be mean, please, more.”

Leah quickly grabbed Y/n’s wrists with one hand while holding her jaw with the other. “I’m not being mean, you were the one who left your things at home, this is your punishment.”

Y/n looked at Leah desperately. She was almost there; her tights were already shaking with need.

“I’ve already said I’m sorry,” Y/n grumbled looking down, her cheeks wet.

Leah wiped away her tears, kissed her forehead and pulled the girl into a hug.

“You know I don’t like you crying like that,” Leah said as she sat in her chair, Y/n on her lap. Leah put a comforting hand on Y/n’s back and let the girl cry for a while.

“Come on, let’s get you dressed, shall we?” Leah kissed Y/n’s cheek as she helped the girl back into her training clothes.

Y/n didn’t say a word, she just let Leah do as she pleased.

The blonde women took some tissues to wipe Y/n’s face. “I’m sorry I cried, I know you don’t like it,” Y/n mumbled, placing her head on Leah’s shoulder.

“It’s okay,” Leah told her. “Are you all right now?”

Y/n nodded. “Yeah, I’m fine. I should probably get going.” Y/n lifted herself form Leah’s lap, but the older women held her down.

“You don’t have to go now, you can stay here a little longer, just so I can make sure you’re really ok.”

Leah might be grumpy and distant, but she gave good aftercare.

“I know you have things to do,” Y/n gave Leah a sad smile. “I have to go home anyway.”

“All right then,” Leah agreed, taking her hands off Y/n.

Y/n was still a bit shaky, but she didn’t want Leah to see it. It was hard to let yourself be vulnerable with someone, and even harder when your feelings weren’t reciprocated.

Leah got up and opened the door to her office, taking a quick look outside to see if anyone was around. No one could know about Leah and Y/n, or well, now about their sex arrangement.

“No one is here, you can go,” Leah said, no more softness in her voice. She was back to being the team’s Manager. “I’ll see you tomorrow, yeah?”

Y/n walked out the door. “Yeah, bye,” she mumbled.

“Don’t forget your boots again.” That was the last thing Leah said before closing the door, leaving Y/n alone in the corridor.

[rebel-wrath]

Voice, POV, and tense

I saw a definition of narrative voice that stated voice is the description and character thoughts and actions. Basically, everything not dialogue, which is Character Voice.

I disagree. Those things are narration. Narative Voice is the decisions writers make that influence narration. For a lot of writers, those decisions are only tense and point-of-view.

POV

OMNISCIENT

Newbie writers are often warned not to use the omniscient viewpoint. Reasons are often not given. The reasons are simple.

It is hard to use right

It's often used wrong

Because of the sheer volume of new writers getting it wrong, a lot of places give this advice. I think giving advice on how to do it right would be much more beneficial, so that's what I'm going to do.

What is the omniscient viewpoint?

It is a 3rd person viewpoint. It is different from the 3rd person limited POV that is currently the most common in fiction because the limited viewpoint is restricted to one character per scene. A lot of people think the omniscient viewpoint is invested in several characters, but this is a common misconception.

This viewpoint is, instead, in the head of a God-like being. This being floats over the scene. It can enter the heads of any character in the scene. It has vast benefits over all the other viewpoints, but it has weaknesses, too.

The key to the successful use of this God-view is knowing it's strengths and weaknesses.

If a tree falls in the forest, and no one is around to hear it fall, does it make a sound?

Who knows?

If you want to write about a tree falling when no one is around, or if you want to write about the formation of a wormhole leading to another universe, or the inner workings of a vast steampunk machine, or indeed anywhere that there is no character (and thus, no possible POV to be your camera) you can use omniscient.

This is one of the strengths of the omniscient viewpoint; use it when there is no one else around.

Limited Omniscient

This one is less a god-like being, and more a camera. It doesn't go in anyone's head, it just records what it sees.

It is commonly used in the Mystery Prologue. If you've read a mystery, you'll know what I'm talking about. The murder scene that the detective later has to solve. You have the killer, and the victim. You can't tell the scene from the victim's point-of-view, unless you're happy with him becoming a ghost halfway through. You can't tell the story from the murderer's point-of-view, either. You need him to remain anonymous (otherwise it isn't much of a mystery).

Limited omniscient viewpoint is the common answer. Of course, not all mysteries have a prologue. Dresden Files spring to mind as one (series) that doesn't.

Old Style

When writing about steampunk, some writers like to write in a Victorian manner. Personally, I don't (my readers aren't Victorians, after all) but if you do, remember that they primarily wrote in omniscient. See Jane Austen for examples of the Old Style.

Little Did he Know...

...he'd be dead by morning. This is a type of writing where the narrator reveals things the character can't possibly know. This is done to great effect in Lemony Snicket's A Series of Unfortunate Events, where he reveals things that are to come. When they actually come to pass, however, they are revealed to be totally different than expected.

Pratchetterian

Okay, so I don't know what else to call this. Terry Pratchett has his own omniscient style where jokes are a large (and awesome) part of the narration. I don't advise you to try and copy it, but if you can, go for it. There are any number of horror writers, epic fantasy writers, etc. There's only one Terry Pratchett, though if you loved his work, check out my Noun of Noun and Adjective.

So, how do we use omniscient?

There are tricks to using omniscient properly.

Don't go into someone's head unless you have to. Action scenes and descriptive passages are better told from the God POV.

When you do go into someone's head, don't go in too deep. A light brushing of surface thoughts should suffice. If you go in deep, it is harder to come back out.

If you reveal the future (a la Lemony Snicket) be aware that constantly revealing what is coming will leach away tension.

If you change characters too quickly, it is head-hopping. Head-hopping is baaad! However, you can slowly change characters as long as you don't go deep, and you signpost the change.

Omniscient tells more than it shows, and telling is baaad, too. Except for all the times it's not.

It is the most impersonal viewpoint, and can make it harder for the readers to care about the characters.

3RD PERSON

Third person point-of-view focuses on one person, though it can change character with scene or chapter breaks. It refers to the character by name or 3rd person pronoun. Benefits of a 3rd person narrator include

can switch between characters

can reveal information to readers before it is revealed to protagonist

it's easier to write than omniscient, harder to get wrong, and easier to spot errors

more empathic than omniscient

But it is limited in that you are stuck with a single viewpoint.

1ST PERSON

First person point-of-view feels like it is becoming the most common in YA. The narration is by the character that is focused on. First person pronouns are used. Benefits of a 1st person narrator include

gets deep inside characters head

allows personality to permeate every aspect of story

much more empathetic

MIXED STYLES

Some writers mix it up, maybe with an omniscient prologue and then a story in 3rd or 1st, or mix it with some chapters in 3rd and some in 1st. If doing this, keep it consistent within scenes or chapters and only switch when there are breaks in the story.

2ND PERSON

Uses second person pronouns, so the reader is the character. Rare, difficult to pull off, and usually considered avant-garde or experimental.

TENSE

PAST

The most common tense used in stories, it relates the events as if they have already happened.

PRESENT

Also common, it relates events as if they are happening now. Personally, I hate reading first person, so I'm not doing pro's and con's or explaining that the obviously much better past tense is best, because I'm biased.

FUTURE

Rare and experimental, it relates events that haven't happened yet as if they will.

[tobyisave]

Omg hey! Thanks for taking the time to engage/share your thoughts even though you don't fully agree, I really appreciate it. And I don’t really disagree with you here, I just want to reply with my thoughts since you raised some interesting points!

Learned behaviors vs experiential gap: Absolutely the empathy/emotions thing is my weak link here, I'd call it a shameless projection that isn't necessarily supported by but consistent with canon lol. The only part I'd be reluctant to concede is the low empathy thing, but ultimately, an alternative interpretation where he's just really damn good at repressing is viable as well!

The learned behavior interpretation as you put it definitely makes sense, and I get the impression that it's more popular too. Kokichi's a really confusing guy and I think the interpretations we find most intuitive are probably going be the ones that relate his thought process to experiences we're familiar with, because that helps us grasp some semblance of humanity within him. All this to say I don't think there's anything that makes my explanation any better than yours; like you said, the truth is ambiguous, and I think it's best to gather as many different plausible interpretations as possible even if they don't lead to an "answer," because it lets us appreciate his writing and our relationship to our own interpretations. So I really appreciate you taking the time to put your version in words!

Gonta: On a similar note, I've basically lost hope that we'll ever know for certain what was going on in Kokichi's head here — and in spite of my giant footnote, I don't actually have a well-formed opinion myself — but I really like your point that his words gave Gonta peace of mind. Ironically I think I overlooked that angle because I didn't see a pragmatic reason to do anything solely for Gonta's benefit, since at this point Gonta's fate is sealed and his emotional state has no bearing on the future (aside from its effect on others, which has pretty much already maxed out with 'pity'). But consideration for the truth Gonta sees in his final moments makes total sense from the perspective of a Kokichi who's more emotionally 'typical,' and your interpretation is compelling; it gives more weight to the specific words he says, rather than just anything plausible to mislead people on why he's crying... I'll definitely have to think that over after this.

Paranoia: Another great point that I completely failed to address. I agree he's a little paranoid, or at least a reasonable amount of paranoid given the game they're in. Subbing that in as the cause of emotional disconnection in my analysis is really interesting... At the very least, I agree that paranoia would definitely add to the impression that these are all sham conversations. Though to confidently form an opinion on this I'd have to go back and look at the lies he tells in the killing game versus everyday life with that lens. My current impression is that his lying is too deeply ingrained to have developed situationally, so if I took his social detachment as a result of paranoia then I'd have to conclude that Kokichi is constantly paranoid. Which is not my opinion, but I'm sure it could be argued. In that case, in an everyday environment, the 'low empathy/emotion' version of Kokichi mostly neglects to tell people about himself because he doesn't care, while the 'learned behavior' + paranoia version actively avoids people knowing anything about him. Neither is an explanation of his lying per se, but the former would facilitate his compulsive lying, while the latter might not facilitate lying but does create a stronger motivation to lie.

Here and in other cases, I think a lot of the difference between these two headcanons just comes down to how good you think Kokichi is at acting and ignoring his emotions. 'Low empathy' Kokichi doesn't actually fight his instincts much, at least until shit really hits the fan, and that’s part of why that explanation appeals to me. Meanwhile 'learned behavior' Kokichi is frequently suppressing his instincts, successfully enough that I almost have trouble imagining someone being able to act that well (grain of salt, that’s *definitely* a blind spot for me - and more importantly, he is an Ultimate so I can’t put any kind of talent past him). My own reservations aside, the interpretation of Kokichi as someone naturally social who constantly has to fight his instincts definitely has its own merit; it’s emotionally compelling (in a pretty unique way that’s very different from mine) and probably more accessible as well.

Well, hope you didn't mind me writing an essay response to your response to my essay here lmao. I'm definitely starting to appreciate how challenging it is to figure this guy out; it's almost the opposite of the SDR2 problem, where Komaeda tells you his mindset from the get-go but the game never gives you a moment to recontextualize his actions after his death. V3 points at Kokichi and goes look, a mystery! we must recontextualize his actions! and then proceeds to give us basically nothing to go off of. All I can really aim to do is propose something with consistent internal logic, and I'm very glad if you think I managed to do that.

Again thanks for the rb, it's a treat to get such a long comment on my analysis!!

Character analysis: Why does Kokichi lie?

I think lying is more than just a means to an end for Kokichi, so this is my personal understanding of Kokichi's habitual lying, centered on the headcanon that he experiences his own emotions very weakly.

In a vain attempt to make this post more streamlined, I've isolated most textual examples into footnotes at the bottom; probably only read them if you don’t buy what I’m saying in the sentence prior. Lastly, if you disagree with something I say here and choose to make it known: probably read the footnotes first, and regardless please just be nice about it :')

"If I wanna become closer to Shuichi, I probably shouldn't lie so much... But that's my shtick... or more like, my way of life..." (Kokichi's inner thoughts from Salmon Team)

Small lies vs Big lies

To start this off, I need to clarify that there's (at least) two very different kinds of Kokichi lies. First are the “big” lies, like being the mastermind or lies about the nature of DICE. Big lies are consistent, told with a “straight face,” and well thought-out, because they usually serve some kind of strategic purpose [e.g. footnote 1]. But those aren't the kind of lies I'm aiming to explain here, because they're already well discussed and follow a pretty understandable logic.

I'm focusing on what I call "small" or compulsive lies: trivial claims & performed emotions that are usually not believed for long, either because they’re too outlandish or because he or someone else disproves them. For example, sobbing that he hates coffee and then asking for a cup of coffee; or telling the seance participants he's "actually super duper strong," despite knowing full well they're about to watch him struggle to carry the iron cage [more ex. in note 2]. Most of Kokichi's lies fall into this category imo, especially in low-stakes environments like Salmon Team and UTDP. Unlike big lies, "small" lies are somewhat unique to Kokichi, he tells/performs them constantly regardless of context, and they don’t serve a very clear purpose.

Masking

I think Kokichi got very good at performing emotions from a young age in order to mask the fact that he doesn't experience empathy or other emotions very strongly. And maybe that sounds like a very specific headcanon, but just stick with me here... [and/or see note 3 for one line of evidence]. Failing to emote convincingly would’ve not only made it difficult to exist in everyday society, but it probably would’ve put an even bigger target on his back as a criminal, too… So yeah, he learned.

But as it turns out, spending an (admittedly very short) lifetime pretending to have emotions you don’t actually have is a fantastic way to:

Start feeling detached from the people around you,

Start seeing everyone else as suckers for buying it, and

Very quickly lose any moral qualms about lying — after all, people would attack him from every direction if he was honest about his feelings towards them (or lack thereof), so how is it fair that they want to punish him for lying, too? There’s just no winning!

My interpretation boils down to this: Kokichi lies compulsively because he is deeply bored, and the kick he gets out of deceiving people is one of the only things he finds consistently rewarding about talking to them. Most social interactions already feel like lies to him because he is constantly forced to mask, so he might as well tell fun lies about being a supervillain instead of boring, easy lies about wanting to be friends with everyone.

(Continued under the cut)

Not all lies are strategic

I think it's easy to assume at first that the only reason to lie is for some sort of material influence: changing others' behavior or hiding undesirable truths, either for your own selfish gain or the greater good. Definitely, there is a purpose like that for most of Kokichi's "big" lies, and even some of his "small" ones (e.g. the kind of short-lived lies both he and Shuichi tell in order to advance the Class Trials). But even in retrospect, not every lie he tells can be explained with an external motivation like that, selfish OR unselfish.

I think telling "small" lies is more of a habit for Kokichi than a strategic choice, something he can't quit even when it becomes an actively bad strategy (hence "compulsive"). But if you’re already with me on this, feel free to just skip to the next section :P

A. Small lies aren't meant to be believed.

I don't think Kokichi tells lies in order to actually mislead people most of the time — because if he wanted people to believe his small lies, then he wouldn't be constantly retracting them. Many (or even most) of his small lies are soon followed up with “It’s a lie!”, either literally or by demonstrating/implying that it’s untrue [e.g. note 2 again]. [For some possible exceptions to this rule, see note 4].

Fig 1: Kokichi struggling not to give himself away after Monotarou believes his outlandish lie (V3 manga anthology). While I think this instance is a bit exaggerated, it nicely draws attention to the fact that he enjoys revealing his own lies.

By Kokichi's own doing, there is often a net 0 change in what people believe by the time they reach the end of a conversation with him. E.g. Kaede doesn't walk away from their FTE thinking Kokichi is her long-lost companion, Shuichi doesn't walk away from Salmon Team thinking Kokichi is obsessed with dumpster diving, etc. This suggests that Kokichi's not trying to change the perceived truth, he's just interested in the momentary act of tricking people.

B. Kokichi doesn’t tell small lies to alter his social standing, for better OR for worse.

I think the first half of this is self evident — I mean, if he was trying to gain status, he's doing a terrible job! He is aware of what behavior is required to make people like you and listen to you, and he is patently not doing that. 

You might then argue that he’s doing the opposite: intentionally bombing his reputation to build up to Ch.5 so that people would readily believe he’s the mastermind. While I do think his annoying lies ended up helping on that front, I don’t think his mastermind plan is the cause of this behavior, because...

Firstly, we still see him lie constantly in contexts where there's no clear advantage to being hated (UTDP, Salmon Team).

Secondly: Crying wolf is one of many great strategies to make people hate you... but it is a uniquely terrible strategy to make people believe you. If you were really going to create an evil mastermind persona out of thin air, "pretending to be a lying attention-seeker" is just not the most logical way to go about it; that would only make it harder for you to convince people that you're actually being serious when you do the big reveal that you're the mastermind [for a note on Junko, see 5]. That's why I don't think the compulsive liar thing is an act; instead the evil persona we see in game is just the result of leaning into traits people already disliked about him. The reason he tells so many meaningless small lies during the killing game is just that he already was, and is, a compulsive liar.

Again, there are some "big" lies, lies he doesn't go back on, that he tells in order to tank his reputation (e.g. "The more you suffer, the more I enjoy it"). But those big lies aren't enhanced at all by the fact that he walks around telling people the sky is green, you know? That might make people hate him, but it's not the wisest way to do so while still maintaining control over people.

Finally, regarding the argument that he tanks his credibility in order to mask his own emotions, see note [6].

So, with all that said... Why even tell these lies, if they don't give him more control over the situation, his classmates, or the truth?

Boredom

I believe Kokichi’s small lies are primarily driven by boredom. Yes, his complaints of boredom are probably meant to tie him to Junko (narratively) and justify enjoying the killing game. But I do think he’s also genuinely, chronically bored. Just because he doesn’t have vivid emotions doesn’t mean his brain isn’t expecting him to have vivid emotions, if that makes sense, so there’s just a constant lack of stimulus that leaves him restless.

On that note, I think it's difficult for him to maintain interest in everyday conversations. There's not usually a lot at stake for him, because he doesn't feel much about the people around him, and isn't interested in pretending that he does just so they can feel "connected" to a version of him that doesn't actually exist [but see 7].

It doesn't matter to him which path he takes when navigating everyday social interactions, so if he has to get through those interactions anyway, he's going to take the road less traveled. Pointing fingers, confessing to murder, and spontaneously bursting into tears… it’s not usually to accomplish anything in particular. It's more like doing backflips in an empty prison cell: equally as useless as rotting on the floor, but marginally more entertaining.

Fig 2: Kokichi consciously using lies to entertain himself. His dissatisfaction with the lie appears to be unrelated to whether or not it was believed; I suspect this is because the claim was so mundane that convincing Shuichi of it wouldn't have been very impressive in the first place.

But what's actually fun about lying?

I think this constant need for entertainment is what motivates a lot of Kokichi's social behaviors, not just lying. But he clearly has a special relationship with lies in particular. I think this is partially because of his perception of himself as "fake" (in the literal sense), but more importantly because lies are a versatile, challenging, and (relatively) harmless way to get reactions out of people.

Lying poses creative and intellectual challenges: Introducing lies basically doubles the amount of social calculations required to participate in conversation [elaboration in note 8].

Lying creates artificial stakes by reimagining ordinary conversations as competitions. By playing a game of "how many times can I fool this person in one sitting?" he creates an internal motivation to engage in conversation and perform social behaviors convincingly (at least, for short periods of time). External pressures like “being liked” aren’t usually enough to motivate that.

Lying allows him to emotionally occupy extreme scenarios without actually creating extreme scenarios. If he wants to raise tensions high enough that he can actually feel them, lying is one of the less destructive ways to do so, because it's entirely verbal (including body language, that is) and thus avoids material risk/harm. Now that's not to say it doesn't hurt people [e.g. note 9]. In fact, that's often the point; I wouldn't call him a sadist in the traditional sense, but there is something gratifying about triggering twinges of guilt and empathy in yourself if you don't normally have access to those feelings.

All this to say, Kokichi's habitual small lies aren't driven by a desire to create genuine misunderstandings, or to make people do what he wants [note 10]. I think what he actually seeks from social situations is little bursts of catharsis from witnessing other people’s emotions, and the feeling of control or "winning" that comes solely from being able to deceive them and get those reactions. 

Going "it's a lie!" right after is a really important part of this. It's a punchline, a tiny power trip, a kind of "Bingo!" he can use to declare victory. He doesn't necessarily want people to believe what he said, he just wants them to know that he totally got them and he'll do it again. Because what’s even the point of coming up with all these lies if people are just going to believe them and obliviously move on?

Lying as satire

Finally, and I’ll admit my thoughts on this aren’t quite as fleshed out, but I almost imagine Kokichi's lies as a form of satire, given that one of the few things he seems genuinely (?) passionate about is his right to lie. That is to say, it means something to him, in addition to being internally rewarding. He's had to present a false persona of himself from day one, after all — but now that he's a self-proclaimed bad guy, there's a lot less pressure to do it well. Performing those social behaviors in random, nonsensical patterns, and telling lies that feel just as true as the "honest conversation" he's learned to fake... it's like a form of indignant social button-mashing. It doesn't really matter if his performance conveys a coherent image of a person or not, because it was always arbitrary to him in the first place, you know?

….And I think I'm just going to stop myself there before this gets any longer. Tysm for reading!!!! <3

Disclaimer

…Actually that was a lie, let me get on my soapbox real quick. I think it's safe to say this essay hinges on Kokichi having some form of neurodivergence, however you want to label it. Personally I see him as having some antisocial traits, but I didn’t want to make that a silver bullet, and I thought it’d make more sense to just take the specific traits I see in him and work backwards from there. With that in mind, I want to make it abundantly clear that I don’t mean to assign any moral value to emotions. I can’t say this headcanon is entirely based on my own experiences, but there's a reason I connect with it, and I don't think anyone should be judged or labeled inhuman for emotions they do or do not have.

Moreover, while I explicitly take the stance that his emotions are morally neutral, I am explicitly NOT taking a stance on the morality of his behaviors. My intention here was just to explain them logically. Between you and me, just trust that I'm a Kokichi enjoyer and I did my best to consider things from his perspective.

Credits

Game screencaps from justonegamr and JakkHearts on Youtube. Manga screencap from Mangadex.

I also want to plug this analysis by @/g0nta-g0kuhara — I'm honestly not sure how much of my analysis aligns with/borrows from theirs, but it's definitely one of the posts that informs my current understanding of Kokichi, so it'd feel weird not to at least mention it. Consider giving it a read!

Finally, shout out to @thedaythatwas for peer reviewing this meta!!

Footnotes

These were mostly off the top of my head, so if I got anything wrong, feel free to (again, nicely) point it out ^^;

 “Big lies serve a strategic purpose” Big lies are also what I'd call the "normal" type of lies, just like Maki's Child Caregiver lie, or Komaeda's fake bomb threat — they're meant to be believed and to influence people's decisions. Examples of Kokichi's "big lies": those he tells in order to impersonate the Mastermind (e.g. claiming he loves the killing game); lies to Miu (being oblivious to her murder plot) and Gonta (believing the Killing Game Busters is a good idea) for his Ch.4 scheme, and debatably DICE lies to protect himself and his Ultimate title (though for these I also think he just gets a kick out of trying to juggle such a big lie for so long).

“Small lies” An example of an "emotional" small lie is the times he bursts out crying; he's not necessarily making false claims, but his actions communicate feelings he doesn't have, and most of the time he'll follow up by reverting to a bored expression thus implicitly confessing to the lie. His claim that he can’t taste food is also a pretty good example of a verbal lie: it’s random, difficult to believe, and he immediately follows it up by saying he likes sweet and spicy things. (That last part was definitely intended to imply he was lying, but whether or not he was lying about lying depends on your hc… I personally choose to believe that he has a weak sense of taste and relies on “interesting” textures like carbonation, because I think it parallels my take on his reduced emotions in a fun way.) +++ For further examples, the majority of Kokichi's Salmon Team events are just him spouting random bullshit and then immediately taking it back.

"One line of evidence for reduced empathy/emotions": His thought process often reads to me like someone with low empathy; and his ability to rapidly switch between extreme emotional performances and total flatness suggests that, in his natural form, his internal reactions are either dull or don’t automatically reflect on his face. For example, when Kokichi "gets real" during trials, his expression often goes blank and he comes off as overly blunt/pragmatic (“Everything you said is total BS… You didn't give two shits about Tenko when she was alive." "How do you expect to find the culprit when you're all worried about each other's feelings?" "Why do you guys hate lies so much? […] And some of them are only white lies, or lies to be kind to people…") They're delivered flatly (voice/sprites, and phrasing to a lesser extent) and express frustration with people's hypocrisy around social norms. To me these are moments when he gets so fed up with the social dance taking everyone in circles that he has to step out for a second and drop the mask, even knowing that his true self will make people see him as inhuman. (I probably shouldn’t have to clarify, but for the record I say all this as someone with low empathy myself.) +++++ALSO: I want to credit @/g0nta-g0kuhara's meta for pointing out that Kokichi's expression goes flat in (different) honest moments - linked in credits above - although I ultimately interpret this in a slightly different way for his character.

"Some exceptions to the 'it's a lie' rule": His own thoughts and feelings, which are often kept ambiguous. Lies he doesn't need to retract because they're obviously false ("I hate liars!" or "I was born from the big tree behind Hope's Peak Academy..."). Small *non-compulsive* lies that serve a strategic purpose, like perjury to further the trials (though you could argue these too are "obviously false" and basically retract themselves after a moment of critical thinking; e.g. claiming he killed Angie (ch3), or debatably telling Himiko she mentioned the brick handrail (ch4) because he intentionally casts doubt over the lie by telling it very badly). And of course, he doesn't go back on his "big" lies or the lies that serve to support them.

“Compulsive lying isn’t the best way to impersonate the mastermind”: Although I think his lying is very connected to his boredom, and his boredom connects him to Junko Enoshima, I want to point out that he is unaware of Junko. To the viewers of Danganronpa 53, his behavior absolutely looks like the behavior of a mastermind… but there’s no reason for Kokichi himself to think that “someone pathologically bored who constantly switches personas” is the most believable caricature of the mastermind. I think that’s a coincidence that was engineered by Tsumugi, and from Kokichi’s perspective it’s just part of his personality.

"Tanking his credibility to mask his emotions": As some have pointed out, being constantly dishonest does make it easier for Kokichi to dismiss his own moments of vulnerability and keep his thoughts/feelings ambiguous (e.g. gracefully backing out of his love confession to Shuichi during the love suite by pretending he was joking. The idea that it's a prank is only believable to Shuichi because he already knows Kokichi likes to pull his leg in other ways). I don't disagree with this interpretation of Kokichi's lies, in fact it's a really fascinating angle and part of what makes interpreting him so challenging. However... I still don't think that's the ONLY reason he walks around telling people the sky is green. Its usefulness is pretty limited to cases like the love suite, where he's trying to 'test the waters' and back out if the first approach fails. A superficially similar example is when he cries for Gonta's execution and then whirls around with whole "I don't want to, stupidhead!" bit — he's not actually testing the waters here, because he never intended to go forward with the story 'I'm really sad about Gonta and I regret doing that;' even if you think the tears were real, the plan was always to retract it. What actually saves face for him here is the fact that he's able to stop crying and go on a straight-faced villain monologue afterwards — and all that was *required* to make that believable was his acting skills (admittedly helped by his "evil" reputation, but not necessarily by his "liar" reputation). In other words, I'm inclined to think it would have worked even if he had presented as 'honest but mean-spirited' up until this point. It's the same way Tsumugi can convince us in Ch.6 that she's evil and her grief for previous victims was an act, despite never having presented herself as a liar until now; Kokichi is lying about being a heartless villain, while Tsumugi (ostensibly) is not, but they have the same effect in the moment because their ability to switch rapidly between 'good' and 'evil' personas proves *in itself* that they're good actors, and that one of those personas must be false, regardless of how their honesty was perceived beforehand.

"Kokichi lacks emotional stake in other people": This is simply a headcanon I am positing because I think it has interesting implications for his relationship with lies. Please don't be mistaken when I say that Kokichi doesn't care about the people around him (all of the English words for "caring" are frustratingly ambiguous, in my opinion). I don't think Kokichi experiences "care" as an emotion very often, no, but that doesn't mean he can't take interest in people, have opinions on them, or "care about" them through his actions. Now, whether or not he actually does that.... is not the topic of this essay either!

"An intellectual challenge": To lie, you have to continually generate a false narrative (rather than just regurgitating the truth), you have to track which routes you've left open based on what you've already said, and you have to assess whether or not they believe you (...which are all similar to calculations you'd already be used to doing if you don't have empathy). If you want to win, you have to do all of this on the fly and do it really, really well. And once people know you're a liar, it not only gets harder to convince them of your lies, it also gets harder to convince them of the truth; once lies are introduced, the pressure to perform well pervades every part of the conversation. Of course, this is way more fun with bigger lies (like DICE lies, in my opinion), but the little ones still take a modest amount of effort (an amount he can afford to expend on a daily basis) and yield a much more immediate reward.

"Lying still hurts people": e.g. Kokichi accuses Kaede of strong arming everyone during the Death Road of Despair, then accuses everyone else of attacking her the following morning. This one is a complicated example because it was such an obvious lie that I really have trouble believing that he wanted anyone else to buy it (I really think the point was to annoy people and raise social tensions), but even though the lie was quickly pointed out, it still actually made everyone gang up on Kaede, to the point she leaves to cry in her room afterwards.

“Lying isn’t to make people do what he wants”: Again, I'm just talking about his everyday compulsive lying here. While he does use DICE related lies to make people do what he wants (e.g. make Shuichi hang out with him), I consider those part of his "big schemes" rather than his habitual behavior, since his claims about DICE are consistent, well thought-out, and long term. Not to mention, the veracity of those claims isn't too important to me, since he's already very transparent about the fact that he's trying to threaten people into doing his bidding in these cases.

[stairset]

I think the portrayal of Spider-Man 2099 in Across the Spider-Verse is in-character in that aside from like Shattered Dimensions he's always been portrayed as a bit of an asshole who slips into anti-hero territory at times and generally has a "needs of the many over the needs of the few" mindset and given his specific circumstances in the movie it's not unreasonable to think he could take the actions he does. However it does kinda suck that since like 99% of moviegoers had no idea who he was before the movie came out their first impression of him is when he's in an antagonistic role and people think "antagonist" and "villain" are synonyms so now I'm gonna have to listen to people who've never read a comic saying he's a villain or isn't a real Spider-Man for the rest of time or at least until he inevitably changes his mind in the third one.

[appolojustice]

Every day I wake up and see takes;;;;

[nostalgia-tblr]

i think my recent fic about torturing brad didn't really make enough of the gap between what was happening in the episode (ie brad being tortured) and what the characters thought was happening (Not Torture) and how that's the whole TVA thing in a nutshell really. but i accept that i to some extent (greater or lesser, not sure as it's not like me and the readers discussed the issue) failed and maybe i should try again at some later date. or not. i don't know really. the TVA torturing people is clearly (to me, anyway) a massive blindspot both in and out of that fictional reality, and so i want to point at it also i don't because people wouldn't like that. understandably.

[orchideae]

In today's episode of 'Sae, do you (...)': the topic of Ningguang and Yelan, and I thought that I should note my opinion more clearly outside of my rules as it's very important information for my portrayal: I do not ship Ningguang and Yelan romantically.

Honestly, while this is of course my own opinion, I don't find that there's anything to really substantiate a romantic interest between the two. For starters, I don't think that Ning, as interesting of a character as she is with a past that might just be similar in its 'rise' to Yelan's (we're left with very little information on the latter's childhood), ticks the right kind of boxes for her, though to be fair: not many do. Yelan craves a specific sort of thrill in her life, I mean she lives it at the roll of a dice because she is, on some level, bored, and craves the unexpected, the unusual, the 'surprise', and Ningguang's life nor personality seem to play into that. Beyond it, Yelan would need a kinship within this very specific 'loneliness' that I talk about too often and I think that Ning is not one who quite meshes into that in the right way.

Second, despite their long-standing history that even predates their mutual involvement with the Qixing, there seems to be a certain professional distance between the two that I'm quite fond of that is shown in brief event cutscenes, and also Yelan's vision story, that I find inherently intriguing. Perhaps this distance plays more into Yelan's character of not investing too heavily, or rather not too easily, into social dynamics than it does Ning's (I'm not one to weigh in on her character), but it seems evident to me that there's also that semblance of professionalism that creates a line that takes away the possibility of growing closer on an emotional level. And whether that's a mutual decision or not is not up to me to judge, but I think it's one that's made rather clearly from Yelan's side. On top of that, Yelan is Yelan and it's my personal belief that shipping her is rather difficult.

Now I'm also inherently of the opinion (unpopular, I know, I apologize) that dynamics aren't always more interesting when written in romantic settings, and I don't think it's a benefit for all of them to veer into a romantic nature. And in my opinion (and most importantly: in my depiction and understanding of Yelan's character), I think that having Ning and Yelan cross the line from professionalism into something inherently more rooted in romanticism, would be a detriment to their dynamic. Because honestly, I think the fact that Ningguang being one of two people (other being Uncle Tian) to know Yelan best, without ever crossing that line, is too good. I would simply, well, just prefer to keep that not only platonic, but professional, but of course not excluding it of Yelan's quips, and the occasional 'confidant' element.

/rambles in tags because I feel like I have more to say that I shouldn't flood the post with.

[youareinlove]

See I think Peter is about Matty but I think it’s about Matty written before she broke up with Joe and they got together in 2023. Maybe written when he was first in her inbox, sending her songs, talking about what could have beens and she was like “no, I turned out the light” but I’m low key sad about it 😂

i see this perspective, but i think i do ultimately disagree because peter is very tied to parts of rep and very reflective of how things went with joe. its place on the album (towards the end) and the way it's part of a four-track run about loss of youth gives me heavy so long london energy (and i think that theme of losing youth that's all over the album is very tied to joe)

[wreckedhoney]

^^ "coming to the conclusion that positioning the "can people enjoy things that would be immoral IRL in their fiction" debate as a proship v anti fandom debate is akin to pretending that "should we have the death penalty" is a discussion that only matters in Death Note discourse"

not proshipper not anti but a secret third thing (person who has a career in the media and, through covering legislative politics, has watched "associating with problematic fiction or entertainment is an indicator of moral degeneracy" rapidly become a mainstream GOP position that they are encoding in legislation to target the queer community under the guise of protecting children, thus coming to the conclusion that positioning the "can people enjoy things that would be immoral IRL in their fiction" debate as a proship v anti fandom debate is akin to pretending that "should we have the death penalty" is a discussion that only matters in Death Note discourse — the extent and manner to which fiction affects reality is an issue that is immediately relevant to today's US politics, and to summarize my opinions on the matter in fandom terms would be to diminish the ways this debate is affecting america Right The Fuck Now. and i have stopped taking "this person is bad for shipping the wrong anime thing and being horny about it" in any sort of good faith ever since I saw it literally used as part of a GOP smear campaign against a transgender state legislator in an attempt to defend the right from backlash after they used their supermajority in the Montana house to prevent her from speaking on the floor. Anyway I think everyone on this site, especially Americans, could benefit from ceasing to think in proship v anti vocabulary and instead developing coherent political positions on the nature of fiction that do not directly align with current fascist political tactics)

[arolesbianism]

Everyday I see another youtube video or whatever say smth along the lines of "this character is badly written because they're unlikable/annoying/insert negative description here" and everyday I end up massively disappointed because I came here for analysis on the actual writing of a character not just a description of the feelings they made you experience

[radellama]

Picky but.. when watching a docco/docco style video, while it can be interesting to hear about how you ended up in contact with certain relevant people, or how there were plans to contact people that fell through, or that you couldn't get in contact with them... I hate when the filmmaker harps on and on about their 'investigative' process and try to dramatise it.

Sorry but. I don't really want a 15-20+ min detour of you lamenting over trying to get in contact with certain people when all that's happened is you sent an email and didn't get a reply.

[emeryleewho]

I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.

So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."

I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?

It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.

Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.

So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.

Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.

[sonicboomseason3]

a brief recap of what has been going on with the sonic movieverse in the past several months:

paramount has come out in public support of israel

keanu reeves, a man who has publicly rubbed elbows with none other than benjamin netanyahu, reportedly gets cast as shadow for the upcoming third movie

james marsden, the guy who plays tom, got exposed as having written a letter of support for a convicted pedophile

there's fucking??? zionist propaganda in the knuckles series???

kind of connected to the last point but adam pally, the guy who plays wade, is evidently pro-israel too

this is a complete and utter joke.

EDIT AS OF 4/30/24: if people see this version of the post, i'd really appreciate it if you reblog it instead of the other versions, as it's the most updated one with all the information that i want included. thank you :]

you know, it's been a few days since i've made this post, and some of you (not most) are staying determined in defending/justifying/giving the benefit of the doubt to keanu for that photo with netanyahu, whether it's because "it was a decade ago," "him being civil to someone he ran into at a party one time doesn't mean anything," "he's probably just silent because his pr managers won't allow him to speak up," etc. i've made my thoughts on the matter quite clear by directly responding to these people, but at this point, i'm tired of both seeing them in my notes and repeating myself, so take this as my final word on the issue.

i can't help it if you don't think the photo with netanyahu is damning, and i'm done engaging with everyone going out of their way to tell me that. i obviously disagree, especially after finding out that 1. the host of the party, arnon milchan, is a former israeli spy who has a history of developing israel's nuclear program and promoting apartheid in south africa (information that had broken out a few months prior to the party and thus would've been fresh news around the time keanu chose to attend) and 2. keanu has been caught hanging around at least two other weirdos, but if you don't find any of that to be cause for reasonable concern, then there really is nothing else i can say afaik.

with all that said, i'm beginning to realize how strange it is that these people's first instinct when seeing this post is to start debating about keanu's political stances without ever acknowledging any of the other bullet points. you guys realize that this isn't just about him, right? i know tumblr reading comprehension is known for being piss-poor, but like… you realize that i was trying to make a point of how there are MULTIPLE terrible things that have broken out about the people and company involved in the sonic movies, right? and yet, a lot of the people leaping to speak on keanu's behalf in my notes are completely ignoring the parts where i bring up paramount, pally, etc. all in favor of zeroing in on the singular point about keanu and making bad faith assumptions about me for holding him accountable. really makes one wonder where your priorities lie if, in a post that talks about so many other things, me accusing an a-list celebrity with, according to google, a net worth of almost $400 million is where you draw the line and apparently the only thing worth your acknowledgment.

ultimately, what i'm trying to say is that the intention of this post was just to gather up everything that i had been hearing for the past several months and put it all together in one place. there were a bunch of people who didn't know about at least one of the bullet points before seeing this post, and i'm glad that i could help inform them, that was what i was hoping to do! but as for the keanu thing, i've said pretty much all i can say for now, and i don't want to derail the original post even more than i may have already. unless something new comes up, i'm done talking about him.

[bbokicidal]

A Simple Analysis. | OT8 [SKZ]

Warnings: I'm gonna be straight discussing these men and their pp sizes so if you don't want to read about that then just skip this post, no biggie.

Notes: I'm just theorizing what I think they're like 'n I included some good 'ol references. Please note - these references include pictures/videos of the boys AS WELL AS pictures that are NOT the boys but are references to what I picture in my head when I write smut for them. I also need to thank @skzms because I Lowkey could not find bulge pics/vids on my own and their post really helped me out w that.

Extra Warning: There are twitter links in this post, so you know what that means!! Watch at your own discretion losers, I don't want ppl in my inbox whining that I use refs that 'don't look like them' like obv jfc let me hop on bub quick to ask Chris for a dick pic smh.

Extra extra warning: I like slowly lost the ability to think the more I wrote this because all I was doing was looking at SKZ cock so I mean. forgive me.

Chris

HEA. VY.

Heavy Heavy Heavy !!!! I said what I said !!! And if you want to know why, you can simply look at this video!! If I'm being totally honest here, I don't think he's massive down below but I do think he's a little above average at least. Maybe -- mm... six and a half inches? Pretty sure it's pretty, pink, and always leaking pre because he gets hard so easily.

Also, pretty sure it's relatively thick. I mean, we've seen it a few times before in his pants/shorts, so... definitely enough to make you whimper when he's splitting you open. <3

I'm not even gonna like. explain why I think this bc I'm pretty sure we all know but it's veiny as fuck and you cannot argue w that.

And his favorite thing is when you mention during sex how full you feel just bc of how heavy he is. :]

In conclusion: Pretty pink fat cock that is more than enough to make you feel incredible each time you fuck. <3333

Minho

This man is... packing. p a c k i n g.

Packing like I'm pretty sure it's not like thick thick but it's thick enough and it's probably more on the purple side than the pink side, and it's so fucking long--

Not as heavy as Chan but definitely bigger. Bigger, longer, one pretty blue vein running up the side. Literally so perfect and just the right size for your hands to fit around. Also not too long to the point where it hurts to take it but definitely... big. Seven, at least. At. Least.

And his favorite thing is when you whine about how he's fucking you so good that you might die. Dunno why that comment specifically gets to him, but he makes sure to fuck you a little deeper after that.

In conclusion: pretty cock for a pretty man and so fucking yummy.

Changbin

Okay look people might disagree but I think Binnie's a lil on the smaller side !!

Now look. I'm not saying 'bah this bitch has a small cock' I'm just saying it's not a cervix-kisser like a few of the men on this list. It's just right!! It's the perfect size to be perfectly comfortable when fucking and he knows that 'n he's happy with it. (I'm thinking five, bc five is a comfy size.)

However.

He will ABSOLUTELY split you wide fucking open with how thick he is. This man has the chubbiest, pink, mouth-watering, pussy-dripping, eyes-rolling-back, tears running down your thighs, cock ever !!! He's gotta prep you for so fucking long and there is always soooo much foreplay to you two having sex because he's just so thick that if you don't prep lots it's gonna hurt a lil and Bin really really just wants to take care of you. :(((

And his favorite thing is seeing the way you struggle to take him in your mouth because of how thick he is. :]]]]]

In conclusion: best cock on this list. <3

Hyunjin

Hoh. My God.

Hyunjin,,,, ... Hyunjin's packing a fucking rod of a cock, I can't even lie to you. I'm like 90% sure it's at least eight inches and if it isn't then I'm dead. Y'all thought Minho was big? LAWD have mercy, Hyunjin's got a fucking PIPE on him. A third leg, if you will. Shit slaps his thigh when he walks if he don't wear briefs.

SO. PRETTY. I keep saying all their cocks are pretty BC THEY ARE I JUST KNOW IT but Hyunjin's cock is actually fucking gorgeous like it's the type where even if you're someone who's like "I don't like dick pics" and he sends you one?? you're like "omg y'know what I've had an epiphany"

Not like heavy or thick like the others but soooo long, soooo pretty, soooo mouth watering. The type of cock that has you actually drooling and getting fucked dumb every time he puts it in you.

And his favorite thing is when you do just that ^ and go all quiet n whimpery during sex because your brain is mushy.

In conclusion: Monster cock and no one can convince me otherwise !!

Jisung

Mm, okay. I think it's -- average?? But see I dunno why but I'm picturing a little on the thinner side. (AND NO THAT ISN'T MY SUB JI SUPREMACY MINDSET SPEAKING) but just bc it's a little thinner doesn't mean it's not heavy !!!

And even though it only might be like - five and a half, it's still so cute and so pretty and so fucking tasty!!!

Also like a firm believer that he jerks it at least twice a day, sorry not sorry.

And his favorite thing is when you blow him because you just take it so well and he loves seeing it all disappear down your throat <33 mm mm mmmm !!

In conclusion: Mmmm,,, cutest cock on the list <3

Felix

Y'all keep saying Felix has a little cock just bc you enjoy Twink Felix and look - I too enjoy Twink Felix but I also believe in frat boy Felix supremacy SO -

Big dick Felix in the building !!!

Pretty sure he's above average. Like, 6 or 6 and a half, maybe?? SO pretty, cut, pink, so so cute, so fucking yummy looking.

Easily like, the slickest cock on the list. And if you know what I mean, you know what I mean. if you don't that too bad ig.

The type of cock you wanna like. put in your mouth forever and just never stop giving him head fr.

And his favorite thing is when you jerk him because sometimes he just doesn't have the energy or care but he wants it. Plus your hands look so much better on it than his do. :ccc <333

In conclusion: Pretty, big, hefty cock that fills you up soooo good. Also constantly leaking cum n making a mess but you didn't hear that from me !!!!

Seungmin

Y'all,,, I'm not just saying this because I'm a Seungmin bias but,,,

This man has a fucking. rod. Not like Hyunjin-length rod but rod that's like at least seven inches and I refuse to believe otherwise because have you seen the,,,,

Fucking!!Monster!!Of!!A!!Cock!!!!

Thick! So thick! So heavy! Rivals Chris w how heavy he is !!

And his favorite thing is when you choke on it because raaahhh!!! (im not okay)

In conclusion: 2Min Monster Cock Squad

Jeongin

Holy God y'all.

Think I mentioned it once in a post where I was like, "P sure Jeongin has a big dick because as soon as he hit 21 he had this massive boom in confidence n I'm p sure it's bc his dick grew like 6 inches"

Sooooo,,, pretty sure he's also in the monster cock squad.

Like, at least seven inches, again. So big, so tasty. The type of cock that makes you pray to God it won't rip you apart because I just know he fucks hard, bro.

And his favorite thing is when you actually scream during sex because of how good he makes you feel. <3

In conclusion: Jeongin big dick supremacy, we all know he's packing a fucking log of summer sausage in his boxers.

Taglist : @dwaekkicidal @jabmastersurpriseee @possum-playground @thatonedarkskinnedsiren @oc3anfloor @theyadorevalerie

[gffa]

When it comes to Jedi discourse I think a lot depends on the amount of sympathy behind a statement there is. For example, "The Jedi have been corrupted by this war." is something Lucas has said, but it's in the context of how they were drawn into a trap, they were forced into roles that they were never meant to be, there's sympathy there for how the only choices here are shitty ones. "Do they compromise their morals (to fight in this war) or does everyone die and it's pointless anyway?" is basically what he said. I agree with that! But I have seen many people say, "The Jedi became corrupted by the war." and they mean it as the Jedi no longer cared about people, only themselves, they were only looking out for themselves, they were making selfish choices. There's no sympathy for the rock-and-a-hard-place situation the Jedi were in, and I disagree with that and I think that's what a lot of people are arguing back against. "They allied themselves with a corrupt government!" is another one--like, yeah, the Republic government wasn't great! But, when I say that the Separatists were worse, it's not because I'm refusing to admit the Republic had any fault, I'm saying it because that's basically the choice laid out in front of them--either you help the Republic or you let the Separatists take over, who were committing war crimes on screen. I do think the Jedi were hamstrung by their connection to the Republic! I just also think the alternative was worse, that the whole structure of Star Wars as a story was designed to hem them into this impossible choice (in as much as Star Wars is about the Jedi, when they're very much not the core of the story), that they couldn't find better options because the story wasn't set up to allow that. Could the Jedi have handled Anakin better? Ehhh, I think that's hard to say because the story itself doesn't present that, so making hard proclamations about what they did/didn't do wrong is reading into something the story didn't address. The story is about Anakin refusing to emotionally accept Jedi teachings--can we read beyond that and say there were ways the Jedi failed him? I think you can and some of them are fair (and some of them aren't), that it's a fun conversation to have, but that it's not what the narrative intention is, if we're talking about actual narrative intention. The narrative intention is that Anakin, though very human in his failings and Lucas clearly has so much affection for his Blorbo, failed to learn what he needed to learn. But there, too, I think a lot depends so much on how much sympathy comes across for the choices being made. I don't think we're meant to see Anakin as someone we can't relate to, Lucas even says that Anakin is a victim in TPM (of the Hutts and Watto, to be clear), I don't think criticism of Anakin can come without that he was trying, that he did genuinely love people. The ending of ROTJ doesn't work without us wanting for Anakin to find the good in himself! That we knew had to be there all along. So much comes down to how much sympathy there is in the criticism, how much sympathy there is for the reasons why any given character chooses the paths they do, and that's where a lot of disconnect comes from. So much Jedi criticism is done in the vein of saying, "They failed." and meaning it as an accusation of how a better choice was super obvious. But if you say, "They failed." in the sense that there was no way out of the trap that they could have possibly forseen, given the circumstances, that they did their best and they shouldn't have to be perfect to be good, then I'm all the way onboard! It's about how much sympathy there is for the context around a given character's choices and what the story allowed for them. I have no issue with saying the Jedi failed in the war, that they became corrupted by it, that their connection to the Republic led to their genocide, because I don't think the Jedi were bad for it, I think they made the best choices they could in the worst situation.

[esoteric-goblin]

on worldbuilding, and what people think is going on

there is one facet of fantasy worldbuilding that is, to me, the most interesting and essential but i don't see it come up in worldbuilding guides or writing prompts or anything, and that is the question of:

what do the inhabitants of your world believe about how the world works, and how are they wrong? a lot of fantasy media will set up their cosmology, gods, magic systems, planar systems, concepts of the afterlife, &c., and proceed as though the inhabitants of the world know and understand them.

from someone whose entire academic career is focused on studying human culture in various regions and time periods, with a focus on belief systems (religion, occultism, mythology, folklore): that sort of worldbuilding is unrealistic and missing out on so much fun.

people are always seeking new understanding about how the world works, and they are mostly wrong. how many models of the solar system were proposed before we reached our current one? look at the long, turbulent history of medicine and our various bizarre models for understanding the human body and how to fix it. so many religions and occult/magical traditions arise from people disagreeing with or adapting various models of the world based on new ideas, methods, technologies. many of them are wrong, but all of them are interesting and reflect a lot about the culture, beliefs, values, and fears of the people creating/practising them.

there is so much more to the story of what people believe about the world than just what is true.

to be clear: i think it's fine and important for the author to have a coherent explanation for where magic comes from or who the gods are, so they can maintain consistency in their story. but they should also be asking what people in the world (especially different people, in different regions/nations and different times) think is happening when they do magic, or say a prayer, or practise medicine, or grieve their dead. it is a rich vein for conflict between individuals and nations alike when two models of the world disagree. it is fascinating how different magic systems might develop according to different underlying beliefs.

personally, i think it is the most fun to spawn many diverse models of the world, but give none of them the 'right' answer.

(bonus points if you also have a thriving academic system in the world with its own theory, research, and discourse between factions! as an academic, it is very fun to imagine fictional academic debate over the topics i'm worldbuilding. sometimes i will be working out details for some underlying mechanic of the world and start imagining the papers being written by scholars researching it)