i think katsuki just answers his phone by barking out, "bakugou." no hello, probably doesn't even look at the caller id LOL when he hears it's you, though, i think he breathes out the tension he didn't realize was coiled in his shoulders, and says a lil, "hey," 🥺🥺
and i think when he calls you, and you answer with your sweet, "helloooo ??" he is so soft 😌 just mumbles out a quiet, "what'chu doin'?" and listens as you tell him, before saying what he needed to 😌
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(guy who sent in the original i thought you were a lesbian ask) i just wanted to say i still find you just as attractive with the knowledge that you are a man, apologies if i made you feel uncomfortable or like you're less handsome for not being a hot butch. you're still plenty hot regardless and i'm sorry for inflicting tony hawk's sapphic nightmare on you
Tony Hawk’s Sapphic Nightmare is very funny, I would photoshop something if I could right now. Thank you.
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Kaeya had always been an efficient and hard-working individual (he had to be to support Diluc in the background as his brother rose thru the ranks after all).
He has so much free time because he completes all his work way ahead of schedule. And if he still has enough time, he adds more to the workload in secret.
And once all of that was done and over with, he makes time for everyone. He has to. He feels as if every moment has to be given to someone else.
No one knows how he does it. No one has to know.
Every mission has a dozen strategies in line, and every battle plan is made with efficiency in mind. His perfect record will not be tarnished. He can't risk it (even if it baffles others that he would willingly activate a ruin guard just to prevent a failed mission. Jean disagrees with his methods, but Kaeya can say that the results say otherwise)
He needs to be quick.
Efficient.
Perfect.
And so he comes and goes like the wind.
Kaeya values time because he knew every second counted. He can't just stand there as if he were frozen. Time could run out in an instant.
Kaeya had only been late once his entire life.
He'd rather he never be late ever again.
It took one day of being of being imperfect for everything to fall apart. On that tragic day...had he gotten there on time... then maybe...
.
.
.
" Come on, let's get moving, traveler. We're not frozen in place after all. " Kaeya teasingly says. He stiffles a giggle at the traveler's exhasperated sigh.
"Yeah yeah, we've heard enough of you calling us a slacker. Can't you be a bit more patient?" Paimon whines at him.
Kaeya snorts, but acquiesces, hiding the shaking of his hands at the thought of being idle.
He imagines hearing a clock ticking.
Kaeya knows that that is his own problem. He tries his hardest to relax as he waits for the traveler to finish whatever they're making on the alchemy table because, seriously, it is supposed to be a relaxing day. There's nothing major going on, and his schedule is once again empty as intended. What's the hurry?
Kaeya taps his foot on the ground as he waits. He wishes he could take his own damn advice when he tells others to relax.
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Odysseus' reintegration into the world bound by mortal limitations foregrounds both his age and the distance he has traveled. The shipwrecked sailor who manages to crawl ashore naked on Scheria, bereft of companions, possessions, any token of identity — of all but the bare ember of vitality (cf. 5.488-90 — a lonely spark in a pile of ashes) — meets the young Nausikaa, whose life (like that of Telemachus) is just opening to the possibilities before her. The scene in which Odysseus, awakened by sounds that evoke in him fears of hostile men, faces instead a group of teenage girls playing ball, is both comic and poignant as it measures the difference between their expectations and stages of experience. Later, as he is challenged to compete in an athletic contest, Odysseus acknowledges the toll that age and journeying inevitably take. This is not, then, the epic of the beautiful death (one way to read the Iliad (e.g., see Vernant 1991: 50-74)) but the epic of timeworn, embraceable life.
John Miles Foley, A Companion to Ancient Epic, 2005.
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gojo’s son calling him baby because he heard gojo calling you that. precious
HHHH I KNOW :(( Satoru always encourages infant babbling (speaks animatedly and listens with the same enthusiasm even when it’s just incoherent noises), and the kid has taken to incorporating some key phrases into his vocabulary—learning to ask for more when he’s hungry, asking for his dad to keep playing with him, saying “thank you” and “i love you” (Satoru’s personal favorite, because his L’s do sound a little like W’s and he coos every time)—but he’s also picking up on things you and Satoru say to eachother. So, it’s only natural that hearing his parents refer to each other as “baby,” makes the toddler believe that that’s a normal part of speech he can start saying.
The first time it happens, Satoru is coming back from work. He can hear giggling in the kitchen, and when he makes his way there he’s greeted with the sight of his son in his high-chair clapping happily as you scoop some of his dinner onto his plate. Satoru reaches to you first, and arm curling around your waist and his lips pressing to your cheek. You’re about to return the greeting when the words are spoken for you, a high-pitched and excited squeal from your toddler in place of your own voice, “Home, baby!” Satoru pauses and blinks, pointing a finger at his chest and observing as his son only grins wider, making grabby hands for his father. He repeats the phrase again, this time attempting a broken syllable version of the word “welcome,” that makes Satoru’s heart swell three sizes. He’s quick to scoop his son right out of the chair, twirl him around and press kisses to his cheek, “Missed you so much, too, baby!”
First it’s you and Satoru that get called baby as greetings, but soon it extends to other people. When Megumi comes over to babysit the following week, he’s met with excited squeals and raised arms (demands to be picked up), before his cheeks are squished between baby-sized palms and he’s formally greeted with, “Hi, baby!” The look on Megumi’s face is priceless—slightly red and embarrassed, but beyond fond—and he gives the kid a gentle pat on the head before telling him he missed him, too. When it’s time for Megumi to return home for the evening, he gets soft hugs and tired yawns, the words “Bye, Memi. Night, baby,” barely getting out.
Your son is a fast learner, it seems. He quickly realizes he can use the word outside of greetings and goodbyes, and tries it out with his uncle Nanamin the next time he’s over at his house. Nanami is leaning over the counter, watching carefully as the toddler eats his lunch. He reaches over to wipe some smeared tomato away from his mouth as he’s finishing up his food, and that’s when the baby grins at him, looking his uncle (godfather, really, but he doesn’t know that yet), right in the eye before saying, “Thank you, baby.” Kento only smiles softly, continuing to gently wipe down his cheeks, before cradling his head and musing, “You’re more than welcome.”
You and Satoru debate which one of you he’s been picking this up from. You think the obvious choice is your husband—Satoru’s always been the more affectionate one, and pet names comes easy to him. He argues that your son gets it from you, and that he listens more carefully to his mom. Your theory is proven correct when your son is curled up in your lap shortly after dinner time, hands reaching to be held against your chest and rocked to sleep. You think he’s finally dozing off when you hear a small, and tired, “‘Night, my baby,” from your toddler’s lips. You look up to Satoru, who grins, leaning down to kiss the top of his son’s head and then your forehead. He takes after this father, without a doubt; because while every body else was baby, only your boys had the honor of refer to your as their baby.
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Red Hood Characterization
This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.
I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?
This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!
tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.
Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.
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