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luveline · 11 hours

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i would absolutely love a Hotch and stripper reader, him taking care of her after some kind of incident at her club or something? maybe a bit of angry hotch at the beginning, some angst? 💗💗💗

Your throat burns by the time his car pulls up.

You take the butt of the cigarette from between your lips and ash it next to the first. Your hand is sore between the index finger and thumb from a bad stretch, aching as you press into your pocket for your stolen box of Marlboro golds. You’ll apologise for taking them some other time.

You press the third between your lips and flick the lighter. You’re not good at lighting them, worse at the first inhale, your throat an agony that rivals the sting of your battered cheek.

Shoes on the sidewalk, a scratch of loose gravel. Your eyes well with another line of tears that you work hard to hold in, taking another quick, cruel drag. They don’t make cigarettes long enough, in your opinion. They don’t last.

He stops in front of you. Quiet, Agent Hotchner looks down at you where you’re sitting on the low wall, expression as steely as ever. You meet his eyes, worried your wobbly lip is giving you away, not sure calling him was the right thing to do after all.

When he raises his hand to the cigarette you let him take it. His fingers wrap carefully around the butt of it, the side of his thumb brushing your lips.

He flicks it to the ground and steps on it flat.

You don’t say hello. It’s obvious you’ll cry, he can tell too, and he doesn’t make you. You wince as he raises his hand again, your eyes squinting closed, but he isn’t going to hurt you. His palm is warm where it cups your cheek, turning your face to the light emanating off of the club neons.

“Do you know his name?” he asks.

“No.”

He raises your chin higher still. His frown turns to a glare, the brunt of which is directed elsewhere but intimidating all the same. His touching is gentle at least.

“What happened?”

“I told him no.”

His jaw ticks. “Can I take you home?”

You sniffle, turning your face out of his hand and down to your lap. He’s kissed you, he’s done more than that, but he knows you’d felt like you had no choice and so he’s giving it to you now. It’s exactly why you’d called him. It’s the man he is, and he should never have ended up looking after you.

“Sorry I called you,” you say, hiding your face in one hand. Pain flickers behind your eyes as tears mount for the tenth time tonight.

Hotch gives a sigh, sitting on the wall beside you. He wraps his arm behind your back and with a familiarity you need desperately. You press yourself into his side, sew your arm hesitantly over his stomach, the starch of a pressed shirt crisp on your clammy skin.

“It’s cold out here,” he murmurs, bringing both hands to your arm, one to hold you tight, the other to rub your cool skin.

“I think I want to quit.”

He nods into the side of your head. “I think you should,” he says, “if that’s what you want… honey, you can do whatever you want.”

“I don’t think I can. I’m trapped and it’s my fault.”

“It’s not your fault.” He encourages your head under his, your face to his neck. When he talks, it’s a quiet, lulling promise. “You’re not trapped. I’ll do anything you need me to do. If you want an apartment, I’ll get it for you. If you want to shut this place down, I will. The last thing either of us want is for you to work here when you don’t want to.”

“You don’t have to say work here like I’m not a glorified prostitute,” you say hotly, anger turned in rather than out.

“You don’t really think that.”

Being a sex worker is complicated. You don’t know how you feel about it, and you can’t ever understand why Hotch would bother with you. You’d worried at first that your vulnerability is what attracted him, like a kid with a broken bird, but he’s proved a hundred times that your job is pretty much separate from why he likes you. He thinks you're pretty. He loves your voice. You make each other laugh, and somehow inexplicably he’s the first person you call when things go wrong.

“Quit your job,” he says. “Even if it’s just to dance somewhere else.”

“You can say strip.”

He nods. “You shouldn’t have to worry whether your ‘no’ will be met with a backhand. You know that breaks my heart?”

You blink and pull away from him. He isn’t unemotional, but it’s a surprise nonetheless to hear him talk like this. “Aaron–”

“Please,” he says. “I shouldn’t ask you to. But there are better places for you. You deserve more.”

If it were anyone else you might get defensive. Only people who do your job could understand why you do it, it’s a hundred different things to you, but you do deserve more. You’re sick of leery men, sick of wolf whistles and bad tips and other people's hands. Hotch has never asked you to stop, but now he is, it’s to keep you safe.

You can’t begrudge him.

“I’m sorry,” you say.

“No.” He rubs your arm. “I’m sorry. You didn’t deserve that. And I’ll make it right.”

“It’s not your fault.”

“I’ll make it right,” he promises. “No matter what. No one gets to hurt you.”

You could quit. You want to. Even if it’s just for a couple of weeks, just so you don’t have to pretend you know what you’re doing. You’ll think about it in the morning. “Could I stay with you for a bit?” you whisper. “Just tonight. Please.”

Hotch taps your back for you to stand. He stands with you, brushing down your coat, his eyes impassive where they look over your face, your purpling bruise.

“You can wait in the car,” he says quietly. “I’m going to ask a few questions inside before we leave.”

#aaron hotchner x reader #aaron hotchner x you #aaron hotchner x y/n #aaron hotchner #aaron hotchner fic #aaron hotchner blurb #aaron hotchner drabble #aaron hotchner imagine #aaron hotchner fanfic #aaron hotchner fanfiction #hotch x reader #hotch #hotch x you #hotch blurb #hotch drabble

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vivwritesfics · 2 days

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Hungry Like The Wolf

Chapter Five

She hadn't seen her best friend, Lando, in years. She didn't run into him the last time she was visiting her father and she doubted she'd see him this time. Things were different now. She wasn't aware of his furry little problem. Just like she wasn't aware of the vampires plaguing the town.

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Vampire!Oscar x Reader x Werewolf!Lando

Series Masterlist

If Oscar played chess, he would have been good at it. Every move he made was calculated, always two steps ahead of everybody else.

She probably didn't realise their dinner date was on the full moon. How could she know it had any significance when she didn't even know what was happening in this town?

The air was electric as he drove through the wolf side of town. He was really pushing his luck, driving through on a full moon. He was scheming and calculating, sure, but he was still a gentleman. He'd never had driven through on a full moon if he didn't have to pick her up.

He could feel it, could see the way someone stared at him. Probably a piercing, yellow stare. If he didn't knock on her door, he was sure whoever it was would have been pouncing on him, pulling him into the woods for some stern 'words'.

But then she answered the door, looking so pretty in her sweater and skirt combination. "Hey," she said as she turned around and pulled the door shut.

"Ready to go?" Asked Oscar as he offered her his arm.

She took it with a smile that was too kind for this town and walked with him over to the car. He pulled the car door open for her, looking around for a flash of yellow as she climbed in.

In the garden of the house opposite her own, Oscar saw it. Yellow eyes. He smirked, knowing full well the wolf could see it all, and climbed into the car.

As he drove, he let her talk. It wasn't anything important, what some would describe as mindless dribble, but Oscar still listened. Like I said, he was a gentleman.

As soon as he was out of the wolf side of town, he relaxed. His shoulders dropped and he released a breath, his grip on the steering wheel easing. He could hear a howl behind him, and it only made him smirk.

The restaurant Oscar had picked was run by Vampires. At first, things had been hard for Vampires in this town. Integrating into this society had seemed impossible. But, over time, they'd found a way. They'd gotten jobs, opened restaurants that catered to both human and Vampire, even if the humans didn't know it.

Oscar was a gentleman. He opened the door to the restaurant for her and pulled out her seat.

What can I really say about the dinner? Oscar was so lovely throughout the entire thing. He was funny in a way she hadn't expected (not that she hadn't expected him to be funny).

(Oscar couldn't eat human food. The food they placed in front of him wasn't real food, was designed to melt in his mouth. No, his real meal was in the glass in front of him, disguised as wine.)

When the date was over, he drove her back to her house. Of course, Oscar paid for the meal. He gave the waiter a tip (after a hundred years alive, he knew how to impress a woman) and took her hand as he led her back to his car.

But there was already someone at his car. Oscar ran his tongue over his teeth as they approached, keeping his hand on the small of her back.

"Logan."

Logan was Oscar's best friend and the first person to find out his date. If he was waiting at Oscar's car, then it was because of some kind of emergency.

The smile Logan wore was shy yet charming as he offered her his hand. "Hi," he said, his pointed teeth poking into his bottom lip. The Vampires had no reason to panic, though. Such a small view of his teeth were offered that nothing looked out of the ordinary to a Human that didn't suspect anything. "I'm Logan."

She gave him her name as she shook his hand.

"I'm really sorry about this, but I need to borrow Oscar," he said, his smile still polite.

She looked to Oscar and nodded her head. "That's more than fine," she said and stepped towards the car.

Immediately, Oscar pulled the keys from his pocket and unlocked the car. He pulled open the passenger side door for her and took her hand as he helped her into the car. "I'll back back in a minute," he said and shut the door, shutting her in the car.

He looked towards Logan and gestured for him to follow. Logan did just that. He followed Oscar away from the car, into a part of the car park with little light. But the two Vampires could still see clearly. They knew she was watching them, but let her watch. As long as she couldn't hear them.

"You've been pissing off the wolves," Logan said with the shake of his head, clearly amused.

Oscar shrugged his shoulders, but he couldn't hide the way the corner of his lips turned up. "Really?" He said through a dramatic gasp. "You don't say."

The scoff that left Logan's lips wasn't supposed to piss Oscar off. And it didn't, Oscar knew him too well for that. "Daniel came by after you picked her up for your date. He said that Lando is mad, and he's gonna be waiting for you in the woods around the back of her house," he said, nodding back towards the car.

Oscar couldn't help but laugh. "Really?" He asked, shoving his hands into his pockets. "He's seriously going to wait for me?" When Logan nodded, Oscar let out a quiet 'pathetic'.

"Do you want me to follow behind?" Logan offered, but Oscar shook his head.

"I got it."

He said his goodbyes to Logan and headed back to his car. She was giving him a smile, one that was encouraging and reassuring. Even if she didn't know what was going on.

"Sorry about that," Oscar said as he climbed into the car. He checked the time on his watch. "Is your dad gonna kill me for getting you home late?" He asked as he pulled out of the car park.

A melodic laugh left her lips. "You realise I'm an adult, right, Osc? I think I'm older than you."

Compared to him, she was just a baby. But he wasn't going to tell her that. He was going to let her believe that he wasn't a hundred years old.

He pulled up outside of her house. Oscar opened the door for her and took her hand to help her out of the car. He kept a hold of her hand as he walked her up to the front door. "I had a really nice time tonight, Oscar," she said as she looked up at him, making no move to open the door.

"We'll have to do this again sometime," he said. If his smile showed off his teeth, he didn't much care. But then there was a howl from the woods, and Oscar knew he had to leave. He let out a sigh and looked at their shoes. "I need to go," he said and squeezed her hand.

He stepped away from her, walked back towards his car. "Wait!" He heard her call, stopping him in his track.

There was mere seconds between Oscar turning around and her crashing into him, her lips against his own. Oscar's hands were immediately on her waist, holding her steady as he pressed his lips to her own. But, when she tried to part his lips, Oscar pulled away. Another night.

His forehead was against her own. "I'll be back, I promise."

"Tonight?" She asked, breathlessly.

Oscar drew in a sigh. He immediately knew what she was asking. And, as much as he wanted to, he couldn't. "Not tonight," he answered and immediately saw her face drop.

Oscar kissed her again, this time quickly. "I want to," he assured her, and she set out a breath against him. "I just... I'm scared of your dad."

She laughed against him and released him. "Next time," she said, and Oscar left a promise with a kiss.

He watched as she walked back to the house and let herself in. Even then, Oscar stayed. He climbed into his car and waited until he could see her walk into her bedroom before he drove off.

He didn't drive very far, just parked his car out of the view of her house and made his way back to the woods.

Lando was easy to find. All Oscar had to was follow the sounds of snarling. Of course Oscar was snarling. His emotions was amped up with the full moon overhead.

"Oscar!" Lando barked.

There he stood, curls falling in front of his forehead as he stared at Oscar, chest heaving. His fists were clenched at his sides, veins visible up his arms. Oscar had never seen him look so goddamn angry before. It was... hot.

"What're you doing with her?"

"Maybe I like her," Oscar answered as he leaned against a tree. He watched as Lando stalked towards him, only slightly looking down at him. "Is that really the end of the world?"

Lando's fists shook. "Are you gonna turn her?"

Oscar laughed, heading hitting the tree behind as he threw it back. "We've been on one date, Norris. Don't overreact."

"Damn it, Oscar!" Lando suddenly called, his hitting the tree beside Oscar's head.

Maybe it was the way Lando said it, Oscar couldn't really tell what compelled his next steps. But, suddenly his hands were around Lando's neck as he kissed him.

There was a good minute where Lando was still, eyes wide as he felt Oscar's lips against his own. Part of him couldn't quite believe it was happening, but he didn't go to move away. He'd never admit to enjoying it, but the fact that he didn't move away told Oscar all he needed to know.

When Oscar pulled away, there was only one thing on Lando's mind. His lips. They tasted like her. His brows were furrowed, eyes furious as he kissed him again, pressing his body against the tree.

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slugtranslation-hypmic · 14 hours

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I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

#not a translation #analysis asks

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piratecaptainscaptainpirates · 11 hours

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hiiiii i'm here to give you a big hug and request a 1k prompt 🙌

1. a biiiiiig hug

2. as for the (hehe smutty) prompt!

i think i would LOVE to see ed feeling vulnerable and safe enough to share with stede that a lot of things don't work for him in bed because of his knee and at first he is cautious and worries stede will get angry or frustrated with him, but of course stede showers him with love and care and thinks of a hundred ways to have sex that are not painful or uncomfortable for him 🫶

Ooh I really loved this one, thanks so much for sending it in (and sending you a hug right back)! Get absolutely adored and cherished Ed!!

Under the cut since this one's a bit nsfw! I'd put it at a strong M rating, no explicit sexual content but obviously it's about sex.

Ed had never really owned up to how fucking inconvenient the knee could make things, not before.

See, there are certain things that are mood- killers, and then there are things that are straight-up dangerous to admit, and Ed’s little problem was both. The hookups Ed was used to wouldn’t just laugh at him for being in pain during sex, they would’ve taken it as a sign of weakness. A sign that Ed was vulnerable, weak, easy to exploit and to harm.

So, usually, he just put up with it. If it was awful, like if a guy pushed his legs back, forcing the knee to bend at a harsh angle, he might find some excuse to change it up, but usually he just closed his eyes and hoped his grunts of discomfort sounded pleasured instead of pained. He would close his eyes, after, breathing through the pain, vowing that he’d never have sex in a painful position again for the rest of his life, cautiously listening to make sure whatever guy he’d taken to bed wasn’t trying to pull any shit. Rinse and repeat a few weeks later.

Stede, though. Talk about a hell of a difference.

He’d figured out that Ed didn’t like some things, Ed thought. He never held down Ed’s bad leg, never forced the knee to bend. Rubbed the joint so tenderly after sex. And that maybe should’ve made it easier to admit to his problem, but Stede made Ed feel so good, and he wanted to return the favor, and…

“Ed, honey, you’re somewhere else tonight.”

Ed sniffed, shifted. They’d been breaking in their new bed (still called it that, even though they’d been breaking it in for a couple months now), and he was half in Stede’s lap, legs flung across Stede’s thighs. He should’ve felt perfect.

“Sorry,�� he whispered, and when Stede’s light, appraising touches traveled down his leg, rubbing lightly at his knee, he hissed, the pain making him flinch involuntarily.

Stede kissed his fingertips, then touched them feather-light to Ed’s knee. “Does it hurt?”

“Just stiff,” Ed said dismissively.

Stede just hummed. Ed knew he wouldn’t force the issue.

“I, uh…” Ed cleared his throat. “What would you say if I said I didn’t think I should ride you anymore?”

He closed his eyes, not wanting to see the anger on Stede’s face -

“I’d say that was fine,” Stede said easily. “Why? Does it make your knee hurt when we do that?”

“Maybe a little,” Ed admitted softly.

“Okay,” Stede said, and he positioned his hands around Ed’s knee, rubbing his thumbs gently along the sore, tender joint, working out the stiffness of exertion. Ed hissed, his face scrunching up at the sensation, and Stede just cooed soft apologies.

That was - that was it, though, wasn’t it? Ed knew he was safe to let Stede see him in pain. Stede hadn’t ever gotten angry or frustrated with him for being in pain or needing help with his knee before, why would this be any different?

“Um,” Ed started haltingly, “I actually think maybe we might need to be a little more careful. During intercourse. With my knee. If that sounds alright to you. Maybe.”

When he opened his eyes, Stede was getting that pinched line between his eyebrows.

“Ed?” Stede pulled Ed a bit more securely into his arms, and Ed sighed in satisfaction at the feeling of Stede’s arms around his waist. “Have you been hurting? While we have sex? Have I been hurting you?”

“Please don’t be mad.”

“I’m not mad, I’m just…” Stede let his breath out in a long sigh. “I don’t want to ever do anything that hurts you. Not ever. Especially not when we’re trying to do something that’ll make us both feel good. How can I help keep you comfortable?”

“Well…” Ed grimaced. “Bending my knee is what hurts the most.”

“Alright,” Stede said thoughtfully, and Ed could see the wheels turning in his head. Taking out positions that required Ed to bend his knee took so much off the table. Riding, giving blowjobs, even fucking missionary, and Ed was a bit terrified he’d just ruined their sex life.

Clearly, he’d underestimated Stede Bonnet’s creativity.

Ed should’ve known he was in for a treat when he caught Stede woodworking in the backyard and was given a full presentation about all the features of the “blowjob stool” he was building, a seat designed to cushion and support Ed’s knee while putting him at perfect dick-sucking height.

Stede was endlessly thoughtful when adapting positions they already liked, too. Ed liked being taken from behind; they discovered that a pillow under his hips kept him comfortable and allowed him to keep his legs straight. When Ed missed looking into Stede’s eyes during sex, they experimented with variously supporting his knee with pillows or propping his ankle on Stede’s shoulder. Spooning, bent over a desk, the good ol’ 69… not all of Stede’s ideas or little inventions worked, but the ideas he had for supports to keep Ed comfortable meant it was the best sex Ed had ever had, full stop. It was really damn nice to be able to enjoy himself without worrying about being in pain.

The best parts, though, weren’t just the sex itself.

They’d found that Ed’s knee was least painful when his muscles were relaxed and when he was feeling good, so they often had a warm bath first. It was fun foreplay, and relaxing together while Stede rubbed tiger balm into the joint in the afterglow was the perfect way to snuggle and talk about what they’d enjoyed.

“I’m glad I told you,” Ed whispered one night, tracing their initials over Stede’s heart as they cuddled, Ed’s bad leg slung over Stede’s hip to keep it propped up.

“Me, too,” Stede said, kissing Ed’s cheek.

Ed was learning, still, that he’d never have to just put up with pain again. And it was soft, soft, as smooth and sweet as honey.

#ofmd #our flag means death #ofmd fic #my fics #always accepting prompts for 1k fics! Don't be shy!

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seramilla · 2 days

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God that must be so hard and nerve wracking for Carmilla. Finally knowing what happened to the baby she lost and feeling slightly relieved cause now here was her baby safe and here in her arms again where she belonged damnit but they were all in hell and her baby had already lost an eye and had to fight every day...

But also...how are Clara and Odette handling the news that they found their baby sister and just who she is?

Carmilla takes a few days to determine if she wants to inform Odette and Clara about what she'd gleaned following the most recent Extermination. In the first place, her girls had been working overtime extracting all the angelic steel left behind near the Hotel; it's a veritable treasure trove this time, and they'd been so excited to get started. Second, Carmilla needed time to process recent revelations herself, and figure out how to delicately broach the subject with her eldest two.

How is she supposed to tell her daughters that their sister, whose existence they'd barely even registered back on Earth, had quite literally come back from the dead? Not only that, they'd missed an entire childhood together; growing, playing, bonding, fighting, and loving one another -- all things Clara and Odette had the opportunity to do. How is Carmilla supposed to just go up to them and say, "Surprise! You remember that child I was pregnant with when we all died? Well, she's still around! She's an ex-Exterminator, killed hundreds of our people, and I don't even know if she wants anything to do with us!"

Would Odette even accept her? Clara is usually the more open-minded of the two. That's another question she can't answer. With how many times Vaggie's "sister" Exorcists have tried to kill them over the years, would her other daughters even want to have anything to do with Vaggie? She thinks they would...Clara the most likely of the two...but they are fully grown women with their own thoughts and feelings. She wouldn't blame them if they...well, they'd have every right not to want that kind of relationship with Vaggie, at any rate.

Carmilla is still stewing in these thoughts, having practically worn a path in the middle of her bedroom floor by walking back and forth so many times, when she feels a vibration in her pocket. Pulling out her phone, Vaggie's name flashes prominently on the screen, like a fresh piece of graffiti on the side of a building. She almost drops her phone in surprise, but manages to keep it together. She taps the answer icon in trepidation.

"Ye-yes?"

"Carmilla?" Vaggie's voice on the other end sounds so...tired. Carmilla recalls she's been home for a few days now, but she wouldn't have been able to tell by the sound of her voice alone. Her tone is so...ragged and laced with anxiety; a spitting image of her own, if she's honest.

"Vaggie! Umm, yes! How can I help you?"

There is a definitive pause, one that makes the distance between them seem more metaphysical than real. They are just across the city from each other, but in every other sense, Vaggie is undoubtedly existing in her own plane of reality right now. She seems so much farther away than Carmilla could possibly reach by foot. It must have taken her a lot to call Carmilla. The arms dealer puts her patience to the test, and waits intently for Vaggie to find the words to voice what she needs to say.

"Carmilla..." Vaggie finally starts, a voice much shakier and insecure than she remembers; a far cry from that determined, brave girl that challenged her at her compound all those days ago. "Can I...come over?"

Carmilla's heart jumps into her throat. Her ears start ringing, and she almost needs to sit down on her bed before she collapses.

"Yes!" she says, flinching as she sounds a little too eager for her own ears. There's no helping that now. "Of-of course! Whatever you need, mi querida. My door is always open. When do you want to come by?"

"Ummm," Vaggie hesitates, as if she fears she's asking too much. "Is right now okay? Are you...busy?"

Odette and Clara will be back soon, but that is the furthest thing from Carmilla's mind at the moment. She'll deal with it when the time comes.

"No, that's perfectly fine! Absolutely, I'll be here! I'm not going anywhere today."

Vaggie sounds a little relieved, but also like she hadn't expected her question to be answered so quickly, so freely. Carmilla hopes she doesn't sound too eager...but she is. How can she not be? This is her daughter, for goodness’ sake, her child, wanting to see her.

"O-oh-okay!" Vaggie says, a little more eager this time. "Gi-give me an hour? And I'll...I'll be there."

"Text me once you're close by," Carmilla says, trying to push away any further doubts and hesitation from her mind. Vaggie wants to come over. She needs to be strong for her. She needs to keep it the fuck together. "I'll come out and get you this time."

"Okay," Vaggie responds. "Thanks...thank you, Carmilla."

Vaggie hangs up. Carmilla stiffens. She stands up, putting her large hands over her face, wiping her forehead down to her cheeks from the stress of it all. Vaggie is coming back, coming here, right now. She tries so much not to freak the fuck out.

Now to figure out what to do about Odette and Clara.

#hazbin hotel #carmilla carmine #vaggie #vaggie hazbin hotel #odette hazbin hotel #clara hazbin hotel #fan theories #ask #anon #vaggie carmilla related au

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nunalastor · 2 days

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Crack idea but like

I was reading a thread that was going over all the possibility for horror in Hell as an immortal sinner, and a comment mentioned Alastor’s bit of somehow being special in “disappearing” sinners presumably with the lack of angelic instruments and capturing overlords and their voices to be used for his broadcast- you know, all that stuff.

I’ve imagined that he possibly really sends them over to Roo/Eve which is how they stay trapped, but for this instance I thought about what keeps being taken.

The Root of All Evil & the Sin of Knowledge Perceiving

Relating to the maxim of “See No Evil, Hear No Evil, Speak No Evil”, if we are to assume Eve and Roo are separate beings, what if the proxies/agents of Roo are to be compared to them as twistings? That they have methods in which a sinner could be permanently killed and extract respective parts or receptacles of evil from them, or maybe Roo or at least an extension of her/their power is used to tear a sinner’s soul apart the different sensitivities are given for the different proxies to govern.

Why not say that eyes and the voices are entirely directly related to Roo? Roo needs proxies (aside from a possible plot of being trapped somewhere and needing external forces to break out like the difficulty of getting out of an egg vs breaking in) because Evil only exists when there is Will to pervert, it lies inside humanity and only humanity (and similarly sentient beings) has the free will to act upon it. Ways for her to be perceived and to be enacted upon, the keys to her prison. So she has them as vessels of her power.

Seeing Evil - Eve acts as Roo’s eyes (because what is an Eye if not an Eve that had extended a root-) , to observe the Earth and all of the Afterlife and learn of the corruption around. Brings suffering to the world by manifesting as that spine chill when you think someone’s looking at you, imagine eyes in the dark, or feel the weight of a hundred eyes fueling your anxiety when giving a presentation.

Al can fit in with the theme, acting as a vassal for

Speaking Evil - The trapping of hundreds of voices, to scream of pain and misery that would await death and after death, Alastor bringing forth unsilenced terror. He may act as a conduit or microphone from which Roo would whisper her sweet nothings and everythings to Earth- she definitely was able to do that before, without him, but who’s to say it wouldn’t help with the poisoning to have some kind of anchor? (Who’s to say she hadn’t had a different mouthpiece before, that Alastor was neither the first nor would be the last?)

This is just a fun thing that could be done for fanfiction- I don’t really think that a pattern like that is gonna happen for Roo followers, but it might be fun.

We’d still have “Hear No Evil” to compare to—I mean I guess you can put Roo themself as that but ehh—, maybe someone in the next season could fit the bill though I’m not sure how like ears manifesting could really look any kind of horrifying rather than weird compared to Eyes or Mouthsand/orScreams. There could also be more to the types of followers in the pattern, if we take up the possible fourth monkey additions of “Do No Evil” or the good ol’ “Think No Evil”, or even “Smell No Evil” (yes that’s a variation).

Could be a good alternative to having a 4 Horsemen of the Apocalypse theme! [or maybe do both at the same time, that’s what Cult of the Lamb did and what totally wasn’t further inspiration for this drabble]

👀

#hazbin hotel #nunalastor asks #roo #eve #alastor

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bestworstcase · 2 days

Text

anyways. enough spitballing

i was so right abt fun parent tai

YANG: Do you… wonder why he’s not here? With everybody else? I know Qrow said he’s on assignment, but what’s more important than here? RUBY: Maybe we don’t have the full picture. YANG: I don’t know. Some things you just need to be there for.

first. there are two possibilities: if qrow knows what this “assignment” is, he hasn’t filled in his nieces and the old guard backslid HARD after team rwby fell—the exclusion of ren and nora from the secret meeting in B1 also points in that direction, so it feels quite plausible; on the other hand, if raven knows where tai is and what he’s doing, it seems strange that ruby and yang would not also know, unless the girls haven’t asked her about summer at all (in which case i’d believe that they’re just not really on speaking terms).

like if raven had a conversation with ruby about summer, i can’t see her hiding ‘the full picture’ with regard to tai if she knew about it, even if qrow wanted her to. maiden of knowledge, begrudging oz his secrets, and all.

on the other hand. if the girls know everything qrow does, that would imply that tai’s “assignment” is either an ozpin secret (and oz hasn’t been keeping his promise to be honest, which feels incongruous with him actively fighting his curse now) or a taiyang secret, in which case i am one hundred percent sure it isn’t to do with the crown of choice.

“maybe we don’t have the full picture,” says ruby, thinking about what the blacksmith showed her and what the blacksmith said. that’s the big lesson she learned in the tree, not to jump to conclusions on incomplete information. so that narratively links tai’s mysterious “assignment” to summer’s mysterious “last mission,” which was a “summer secret.” if tai stayed behind in vale to deal with a taiyang secret that not even oz knows about… it’s summer. lol. it can only be summer. if it were the crown, oz would know because ozpin would have given him that assignment in the first place; if it were defending people hiding in mountain glenn, there’s no reason for it to be secret.

but if he knows summer is alive and well and with salem, and he’s trying to, i don’t know, turn her against salem (or ‘save’ her)… well. maybe we don’t have the full picture indeed.

second. oouuugh the weight of what yang doesn’t say. back in v4 she forced herself to put on the prosthetic before she was ready and white-knuckled her way back to functional so she could go find ruby because her dad said he hadn’t gone after ruby because he had “some stuff to look after” at home, and yang thought he meant her; that the only reason he wasn’t out there with ruby was because he had to be here with her.

so she removed herself from the situation—left to find ruby herself—and tai… stayed at home. it’s been months, now. atlas fell and everyone is regrouping in vacuo, trying to prepare for an attack they know will come sooner or later, except tai, who is “on assignment.” what’s more important than here? what’s more important than being here with both his daughters, at the end of the world? if qrow knows, what’s so important that he has to keep them in the dark? if qrow doesn’t know, then it can’t reasonably be to do with the relic at beacon—which is the only thing that could arguably be more important than joining the vacuo coalition.

“some things you just need to be there for,” says yang. my dad just kind of… shut down. and then dad was always busy with school and ruby couldn’t even talk yet; i had to pick up the pieces. i had to keep things together, alone. ruby starts to reminisce about coming to this place with tai when they were kids, and it’s a fond memory for yang too…but one undercut with all of this. the outings were fun—they slowly increased from once a month treats to twice-a-week because ruby got so excited—(ruby is over the moon when she sees the boba shop; yang spends half the walk there second-guessing herself and downplaying the surprise; both reactions speak to their experiences of these outings in childhood)—and why isn’t he here now? why is it, once again, yang trying to pick up the pieces alone while he’s busy with something else more important?—and this time it isn’t even that he’s going to work to put food on the table and make sure bills get paid, he’s just “on assignment” doing… something. that qrow either won’t tell or doesn’t know.

and that feeling is what incites her to talk to ruby about her own failings, and the first thing she says is i don’t need an explanation, because she doesn’t want to make ruby’s crisis about herself but also because she’s about to apologize for not being attentive enough or present enough or aware enough to Be There when ruby needed her.

which is not untrue (surprise! parentified children don’t make good parents for their two-years-younger siblings!) but also. back in v5 when she confronted raven, yang compared herself to raven (you’ll give me the relic and run because you’re afraid of salem; i’m afraid of salem too but i’ll be here waiting for her when she comes after me).

and that’s what yang is doing here with tai (he was physically there and provided for their needs and took them on fun outings sure, but he wasn’t there, when yang looks back on her childhood what she remembers is a sense of overwhelming responsibility and isolation because her dad wasn’t present, and now he’s not even here; she let ruby down in a similar way, being around without really seeing what ruby was going through, but she sees now how she failed and knows what she needs to do to make up for it and she will, she promises, she already is.)

#they are not uh. kid gloving tai at all

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kangals · 1 day

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way back in 2014, probably a few weeks or months after you posted that picture of boone with the stick on his head, i checked your blog out and so dearly enjoyed all the dogposting that i followed. i think you were the first dogblr blog i actually followed at the time, but it's been ages and my memory is bad, so i'm not fully sure. it wasn't long before then--2012 i think?--that i had gotten a new dog of my own, a border collie. iirc he and boone were just about the same age.

in 2018 i lost that blog i'd followed you with, and a lot of connections with it. i didn't return until 2021, and when i did, i didn't refollow most of the old blogs; i don't think i even really went looking for them. it took me a while to get back into the swing of using tumblr.

last september, my border collie had a sharp health decline, and i had to say goodbye. it's not the first time i've had to put a pet down, but i think it was the hardest. i'm still not over it. even just typing this now, i feel raw.

then in march or so, i made a new fandom friend who knows you, and i enthusiastically recalled following you before and how much i enjoyed it. i didn't even know about stellina, and now there's kep too! but... i also didn't know you'd lost boone. i followed because i still really enjoy your blog, and i love your collies too. and butters!!! so glad she's still here!

idk what made me look tonight... maybe because i talked about my old border collie with someone today. i went looking for the posts immediately around when you lost boone, because i guess some part of me wanted to know what happened. i spent the better part of an hour (maybe longer?) reading posts from the weeks before the decline, and then the loss, and then the deluge of old boone pictures after, and i've been crying pretty much the whole time just reading your posts and tags about him.

and this is a long and windy way to get to saying thank you. i'm glad you shared your grief, though that seems like a weird thing to say. there's something cathartic about crying over someone else's dog when you still hurt about your own, and knowing you're not alone in that kind of sorrow. boone was such a beautiful boy. i'll never forget that silly post that made me check your blog out in the first place, or the years of posts i stuck around for after. i wish i'd remembered to follow sooner, but the archive is still there, and it's so fun looking through all those old posts about him and his quirks and antics. he was amazing.

sorry for the length of this, i just... really wanted you to know that he touched yet another life, i guess. and i've been so deeply enjoying your posts about stellina and kep. i know it'll be a year soon... i hope there's some peace in how things have gone since he passed, and i hope the anniversary isn't too hard on you. thank you for sharing him with us.

i've been on tumblr for 14 years and this is, genuinely, the nicest ask i think i've ever been sent.

thank you - sincerely. there's been a lot of times over the course of this blog that i've felt like i was oversharing, or talking about pointless things only i cared about. i still so frequently start typing out a post only to stop mid-sentence and delete it because i can't help but think "no one cares about this." possibly it's why i like to talk about my pets so much - they're not me, but i'm the one who knows them best, so i get to say "hey look at this" and ramble and have people say "i'm looking" back. when boone passed, i lost that filter and i poured my grief out into this blog because it was the closest outlet i had. and to have hundreds of people not only acknowledge this but to commiserate, to reassure, to share their own stories - that helped healed me more than i can put into words. it's exactly as you said: there's a catharsis in grieving together.

i am sorry you also had to say goodbye. i wish i could say it gets easier, but i think that would be defeating the point of grief. your grief is your love and damn it if there isn't any act more loving in the world than choosing to say goodbye to an old, loyal dog. you think of how dogs were domesticated tens of thousands of years ago, of how human society and dogs have developed intertwined, of how we have records of ancient greeks and romans carving loving epitaths on their dog's graves, of how a prehistoric dog's skull was found with a bone placed in it's mouth after death, and you wonder if grieving a dog isn't one of the most consistent experiences in the whole of human history that there is.

i'm glad to know that this could bring you some comfort, in some way. it's incredibly touching to know that you kept me and boone in your thoughts for all this time. i am doing ok - i've been reflecting a lot as we approach the one-year mark. i'm not sure if i'll be able to condense those thoughts down into coherent words, but i'll do my best. i hope that my silly little pets continue to bring you some happiness, and that you've found peace with your own grief.

thank you, again - this is extremely touching and means a hell of a lot to me.

#i know exactly what you mean about reading posts about other peoples loss and grieving in camaraderie with them. i do that too #also mayhaps i am nosy sometimes and want to intrude. i cant help my nature to be a looky-loo #which is to say: you should never feel like you are intruding for doing so back to me.

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briwates · 3 days

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Zero context WIP game ! Thank you @clawbehavior for the tag, excited to do this because I've got like 10 different wips and kept resisting the temptation to post snippets. These fics don't have definitive titles yet so the ones here are approximative descriptions

1. Ms Ji & the Kangs

“Yohan-ah, I love you, don’t cry” Isaac says, patting his baby brother’s stomach when he fusses. They’re both laying on Isaac’s bed after lunch, a bit drowsy in the early hours of the afternoon. Young-Ok watches the two as she folds laundry.

“Nanny, why does Yohan have no eyebrows ?” Isaac asks curiously.

She chuckles at the question, taking a tiny pair of socks out of the basket and folding them together. “Most babies are born without much hair, he’ll grow them later on.”

2. Conversations

Gaon swipes ‘accept call’ and props his phone against a utensil holder as Elijah’s lovely face comes into view. She has cut her hair into a bob, even bangs forming a curtain on her forehead.

“Gaon, it's an emergency ! You need to come to Geneva and do something !” Elijah’s voice immediately comes through the phone speaker, loud enough to be heard over the sound of meat sizzling on the stove. “Yohan is serious about growing that ugly mustache and the clinic receptionist keep trying to hit on him !”

3. Yohan through Isaac's photography

October 1991, Yohan showing me his teeth

Gaon chuckles at the photo. It’s blurry like the objective had gone out of focus at the last minute. Yohan is giving the camera a smile and scrunching his nose, eyes closed under his fringe like he’s shielding them from the flash. Some milk teeth are missing from his gums, two permanent ones just peeking above the surface. He must have been no more than six or seven here.

4. Gaon scrolls online forums

"Judge Oh, I have this file I wanted discuss with you"

Jinjoo comes up behind him to see just as he is about to unlock his computer. What greets Gaon after entering his password is the previous night's research topic brightly displayed on the screen. Shit. Carelessly, he had simply shut the laptop before going to bed, instead of closing the tabs and erasing his search history.

Panic and embarrassment seize Gaon on the spot. He's about two hundred-percent certain that Jinjoo got a glimpse of what was written on the screen. Omegaverse fanfiction of him and their boss. Gaon wants to explode.

"You have…a lot of open tabs, Judge Kim."

5. Another snippet from Conversations

“You have something under your eye”

“Hmm ?” Yohan hums, closing said eye when Gaon’s thumb gently swipes across his skin.

“Eyelash.” Gaon flicks it away “crap I should’ve told you to make a wish”

They’re laying on the couch in a tangle of limbs, Gaon on top of Yohan like a weighted blanket, chest to chest, book long abandoned on the coffee table. Kkomi is on the armrest behind Yohan’s head, sniffing at his hair. Gaon yawns into Yohan’s collar.

“We should go to bed.” Yohan says, voice hoarse.

6. Sunah lives

It is routine until her ears catch familiar voices, ones she thought she would never hear again, along with the cries of a fussy child.

“Gaon-ah, give her to me”

Sunah turns around to see, to her surprise, peering over the café’s balcony, Kang Yohan, his niece, his former associate, passing over an agitated toddler.

“I told you we should have brought her stroller,” Kim Gaon’s reprimands are a refreshing thing to hear “She gets tired.”

“It would have been inconvenient though, with all the stairs and narrow streets.” Kang Elijah chimes in. She is on crutches now, standing just a few centimeters shy of her uncle’s height.

“That’s fine” Kang Yohan hauls up the little girl against his chest so that her head rests on his shoulder, pats her back. “Appa will be the stroller today."

Tagging @thedeviljudges if you feel like doing it !

#the devil judge #xyz #tdj fic #they all need some work but im progressing through them...slowly

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inevitably-johnlocked · 23 hours

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Can you please help me find some sugar daddy fics? I've been obsessed with it lately.

Hey Lovely!

Well, I've never read any myself, so I can't give you any personal recs, BUT I did a tag search on my offline MFL list, and decided to make a new list for you because I need content, LOL!!!

So, here are the fics I have on my MFL list, and if you guys have any more to add, PLEASE do, as always!! Hope you enjoy!!

SUGAR DADDY FICS (MFLs)