Possessive!Gojo who makes you wear his jersey when you go to parties at his fraternity after games, openly admiring the way you dwarf inside his clothes. He leans forward on the edge of the bed to get a better look, resting his elbows on his knees, his eyes raking over every inch of you from head to toe.
"Toru, it's too big," you pout, checking out your reflection in the floor-length mirror on his closet door. “I look silly.”
The tent growing in his sweats says otherwise—all the blood in his body rushing from one head to the other just from seeing two things that are his coexisting—and he gives you another once-over, thinking of several ways to describe you, silly not being one of them.
"You’re so pretty, baby.” He swears he’s a little drunk from the sight of you, but he means it.
Possessive!Gojo who pushes you up against the door inside the locker room before a game—slightly jealous from the guys looking at you as they filed out into the hall, and equally turned on because he knows they can’t have you—telling you he can't play with a hard-on before he's pressing into you from behind.
He can feel your tummy quivering under his hand where he holds you close, feels how his cock is carving its way inside of you, and you both moan when he presses down lightly. It makes him dizzy how tight and small you are; pulsing, wet, and swollen-soft velvet that gives every time he buries himself into you.
"You gonna hold all of my cum in this cute cunt until after the game, y-yeah?" he sucks the question into your neck. “Don’t worry, I’ll lick it out of you afterward. Just keep it warm for me, ’kay?”
You answer him with a high-pitched whine as you clench down hard around him, cumming with a muffled scream against his palm and nearly pushing him out of your warm, fluttering heat.
Possessive!Gojo makes sure to stuff his cum back into your drooling cunt with two thick fingers, curling them into your front wall to pull another soft orgasm out of you—just a little more, ah, there you go, always so good for me—before he helps you fix your panties to trap it there.
His arms wrap around you before he presses a tender kiss to your temple. “Don’t forget to cheer for me.”
Possessive!Gojo whose smirk from watching you squirm in the stands, melts into a glare when a guy takes the empty seat beside you, sitting almost too close for his liking.
“Stop staring at your girlfriend and hit the fucking puck already,” Sukuna grumbles, leaning against his stick.
Possessive!Gojo who makes sure to fuck you in the backseat of his car afterward with the windows cracked in hopes that the guy from the stands would walk by to you moaning Gojo’s name, and he eats you out just like he promised—bending you over the center console, smiling to himself at how shy and squirmy you get—only to fill you up again.
Possessive!Gojo who pouts whenever Nanami manages to steal your attention with something sciency and nerdy (something entirely up your alley) whenever you come over on weeknights.
“That’s so neat, Nanami,” you smile, hearts practically in your eyes as you listen to him talk about his latest research. “Maybe I can stop by the lab and check it out sometime.”
Possessive!Gojo who doesn’t miss the way Nanami’s ears turn a shade of red from your praise—color high in his cheeks—how he gives a sheepish smile whenever you talk to him.
“Toru,” you say, finally bringing your soft, pretty gaze on him again. “Are you even studying?”
Yeah, he is, but something else entirely, he thinks as he watches how your shorts hug your ass while you walk around the house’s common room—and he’s not the only one staring.
Possessive!Gojo who slaps your thigh, making you jolt in his lap. "Did I tell you to stop, huh, baby?"
You shake your head, biting your lip and avoiding the pair of eyes watching both of you (intently) from across the room—especially you—a quiet observer as you slowly sink onto your boyfriend’s cock while Nanami thrusts his own into his fist.
"Ah, fuck—b-but–"
Your words break off into a choked moan when Gojo thrusts his hips up underneath you, pressed as deep inside as he can get, and when he looks down, he swears he can see the imprint of himself pressing against your stomach.
"Tell me what I said,” he says through gritted teeth as he starts bouncing you, the couch continuing its steady squeaking under your knees.
Possessive!Gojo who can tell that it's hard for you to concentrate with the way his cock moves inside you, and you’re unable to answer with anything other than babbling nonsense. He decides to take mercy on you and stops to grind you in his lap instead.
He kisses your cheek, your neck, anywhere he can get his mouth on. "I said, don't stop until you cum, and you’re going to let Nanami see how fucking pretty you look when you do."
The next sound out of your mouth is a squeal when he holds your inner thighs to keep you open as he thrusts up into you again and again—letting Nanami see what can never be his.
“That’s it, baby,” he growls. “So good for me. Go on, show him how my good girl takes cock.”
Possessive!Gojo who locks eyes with Nanami just as he’s about to cum, burying his groans of pleasure into your neck as white-hot sparks shudder up his spine and heat pools in his gut.
Mine, he tries to say, but Gojo thinks his frat brother gets it when Gojo’s the one cumming inside you and Nanami’s spilling all over his fist.
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[Reposting this because I'm dumb stupid and don't know how reblogs work! This was supposed to be a reblog of this post by @g0nta-g0kuhara, a multi-part analysis of Kokichi Oma in Chapter 4]
Ooh a meta post! Sends me back to when I was first researching the DRV3 fandom before playing the game (I'm a little backwards, I know...). I only read the one part, but I wanted to chime in with some additions on top of the existing analysis.
Interestingly, the "neutral Kokichi face" that's highlighted in this post is one of two "neutral faces" that Kokichi makes throughout the game. That would be stand_005_037, or Kokichi's 37th sprite.
The other "neutral face" is the next sprite over, stand_005_038, which appears in a different context from the previous sprite. The difference between the two is really not terribly noticeable at a glance, so here's a visual.
Up to now, I've considered sprite 37 to be Kokichi's "unserious neutral", as his expression appears more relaxed than that of sprite 38, what I've thought to be his "serious neutral".
You know he's not serious when he's agreeing with Maki.
With the information from this analysis, though, it might be more accurate to call it his "masking neutral". Kokichi will use sprite 38 in low-emotion situations when he has a point to get across, like here in the Chapter 3 post-trial.
However, in high-emotion situations, as said in the initial analysis post, Kokichi is likely trying to hold himself back. That's when sprite 37 comes in.
Bro is either stifling a laugh or seething with anger in there
Regarding Kokichi's sprite 38, there's some stuff I've come across which loosely implies that it initially had a different design. When Kaito recaps his conversation with Kokichi in the hangar in the Chapter 5 post-trial, the conversation is portrayed with a sepia tone. The sprites for this conversation aren't really "sprites", per-se -- the entire scenario is actually stored as a series of background images in the game files.
One image that caught my attention, however, was bg_201_11:
On my first playthrough of the game, I dubbed this sprite "Kokichi angy"
This image stands out at a glance because of the Kokichi sprite, which isn't seen anywhere else in the entire game. Compared to the other images in the set, this image actually seems to be from an older build of the game, as the shadows in the background, shading on the sprites, and position of Kokichi's arm-belt-things are different.
bg_201_11 vs bg_201_01
My guess is that this unused sprite was an older version of sprite 38, especially since the current sprite 38 has similar errors as the older sprite.
Personally, I'm glad "Kokichi angy" wasn't actually used in the final game. He looks a little too much like a wet cat.
On another topic, also related to the linked analysis: let's talk about the ever controversial whiteboard note written by Kokichi under Shuichi's photo which, in the English localization, reads "trustworthy?"
As many people have pointed out, both now and in the past, this note was translated oddly and the original text was 「油断ならない?」 (yudan naranai?).
Though it's often translated by fans as “sneaky or cunning”, the literal translation is actually “don't be careless”, with “yudan” meaning “careless” and “naranai” meaning “must not (be)”. This is translateable in most situations as “dangerous”, hence that being the stock translation supplied by Jisho.org.
After all, "don't be careless" has essentially the same meaning as "this is dangerous", in most situations at least (think mountain climbing, or traveling through a dark alley; you wouldn't want to be careless because it is dangerous, you don't know what to expect so it's treacherous and sneaky).
When translating a note regarding a person, though, I would think "don't be careless" would be more appropriate, especially considering Shuichi isn't particularly dangerous compared to some other people in the academy whose dangers are well known (*cough cough* Maki)
You can find the independent translated meanings of yudan and naranai on Jisho as well as on Wikitionary (yudan, naranai).
So, Kokichi is essentially telling himself to stay on his guard around Shuichi, since he doesn't know what to expect from him. His attempt to team up with Shuichi in Chapter 4 was probably his confirmation that Shuichi wanted nothing to do with him, and that he should formulate his plans accordingly. It would probably have been ideal for him to have Shuichi on his side, as he saw Shuichi as a wild card (rather ironically; I'd imagine the group perceives Kokichi as the wild card of the group). So despite the translation error, the points made by the linked analysis still hold decent ground.
All in all, despite my belief that Chapter 4 is absolutely ridiculous, the linked analysis is quite good when one assumes Chapter 4 is logically sound (it's not), and still holds up even to someone like me who really dislikes Chapter 4 for its severe logical fallacies (my suspension of disbelief was absolutely thrown out the window when I played it... but maybe that's a matter for another day)
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What is the antisemitism in TUC season 1? Does it have to do with Wally the golem?/gen
[ID: an ask from an anonymous tumblr user that reads "would love to hear more about the antisemitism in unsleeping city! was a while ago that i watched it and can't remember what you might be referencing but definitely want to be aware of it.]
no, it's not about willy the golem -- i actually think willy is a great addition to the season (even if i wish we got to see more of him), and an indication to me that brennan/the showrunners were definitely trying to be sincere and inclusive. i want to make it clear that i don't think anything antisemitic in tuc is there intentionally; i think it's there out of simple ignorance, which is also why i think fans don't frequently see/comment on it either. but i don't think that's an excuse, either.
my grief with tuc1 is largely centered around its portrayal of robert moses as the villain. especially by making him a greedy, power-hungry lich working en league with bloodsucking vampires. (also his mini is literally a green skinned skull man in a suit. yikes.) here's the thing; i know robert moses was a real life horrible person, who actually was racist and powerhungry etc etc. and i know that robert moses, the real actual person, was jewish. my grief with tuc1 is not that they chose to use robert moses over literally any other person (real or fictional) to be their season villain (though i'd be really curious to know what tuc1 would have looked like with a different villain), but that they chose to take a real jewish person, turn them into an antisemitic caricature, and then only barely add other portrayals of judaism to balance that out.
like, tuc isn't completely devoid of other jewish representation. as you mention, there's willy the golem -- and again, i really like willy, and i love that it's a portrayal of a golem that's faithful to jewish folklore (ie as a benevolent, guardian construct rather than a mindless destructive monster. i am not a fan of how 'golem' is so frequently misused as a generic enemy creature in other fantasy and ttrpg spaces, including other seasons of d20). but as i said earlier, i wish we see more of him in the season, because he's not around very much, and feels a little more like worldbuilding than a full character to me. also, he's not human. jews are people.
the only other human jewish character in tuc1 is...stephen sondheim. which, again, yeah, that's a real person who really was jewish. but i really wouldn't blame you if you had no idea of that when watching tuc1. maybe from the name you could guess he might be jewish, but i don't think people ought to make a habit of trying to 'clock' someone being jewish by having a 'jewish-sounding' surname. as he's portrayed in tuc1, you'd never know he's jewish, unless you happen to already be pretty knowledgeable about the man in real life. it's far more likely you'll know him as a theater legend than anything else (may his memory be a blessing).
now i'm not saying that brennan or the showrunners should have played up the jewishness of Real Person Stephen Sondheim to counterbalance the depiction of robert moses; that just feels weird to me, especially considering that sondheim was literally alive when tuc1 was filmed and released. it's a tricky thing to portray real people in fiction alongside made up characters, especially when they are contemporaries, and i don't think 'outright caricature' is the way to go about that. nor do i think that moses' jewishness should have been played up at all, because again i don't think that would have been particularly true to the person/character, and also Fucking Yikes. but, c'mon, if you hear the names 'moses' and 'sondheim' next to each other, which one do you associate more with judaism?
and as it stands, these are the only representations of judaism in tuc1. one admittedly nice but very minor nonhuman character; one human character you'd never be able to tell was jewish; and a third human character who, while never explicitly referenced as jewish, plays into some really hurtful antisemitic stereotyping. and it was a choice to not include anything else. maybe not a deliberate one, probably more likely one made out of simple ignorance than anything else, but a choice nonetheless. in a city with one of the largest and most visibly jewish populations in the country, and a culture that is inextricably influenced by that jewish population. a jewish population which has been and continues the target of rising hate crimes for years. i know that nyc means different things to different people, and everyone's nyc is their own -- but my nyc is jewish, and it sucks that that its jewishness is referenced directly in only one very minor way, which is greatly overshadowed by its, in my view, really insidious indirect references.
i don't know exactly how to go about addressing this. obviously, the show can't be changed by now. even if it could, i think the final product would be very significantly different from what it is now if the villain was something/someone else. i think including more references to jews in new york, more (human) jewish characters, hell, even mentioning hanukkah celebrations and menorahs in windows (it takes place in late december, after all; depending on the year it's not at all out of place for hanukkah to coincide with xmas!) would help. having literally any more positive jewish representation in tuc1 would, i think, help balance the bad stuff that's there. because, yeah, robert moses was real and he was terrible and he was jewish. but he's one jewish guy in a city with over a million jews, the vast majority of whom are just normal people. i don't want him to be the only vision of us that people get, in tuc1 alone or in any media. i'm not saying that jews can't or shouldn't be villains in fiction; but especially if you are a goyische creator, you should be really careful in how you're portraying us, and if there are other contrasting depictions in your work, too, in order to not (even accidentally) demonize jewish people as a whole.
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