“Someone said this:
“Even if you have no memories of being loved, for as long as you have memories of loving someone, you can continue to live.”
…But how is someone who has never been loved be capable of loving someone else?
A child who wasn’t able to receive the minimal love they required at the time they needed it the most will continue to gaze at the illusion of affection and never know how to love until the day they die.
Well, how about me? Can I continue to live?”
Furuta grew up without love, surrounded by the products of Tsuneyoshi’s fucked up harem. The only person who seems to have shown any affection at all for him, as seen in the flashback in this chapter, is Rize. Rize who cared if he died when she ate him. Rize who played with him. Rize, whose fate he was fully aware of. Who he saved, because at some point, or maybe deep down still, he understood that that fate is wrong. She was the only thing he had, and he let her go, for her sake.
In this explanation to Kaneki, he mentions explicitly that as a child, he had these childish ideas of love and marriage in the future for them. Things he gave up for her safety from the men of the main Washuu house.
Even when he’s being crude and creepy, talking about Rize having all of those children for him, he references 101 Dalmatians. A Disney movie. And one with some of the healthiest romances, both between the dogs and the humans.
Even now, he’s looking at a Disney movie where two dogs snuggle each other. Where these two dogs have 15 puppies who they risk their lives to save. And who adopt 84 other puppies who would otherwise be dead. When you think about him as someone who grew up surrounded by who knows how many half-siblings, in the Garden like he did - this is basically him saying he wants a Disney Romance.
Which is not to say that the way he’s speaking isn’t terrible. That the tropes he’s using aren’t horrible and misogynistic. They are. Furuta, as he always has, is falling back on farce and drama, on systems of power that he himself as already explicitly told you he condemns. Furuta switches between honest and lying, between truth and exaggeration, between real emotion and fake dramatic flare over and over.
He speaks in this weird mix between a cynical jaded, crude adult, and a desperate, sad, idealistic, stubborn child. Like with his big speech to Eto about V in 66, I think this chapter he is mixing truth and fiction. Sometimes strategically, sometimes just because.
@linkspooky pointed out to me that it almost seems that the more honest he’s being, the less of his face is shown. Times when he’s really approaching sincerity and seriousness, he’s shown from the side.
Where as most of the time, he’s hidden under his flare and his masks and his drama.
Furuta, for all his fake emotion, is clearly uncomfortable with the real thing. Uncomfortable when people make him feel things and uncomfortable expressing emotion. Uncomfortable and unskilled and really parsing it.
Instead, he falls back on theatre and performance and lies.
When he says he couldn’t bare the thought of her having a kid after being free for so long… was he talking (just) about jealousy, or was he talking about the fact that the CCG, and thus V, was gaining on her - had almost captured her in the 6th ward and gotten Shachi in the struggle, and was well on their way to tracking her down again? Was he talking about not wanting her to be free, or about after all that time, still not being able to accept the idea of her being recaptured by V and used by the Washuu men like that.
He used her too, of course - and brutally. I think he was mad at her not only for wasting the freedom he helped her win, for almost getting caught again - but also because he still cares. And he doesn’t want to still care about her. So he punished her for his own feelings. Furuta is… not a fan of his own feelings. And he’s childish.
Its not an excuse for what he did to her, but I do think he acted when he did, if not the way he did, because if he hadn’t, there was a very real chance she’d have returned to her old fate. And that, he could not abide. Even now.
What he did, to Rize, in taking her power and undergoing that surgery himself, in killing off all the Washuu, taking leadership of the CCG - he gives multiple reasons for it even in this one conversation with Kaneki. On the one hand, in his proposal to Kaneki, he sets up a clear role for himself - as a villain to unite ghouls and humans against (Kaneki’s team, rather than the CCG and Clowns in this case) and introduces it as a big production, culminating in his own, rather than Kaneki’s death - ever suicidal as he is.
But explicitly, he also claims that people don’t need reasons for what they do. He also claims that he is doing what he wants to do, and that he is doing what he wanted to do as a child.
I think all of these have a grain of truth to them. He talks in such a way that mixes narratives, mixes truth and fiction, and sometimes just because its easier to talk with (half)fake emotion than real ones.
I think that Furuta, the nearly 6 year old child wants to destroy the toxic terrible “family” that used and abused him, and create in its place a 101 Dalmations style family, with him and Rize as Pongo and Perdita. A big loving, new Washuu family. This part of Furuta doesn’t care about ghouls or humans or Kaneki Ken or Eto Yoshimura or any of that at all.
But Furuta is also an adult, and became one probably much too quickly, if he knew what awaited Rize and helped her escape because if it. And the Adult Furuta knows he can’t have any of that. That Rize forgot about him and doesn’t love him back and that he burned that bridge by dropping those beams. His children with her are going to be via Kanou. Anything new will be born from death and fire and war. Adult Furuta has plans. Adult Furuta wants.…something… out of all of this. Some grand finale.
Part of Furuta is still that child - still wants Rize to come back to him and love him and play with him (and maybe kill him). Wants a big happy Disney ending for them. But he also knows he can never really have that. He’s known that he could never have that, because of how he was born. That’s the irony of that line, about the life he has and how he might as well. Because he was born to NEVER get what he wanted, ever. (And yet - and yet he fights back - viciously and endlessly and savagely, despite being born only to serve.) Because he has grown up now, and he’s done terrible things, and he knows that that happiness is impossible. But he’s also 6 years old and desperate and lonely.
I personally have thought for a long time that Rize is being set up as the one who will kill Furuta. I just hope (though I don’t necessarily expect) that they will get a chance to talk before it happens, or when he’s dying, or something. A chance for him to thank her for finally killing him, after all this time. A chance for him to say sorry, or not to - to say he’s glad he did it if it ended there, with him dying in her arms.
I still don’t think Furuta thinks any way about women, in general, though I understand why people see this pattern. It’s certainly a power structure highlighted by his character, either way. I think he probably has a good deal of the background misogyny of the culture and of the Washuu clan in his upbringing, but he also has a deep seeded hatred for everything about that upbringing. His understanding of things is so twisted and bent around this terrible place he was raised in, and the world he was forced to live in, that its honestly a miracle he’s still fighting for something different.
But Furuta sees every structure as a farce, as a mask, as a tool, rather than a truth. And he plays with these tropes of misogyny and discards them just as quickly. He’s making himself out to be a villain, to be crude, to be cruel. And it’s no excuse for his actions - for the very real fate Rize suffered at his hands. But he deals with Matsumae as a failed knight and a hypocrite, not as a woman. He plays with misogyny and its masks and its power system when he’s mock-flirting with Eto, but the next second he throws it away. He has no regard for masculinity or its virtues. Its a game to him. And that is a nasty and dangerous way to look at a very serious thing. Which is a great metaphor for Furuta who sees farce in everything. And is setting up a grand theater with all of Tokyo as its stage, possibly to write his own death into the final act.
“When I unveil this, won’t you come play with me?” He knows what Kaneki wants. He knows who Kaneki will save. He knows who Kaneki will kill. He still wants to die, and he seems to like the idea of dying to make things better, in a sense. And still, he’s speaking like a child. Come play, Kaneki.
“Doesn’t it make you want to die?
If you die, you can get cured you know. (This is true.)
So if you were planning on giving me something.
In this year, I want four times more of that love or hate.
(Alright, here it is. The unedited, unfinished mer!Stiles fic. Warnings include: assholes, angst, violence, people being specist, and references to canon deaths.)
Their journey begins with the usual amount of pomp and ceremony expected for a trade ship.
It’s the Triskelion’s forty second voyage from the colder, northern channels of Bæyan to the warm waters of Coca-Machu, and the crew means to make it a good one. Nothing too dangerous—they’re going to actually try trading this time—and everything will go smoothly. Even the weather has been fair to them since they left Port Duke with the morning tide. Many of the crew had waved goodbye to the few friends they’d made over the years, and perhaps a few enemies too. Others were more than glad to leave the port as quickly as they did.
Some things I think people need to understand about Killing Stalking
To start, I was to preface this by saying this is coming from someone who typically doesn’t like these types of stories (I like psychological thrillers, but not too big into gore and such) and, this is coming from a gay person (a girl who likes girls). So please, Don’t say I like KS for “””yaoi”””
It seems many on tumblr have an innate hatred for KS…without having ever read it. “It’s problematic!” you scream, “It’s abusive!” yes…yes, it is. And what many fail to understand is that these are main parts of the story. The relationship between Yoonbum and Sangwoo is never shown in a positive light, every interaction is menacing and foreboding (even the “lovey” seeming ones) it’s all portrayed in a manner that just screams “Stockholm Syndrome” and the more the story goes on, the more we as readers see the deterioration of Yoonbum’s love for Sangwoo and his desperation to escape (he even has thoughts of killing him, for christs sake). It’s an abusive relationship….portrayed as an abusive relationship. I will admit, some fans do romanticize it, but that’s no fault of the stories own or the author, that’s a whole other conversation. Abusive relationships are real, and it should be no surprised to see one portrayed in a story, especially a story such as this.
“It’s homophobic!!” …what? Are people suggesting that because it’s a gay abusive relationship, that makes it homophobic? I’d say to think that every gay relationship is bright and happy and healthy is slightly homophobic in it’s own right. We’re just like anyone else, gay relationships can be just as toxic and unhealthy as another relationship. And sure, Sangwoo says some homophobic things, but he also comes to accept that side of his sexuality too (he’s also a serial killer so….what are you really expecting)
KS is a psychological horror featuring a gay toxic, abusive relationship. It doesn’t glorify these things. Are there some problematic KS fans? Definitely, but just because someone reads KS doesn’t automatically make them a shitty abusive scumbag like some of you seem to be thinking (looking at you, rude anons in my ask box). Look, I get it if KS isn’t your cup of tea, it’s definitely not for everybody. But don’t go around assuming things and attacking people when you don’t truly understand what you’re talking about. KS portrays abusive and problematic things, but does that make it problematic itself? I don’t think so, it’s a horror story, and has a plot and characters to fit that. Sangwoo is a merciless serial killer, is he sometimes portrayed sympathetically and given a background? Sure. But Criminal Minds does the same thing with it’s serial killers, why arent you complaining about that? Jojo’s Bizzarre adventure does that with Kira and he’s one of the most believable and effective villains i’ve ever seen. And Sangwoo is just that, a villain, just because he can be portrayed sympathetically and given a personality doesn’t detract from that. It’s never really been implied that Sangwoo is a good person that deserves good things. Do some fans seem him that way, or see him a positive light and want him and Yoonbum together all lovey dovey? Sure, theyre out there. But that’s them and their prerogative, not the story (I don’t agree with that but that’s them, not me) Do some people only read for ~yaoi~ they sure do. But again, that’s them, NOT the story itself.
But you can’t blame the story for some of the fans or your own assumptions about it. KS is a psychological horror, it’s plot is well thought out, its characters are believable and everything is portrayed amazingly through the writing and art. If you think of KS as a “love story” then yeah, it’s “problematic” but that’s not what it is. It’s HORROR, and it’s horror done right.
Since Grimmons is pretty much canon, and we know thanks to Doc that Grif’s parent[s] favoured Kaikaina over him, and that the reason he eats so much is to deal with his emotions—then that time Simmons’ eyes were glued to Kai’s body must’ve really hurt him. And I don’t know if he’s insecure about his weight but considering Kaikaina was implied to have a fit and flexible body then I’m guessing that did not help.
Grif probably ate even more during that time and instead of questioning it, Simmons would chastise him for ruining his body.
Ever body compares life to a roller coaster but then my friend pointed out that going down was the best part unlike in life when it’s the worst. I said it’s still like that because in life people destroy themselves with drugs, drinks, sex, fame, and fortune. And they have the time of their lives destroying themselves as if they were on a roller coaster that’s going down. But when people realize they are destroying their lives they just lean back and enjoy the fall down.
Okay guys. Can I just mention how sweet Mob is? I mean, he got that incredibly shady “love letter” in episode four. Dimple tried to assure him that the letter was a trap, which it was. But Mob still went to go meet the “girl” who wrote the letter, giving the bad handwriting and spelling mistakes the benefit of a doubt. He didn’t want to keep the girl waiting, in case the letter was real. He really is a gentleman, I just–