kyo would like you to stop

we need an ‘otaku’-fic where ladybug and chat fight an akuma (”weeaboo”) who sends people through different anime/manga-verses

ladybug is totally clueless and weeb-adrien definitely knows every single anime

  • Ouran High School Host Club 
    Ladybug: SHIT, HE LOOKS LIKE ADRIEN AND ACTS LIKE CHAT, I’M SO CONFUSED RIGHT NOW! TIKKI WHAT IS HAPPENING?
  • Fruits Basket 
    Chat: What a catastrophe!
    Kyo: I swear I’ll punch you if you don’t shut the fuck up.
  • Soul Eater
    Ladybug: Well, that’s actually a pretty cool world. I could live here.
  • Ao no Exorcist 
    Rin and Chat both admire each other’s tails. 
    Rin: Do you think a skin tight suit would suit me?
    Yukio: Nii-san no!
    Chat: Hell yes!
    Ladybug: Chat no! Stop the puns!
    (okay, as an ane fan i have so many scenarios that i could write a whole 30 chapter fic about just this crossover)
  • Higurashi/umineko no naku koro ni
    Both: Nope, next one.
  • Attack on Titan
    Ladybug: How about a world in which we won’t get killed by accident?
  • Ranma ½
    Ladybug: So, lets say you stay a girl for more than a month, would you get your period?
    Chat: Ladybug, no!
  • KissXSis
    Ladybug: I’m kinkshaming all of you
  • Boku no pico
    Chat: MY LADY, WE NEED TO LEAVE THIS CAR, LIKE RIGHT NOW!
    Ladybug: But we just got ice-cream? 

bonus: they find alya, nino (and chloé) along the way

bonus-bonus: accidental reveal

Update: I’ll probably write the fic.

anonymous asked:

Hello! Urm, can I have some headcanons... of Shiranui Kyo & Chikage Kazama reacting to a S/O that is kind & helpful but NOT NAIVE while she's being nice & helpful to others? she knows when to stop being selfless and protect herself.

Thank you for requesting, anon~

Kazama:

To be completely honest, he would treat his s/o exactly like he treats Chizuru under romantic circumstances, so the following headcanons will touch on the implicit or unmentioned.

♥ Seriously prefers it this way. Kazama can’t stand the naive and I’m not sure he would even have a significant other if she was such.

♥ Sometimes finds it a bit annoying when she persistently worries about the things she can help him with.

♥ As long as she doesn’t go against his wishes or act defensive in any way in front of him, there should be no problem

♥ Sometime finds her selflessness admirable yet a bit foolish. Respects that she has the right mind to not let this altruism debilitate her self-preservative abilities.

Shiranui:

♥ Kindness is for the weak

♥ He takes it for granted, much to her dismay I imagine

♥ Secretly admires the contrasts she exhibits: going from kind to distrusting in a matter of just a few moments

♥ Inclined towards messing with her because of this, just for his own amusement

♥ Gets rather annoyed if she constantly insists on helping him with his own problems

♥ “Damn, woman, I’m not a five-year old”

♥ Never point it out to him, but Shiranui actually enjoys receiving the selfless kindness, it brings back memories of a better time - a frequent solace to him.

familiar strangers

kota igarashi x mc (misaki kasagi)

The silence is deafening.

He’s used to being alone—that’s not the problem. But things have changed—he’s lost six months of his memory and there are clothes in his drawers that don’t belong to him. He’s completed video games, he has some that weren’t supposed to be released yet, in his mind; he feels displaced.

And everyone walks on eggshells around him, and around her. Sometimes he catches her looking at him, and occasionally he’ll smile, because there’s some affection towards her, but she looks away like he’s hit her. He isn’t sure what to make of it. All he knows is that she seems like she stays in her own room a lot and doesn’t seem as chipper—her smiles, her laughter, it all feels faked. It’s forced, and Kota is not afraid to admit that she’s a pretty terrible actress.

He knows things are wrong, but everyone is insisting that it’s okay. He thinks about asking what he’s missed, asking why they’re all so uncomfortable, but he’s afraid of what he’ll hear.

So he’s thankful (for once) when Nagi comes to his door and sits on the floor with him. There’s a plate of food passed between them, and Nagi waits until Kota has at least eaten some before speaking.

“How’re you feeling?” He asks, kindly. Kota shrugs.

“Same as ever,” he replies. He takes another bite and narrows his eyes. The rice is covered in soy sauce. He never thought Nagi knew he liked soy sauce this much.

“This is good. Did you make this?” He asks, scraping together another bite. Nagi goes awkwardly silent, shifts his weight—

“Misaki did,” he says, a little quietly. Kota pauses for a moment, then hesitantly shovels the food into his mouth.

Nobody talks to him about Misaki. Something must have happened, he thinks—but he’ll be damned if he knows what. He pokes around at the chicken on the plate and musters up the courage to ask, face hidden by his bangs and hood.

“What happened?” He asks, and Nagi stiffens.

“Kyo says I shouldn’t tell you, but…” The blond rocks from side to side in thought. Kota looks up at him.

“If you really want to know, I’ll tell you,” he says. Kota nods.

“I want to.” Nagi picks at the carpet, and Kota stares anxiously at him. Nagi lets out a slow, deep breath, then starts.

“After you finished that movie with the finale in the airport, you and Misaki started dating. Something had happened in Hokkaido, but you didn’t tell anyone what it was, and then you guys got together,” he explains. Kota feels his eyebrows drawing together. He feels like there’s a fog, but beyond it are these things Nagi talks about. He sees a hotel room and her, looking up at him in apprehension but expectation, script in hands—

“You went to her parents’ house last month,” he says, and Kota starts.

“I did?” He tries to think—he ought to remember that. He thinks he remembers her smiling at him from the driver’s seat, but he’s not sure. Nagi nods.

“Her parents really liked you,” he says. “But, um—then the accident happened…” He gestures to Kota, and he feels oddly ashamed. He pokes at the food on the plate, his appetite gone.

Of course she would know about the soy sauce. Of course. Kota feels almost guilty about that, too.

Nagi shrugs and nods towards the plate.

“If you’re done, I’ll take that—” Kota furrows his brows and picks the plate up, standing as Nagi does.

“I can take it,” he says. Nagi looks pained, and reaches for the plate.

“Kyo said—” He stops himself and looks down.

“Misaki’s down there,” he explains. It takes him a moment, but he realizes, suddenly, that they must be protecting her. It can’t be easy to be her—to be the ghostwriter, just starting to fall into a routine, only to have her boyfriend get amnesia and go back to essentially ignoring her existence. It doesn’t surprise him that Kyohei is trying to keep them separated, to keep her from having a reason to run off.

Even so, it still pisses Kota off that they won’t tell him about his own life. He reaches for the plate and manages to snag it from Nagi.

“I’ll take it down myself.” Nagi is too stunned to stop him, so Kota makes it out of his room. His heart is pounding, and anxiety creeps up his throat.

How is he supposed to face her now? Half-formed memories drift through the fog of his mind—her in his arms, the feel of her lips on his—

She has her back to him, she’s loading the dishwasher. Nagi seems conflicted, and he falls behind. Kota purposely makes his steps louder, preparing them both.

She turns, smiling, but it freezes on her face.

They’re familiar strangers, he realizes, looking at her. The plate is in his hand and there’s a smile on her face, but nothing feels normal. He knows he shouldn’t expect normal from her. It would be like expecting normal from his parents when they were never around; it’s not possible.

Her gaze flickers to the plate in his hands, to the barely-touched food. Her smile falters.

“Oh, are you done?” She asks, kindly. But she sounds worried. Kota, looking at her and the way she reaches expectantly towards the plate, feels guilty.

He nods, silently. She takes the plate, hesitates, then sets it on the counter. She pulls plastic wrap from a drawer close to her hip and wraps the top of the plate.

“You can heat it up later, if you want,” she says, and he sees how hard she’s fighting for normalcy. Her eyes betray her, though—she can’t seem to look straight at him for more than a second. She busies herself with the dishwasher, then glances up at him once it’s on.

“Did you need something?” She asks. The softness in her voice is familiar, but alien. He doesn’t remember her ever taking that tone with him.

But in his head there’s a moment—the house goes dark, he reaches for her hand and she’s patient, she doesn’t judge him, he feels safe

“…Kota?” He lifts his head. She takes a step closer, peering up at him.

“Are you okay? You’re really pale—”

“I remembered something,” he says. There’s a hotel door at her back and the script goes flying from her hands, she’s on top of him and her lips—they’re on the couch and he’s looking down into her eyes, she’s so cute when she blushes like that—

“O-oh. That’s good,” she says, but her smile is forced, brittle at the corners. Kota forces himself to look her in the eyes. The way she looks at him—afraid and uncertain, but hoping, hoping—makes him want to reassure her. He has the urge to hold her and soothe away her fears. The words ‘I love you’ spring to mind, but—

But—

“I’m sorry,” he manages, quieter and more clipped than he intended. Misaki smiles kindly, she shakes her head; the hope fizzles out of her eyes, and it breaks his heart to see it disappear.

“It’s not your fault.” He knows it isn’t, he thinks. It’s the stunt director’s fault. That’s the point of the lawsuit, he thinks. They let him fall and he hit his head, and now here he is. He still remembers waking up in the hospital and seeing her crying, then smiling—and when he furrowed his brows in confusion at her emotions, she walked away. Everything makes sense now, though.

Kota can’t imagine how she must feel. They’re two shipwrecks searching for shore, but they’re caught in each other’s wake. He looks at her again.

“Help me,” he says, and she starts slightly at his words, looking up from the counter she had been inspecting far too carefully.

“What?” Kota curses his inability to speak fully, and tries again.

“Help me remember.” She looks pained when he says this.

“Kyohei—” Her voice is strained and uncomfortable. Kota cuts her off.

“It’s my head,” he says, bordering on anger. “They’re my memories. I want them back.” Misaki bites the inside of her cheek and seems to contemplate this. Kota feels his heart pounding in his chest.

“Okay,” she says, quietly, and Kota can’t help but feel startled. “We can… We can look through pictures sometime. Or something.”

She nods and looks up at him, as if the agreement she came to was with herself rather than him, and smiles. Kota does, too, for the first time in what feels like a very long time.

“Thanks, Misaki.” She smiles a little more when he says her name.

“You’re welcome.”

Most of the pictures of them are a little rushed, and he’s scowling—but he sees the softness in his own eyes, recognizes it, and realizes: he’s still in love with her. Things have changed, but not that; and he decides that in the next photo they take together, he will remember, and he will smile.

GREED: 京 x Free Talk

(Couldn’t find translations for the free talk portion of the GREED documentary so I started sometime last year. And then got bored and immediately stopped lol. This is only 2 out of the 11 pages for Kyo’s section.  I stumbled on these notes while cleaning out my computer so here.)


京 : I’ve really liked Histoshi Matsumoto for a while. Given that I do music, I’m not really interested in comedy, but on the inside Matsumoto Hitoshi is very extraordinary. Within his comedy I think there’s malice. Rather than [from the comedy of] DOWNTOWN, it’s Hitoshi Matsumoto. He has a DVD series called “HITOSO MATSUMOTO VISUALBUM” and it has strange ideas/thoughts. But honestly speaking, I don’t really read his books for a deeper understanding. Generally, I only understand parts of it. I’m immensely drawn to [reading like this]. I don’t just read his books though, anything else (with his name) I also read/view, even movies.

(Note: I can’t find a way to word it, but Kyo says how he just likes reading Matsumoto’s book with a normal mood, like when you wanna read a book before you go to sleep to relax, and not to analyze it, that kind of mindset ^^)
**Matsumoto is a popular japanese comedian, and DOWNTOWN is the comedic duo group he’s in

I: You said it was “malicious/evil”, can you explain?

京 : Well…I think comedy is divided into many categories, but the purpose is still to make everyone happy. Hitoshi Matsumoto probably feels the same way… but I think he is more focused on self-satisfaction. (he talks about doing what you want, instead of changing your ‘art’ to suit the audience) Although this is a bit biased, there’s a comic that everyone loves called “ONE PIECE”, but I find it very annoying. Hitoshi Matsumoto is probably able resist to the performing in such a way. In the end I don’t truly know, but [it seems to me] his taste is not the same as others.
(Kyo mentions that he really enjoys that type of comedy/comedians who stay true to what they find funny, and keeps mentioning “malicious/evil feeling”)

I: Are there any other comedians that you like?

京 : Although his style [of comedy] is different, Chihara Seiji is also good. There is no malice in his comedy… but rather a very free feeling. It’s such an extreme (from Matsumoto’s comedy), but surprisingly I still liked it.

I: (talks about how Matsumoto’s methods to comedy on stage might be basic, but he’s managed to capture the hearts of the audience with his strong performance)

京 : Exactly. When listening to him, you probably don’t get a good impression of his character (laughs) But it’s really interesting to me. Before dying, I want to see him even just once. Just because I know him, doesn’t mean he knows me. So… just a meetup is fine (laughs)

I: That’s totally like a fan [to feel that way], isn’t it? (laughs)

京 : Is that so? I don’t consider myself a fan. I just really like him.

I: (something like since Kyo wants to meet Matsumoto, he asks a question regarding fans who want to meet with Kyo, and how Kyo perceives their feelings?)

京 : Hmm…. even if I said “like/love”… everyone calls it a “like/love” but I’m not very convinced. I’m not deliberately trying to be negative, but simply because the “like” they are talking about is not how I view it. “Ah, I know how you feel”, I have heard such responses, but they don’t even watch TV, and so I would think, “uh huh…..” (laughs)

I: Actually, it’s not just limited to bands, right? In regards to artists and idols, there are sometimes changes in the mood/feeling when they say “I’ve graduated”. (basically like when people stop being fans of something)

京 : Yes, it is. So … like that word is has very ambiguous feeling (he means the word “fan”). But I’ve like Hitoshi Matsumoto for more than a decade, and my feelings have not changed.

I: It is a love for it/them (laughs).

京 : Yes. So someone tells me, “I have liked [this object/show/artist] for two or three years,” I only have “huh” as a response.

I: True, as time passes you really find out whether that love/interest is genuine.

京 : (talks about how even if Kyo likes them, the comedian for example, it’s only natural for the interest of the individual to change on both fronts. Over time both the performer’s self ideals change as well as the 'fan’. Kyo then wonders about DIR EN GREY’s fans, those who have stuck by them for so long despite their artistic changes, and the fans who leave whenever the band changes.)

I: (Says something about how when that relationship changes, sometimes either the idol or fan will change in order to meet the standards of the other, instead of just accepting change)

京 : (Talks about changing of views and uses North Korea as an example) …so for people who truly like us… it makes me very happy.

I: (I’m so sorry i have no clue what he’s saying here haha something about like “not understanding something very similar to sensitivity”)

京 : Maybe so. Basically even if the musical style [of DIR EN GREY] changes, but what I want to express [in my lyrics and poems] does not. Do they really want us to change this?

I: (Long question basically asking about Kyo’s smile and at what moments does Kyo smile on stage)

京 : I can only say that this is a very natural action, such as when you want to laugh out alone even when I don’t laugh… (talks about giving his 100% effort) at the end of each live I’m at 0 [because I’ve exhausted my being], (talks about how the band members stay around on stage and throw things into the crowd) But if I want to, then I will do it, that’s all. (talks about how he says whatever he feels like saying when he’s on stage and at the end of performances)

I: (Talks about how most mucisians will announce that they are happy at the end of lives. usually they say it’s because they performed their best/put in their all.) Kyo is this how you feel as well?

京 : Well, naturally, language coupled with physical action… but this for me is only about 95% of completion, and the remaining 5% is when the fans become one (with me/us). When all the conditions are reached, I will then say, “I am very happy,” this is the case.

(they end this segment by discussing Kyo’s smile at the end of concerts. the interviewer mentions that the fans feel happier and more satisfied when kyo, and the rest of the band, show signs that they enjoyed themselves. kyo laughs and goes “ah so it’s like that”. The interviewer explains it further, and Kyo goes “isn’t that something fan[atics] say/think?” )

If Bleach characters did fan art...


As requested by anon. :)


Since we’ve already talked about Bleach characters’ favorite video games, anime, TV shows, and books (did you know there’s a page for favorite things?), I don’t want to do a list about *what* Bleach characters would draw. But I will do how they’d approach fan art itself! 


1. Rukia: Draws characters as adorable animals

No matter how gritty the source material.

Ichigo: Is that bunny making meth?

Rukia: Breaking Bad is so good.


2. Rose: Uploads videos of himself doing speed paints

He does them very quickly and they are very beautiful.

Rose: I especially love drawing sad blond men!

Kira: …


3. Sasakibe: Just draws Doctor Who fanart

Sasakibe: And this is my OC!

Yamamoto: It looks like you in the TARDIS

Sasakibe: I would make an excellent companion.


4. Grimmjow: Draws Kyo from Fruits Basket

Just, over and over again.

Ichigo: Why are you drawing me?

Grimmjow: IT’S NOT YOU


5. Hinamori: Can’t stop drawing characters who wear glasses

Yachiru: Glasses, huh? Is that ‘cause of -

Matsumoto (covering Yachiru’s mouth): Your drawings are so good, Hinamori!


6. Bazz-B: Only draws characters with cool facial hair

He’s not picky about what kind of facial hair. Beard, mustache, eyebrows…

Renji: So, uh, you like Legend of Korra?

Bazz-B: That Mako guy has awesome eyebrows, you know!


7. Ulquiorra: Does screencap edits

Mostly he takes screencaps and then adds sad words.

Orihime: Um….maybe you should *stop* watching Hunter x Hunter.

Ulquiorra: No I like the empty sad feeling.


8. Ishida: Draws hyper-realistic pictures.

Ishida: I’ve read like three anatomy books.

Ishida: Worth it.


9. Orihime: Adds robots to everything

Because robots make everything better.

Chad: Was there a robot in Pride and Prejudice?

Orihime: There should have been!


10. Yumichika: Only draws beautiful characters

Ikkaku: You sure seem like you’re into One Punch Man.

Yumichika: The main character is so beautiful.


11. Urahara: Adds cat ears to everyone

Or sometimes he just straight up draws the characters as cats.

Soi Fon: SASUKE DOES NOT DESERVE TO BE A CAT

Urahara: W-where did  you come from??


12. Byakuya: Draws Spongebob Squarepants fan art

Renji: Is that, uh, Admiral Seaweed in the corner?

Byakuya: If I keep drawing him in the show, they will eventually have to add him.

Byakuya: It would be so good.

"Living till the age of 200" - talk between Kyo and Chihara Seiji (cinra.net)

Kyo from DIR EN GREY/sukekiyo and Chihara Seiji, one brother from the comedy duo “Chihara brothers”. A talk session between those two happened. There were many that thought it’s an unusual combination, but Seiji is originally known as a rock authority and Kyo surprisingly likes comedy/to laugh. While working in the totally different worlds, they showed strong interest in each others field of work, there was a wide range of topics coming up in their conversation. I think that from Kyo’s remarks and also form how Seiji lead the conversation with frank way of speaking suggest that Kyo enjoyed the interaction with Seiji. And since in the content their relationship of trust comes out more than anything, please enjoy reading the whole conversation.

Interview by: 渡辺裕也 /Watanabe Yuya

Instead of the comedy that is supposed to “make everyone laugh” I prefer the comedy of walking ones own path, you know. (Kyo)

– As it seems that you met each other through mutual friend, do you maybe remember what did you talk about first?

Kyo: It was surely some hardcore story?

Seiji: Oh yeah. Few years ago I was playing in a hardcore band.

K: Did you have any concerts recently?

S: Not at all. Now I’m going to Africa (for program “Finding various villages around the world! Japanese going to such places!”), so I don’t have time for a band at all.

Keep reading

Ongaku to Hito - May Issue - Kyo interview 1/2

What kind of release is it for you personally?

Kyo: Personally… I think we managed to create something interesting. I have confidence in it and I’m satisfied with how it turned out.

I think you had something like an image of the work from the beginning, but actually how is it if we compare that to the finished album?

Kyo: There are things that turned out according to the image, there are things that turned out differently. Even though it was the first time for us to produce things together, the work has the mixed atmosphere from all members. Even though it was done in a short time.

In a short period of time, even if that was your first time, why do you think you were all able to reach this point?

Kyo: I wonder why. The way of creating music with DIR EN GREY is not so different, but… one thing that changed is, when we get a song together, the arrangement on which we decide at the time is usually not changing from the first version.

Keep reading