#Her potential come up arc

[thepersonperson]

Hey! I see you have many asks so I don't wanna add more to the list so this one is quick :)

I just want to say thank you genuinely from bottom of my heart for the gojo meta posts. Especially the one about his students and how he's not the best and perfect teacher for them. I see a lot of discourse that paints him as 'poor little mew mew' and all I want to say to that discourse is: yes and!!!! Yes he is poor little mew mew but let's not close our eyes on his flaws!!!

God I can't wait for this manga to be over already.

Thank you again!!! <3

Thanks for the compliments!

Gojo is a sad pathetic wet cat that pretends to be dry. He’s also a little bit racist, slightly misogynistic, has questionable morals, and is extremely annoying. I love him dearly.

Him trying his best and being cringefail is the appeal to me. Though I mostly blame the higher ups and his Clan for why he is the way he is at this point. (That Gojo Booklet did numbers on me.) 3 hours of sleep daily, constantly high on Reverse Cursed Energy and sugar. Raised as a weapon by an emotionally distant family that kept him walled off from the outside world, completely tanking his chances of proper socialization. He was set up for failure.

It’s just really unfortunate that the students (and Ijichi) got caught in the crossfires of Gojo’s unique and twisted psychological problems. And that kind of seems to be the point? How systemic issues ruin people’s lives.

I don’t want the manga to end though. There are too many plot things that should be expanded on. I’m hoping for a spin off for Heian Era lore, one-shots to fill in gaps, or more light novels. It’s hard not to want more when there are oodles of unexplored character interactions that are downright criminal.

[fromtheseventhhell]

Another reason that Stansas hate the idea of Arya and Dany being friends (outside of them wanting to demonize Dany) is that they've convinced themselves that Dany and Sansa are the only main female characters, so if a Stark sister is going to have a significant relationship with Dany it has to be Sansa. Arya being constantly downplayed and treated like an accessory to Sansa has generally led to the consensus that her relationship with Dany will be defined by whatever Sansa's relationship (positive or negative) with her is. That's why Arya is always being left out of the "we were robbed of [x] female character friendship" conversations and why theories about Dany/Arya getting along are treated as Sansa hate; Arya, as a character, is seen as secondary to Sansa by a lot of people

[the-dragon-hearted]

We, as a community, do not talk enough about how Juvia and Bora are exes.

Like HELLO

Mr. Number 1 Opp of episode 1 who actively participated in human trafficking dating the one and only done-dirty-by-Mashima water woman.

Also Bora broke up with HER? Sir?? There is so much to explore there that, like many things, IS NEVER BROUGHT UP AGAIN -

Okay - so were they childhood friends or was he using her for her looks/powerful magic? Did it start off transactionally or was there some spark there? How long did they date? Did she stay with him because she felt that no one would ever love her, so at least she could be valuable in a different way? Did he make her laugh? Or just put up a facade in front of other people? Was she his backup for a while, a bodyguard adjacent for when his schemes went sideways? Is that how they started? What about the end? Sure we see him breaking up with her in canon - but why? You can't tell me he suddenly didn't like the rain of The Rain Woman. I mean he can, he's a prick, but consider the alternative: Did she see catch on to his beginnings? Expose one of his scams? Grow critical of whatever shit he was getting into? Did she say something? Did she try to stop him?

The first time we see her she is completely covered head to toe in several layers and the rain does not stop. She says it's never stopped. But damn, doesn't it feel like turned from a drizzle to a downpour after him? I think it's purposeful. The layers are purposeful. The hints are there. She fully expects to be discarded after her fight with Gray. AND seeing how she comes out of her shell in the later arcs - watching her change her hair and her clothes, experimenting with new styles with an almost fervent joy - it just makes me wonder.

Could she not do that before? Was there an expectation there? A controlling factor? How much of her identity was she willing to sacrifice to quiet the fear of being unloved? How hard did the rain fall as it progressed, did it ever waver, or did it only get stronger and stronger.

And Bora? Fucking Bora?

Was it REALLY about the rain, or did she just speak up? Did she intervene and he had enough sense to refrain from trying to harm her. Because if the relationship was built off of him using her for magic and granting her some sense of companionship in return, then he damn well knew that there was no way he, a lil fire mage, could stand up to the actual force of nature that is Juvia. No, that meant he knew EXACTLY how to hurt her without inviting her vengeful side.

So he tells her she's too depressing. He reinforces how unlovable she is. How it's HER fault. How it's always been HER, how he's leaving her because of who she is - how he couldn't change her. He probably throws everything she's quietly confessed to him and leaves - safe from retribution and free to continue his fucking diabolical business. Because he knows he's hurt her worse than anyone else could. He knows that she'll either come running back, or she'll run and run and just keep running.

He doesn't know that Juvia only loved the idea of being loved. Not him. Bora can't imagine anyone not loving him (he can, but he's the run who's running, headfirst into greed with an enchanted ring on his finger - someplace Juvia never would've followed). Juvia doesn't run back to him. She doesn't run at all, the rain pours and she decides: "Fine, if I can't be loved. Let me be feared."

Maybe Phantom Lord orchestrated it, the master seems sort of cartoonishly conniving, and Juvia's magic is insanely powerful - but if that is the case, that doesn't change how easily Bora was bought. It doesn't change how Bora knew just what to say to push her to that point. It honestly doesn't change much of anything.

Bora? Pathetic.

Juvia? We all know she's always been lovesick and maybe if she was allowed a bit more characterization we'd be able to explore why. Maybe we'd talk about why she wore so many layers or kept her hair long. Why she kept a "frilly" pink umbrella but wore all blue. Indulging in a childish side while wearing a face of complete apathy. Why she adores the idea of being loved but can't seem to make it work. Why she's desperate for romance but finds more joy in the friends she makes - it doesn't stop her from chasing "true love" but she finds she doesn't need a lover's touch to chase the rain away anymore.

Because the rain was never about Gray, it was about Juvia. It was about how she was loved - not by others - but by herself.

I could spend eons critiquing how she was written... But for now I'm just gonna sit here and think about the consequences of Juvia dating Bora.

And I'm gonna laugh when Natsu and Lucy own his ass in episode 1. Because they don't even know it yet, but they're avenging a soon-to-be-friend. And honestly, I hope Juvia read about it in a newspaper, the pages soggy under her touch. I hope she sat in a park, the sound of pouring rain drowning out all else, read the headline.

And I hope, that even in that dark moment of her life, when she was the cruelest she would ever be, she read about Bora getting his ass handed to him. And I hope it made her smile.

[raifuujin]

It's been more than 20 years and for some reason I feel that Gosho hasn't given Kaiao any development, how can more than 20 years pass and Aoko dynamics, relationship and feelings remain the same? At this point I feel like Gosho is just going to make them date because "they already liked each other" they remain in the same status quo

Hey, if we go by DC romance progress, they've been going too fast. We've already had suspicion of identity chapters, and that didn't happen until more than 400 chapters in DC. /j

Since heists have taken over any character development recently, I don't even know if Kaito and Aoko will even get any romantic progress. Maybe the actual identity confrontation will happen down the line, since that's thief drama, but atm, it really wouldn't surprise me if they only ask each other on a real date at the very end of the manga.

Like. I'm sure Gosho would love to make MK a love drama as well, but he writes MK so rarely, and usually as hype for something Kid related in other media. So the MK stories tend to be heavy on drama that can only take place at Kid heists. (To the point that the new chapters just. Use Kid as the plot device to show off a new character. Even Hakuba's never gotten so much 'look at this character being a detective' treatment in MK.)

-sighs- I just feel bad for MK as a series at this point. I like the characters, I like the general story idea, but. It's been going down a very steep hill with Gosho wanting things exciting, but not wanting any real progress in. Anything. But unlike old MK, the new stories aren't even nice standalone setpieces of story, they're... mundane. They could be high stakes, if you purely look at the scenarios on paper, but. We all know nothing's gonna happen to Kid. Nothing even happens to him when the actual bad guys show up, much less one-time antagonists.

We need actual character focus and development, not heist drama. Badly. Not even romance, though that'd be a nice change. Just any character expansion of our limited cast of characters. Gosho wants big, all the time, meaningless big stuff, when small would be so nice.

[hypermascbishounen]

Actually addendum to my last post, extremely weird that the lead female character's backstory was being a chief abusive figure to the main cast, has an arc learning to be more compassionate, and everyone reconciling with her being a relatively slow healing process, and people 1) completely ignore the whole healing from abuse =/= continous hatred theme and 2) often bitch about how a girl having to learn to be more compassionate was annoying, and they just wish she was a girlboss action character instead.

[ai-higurashi]

It's so funny how I created Bela exclusively to be Webby's dead mum but, now that she's developed on her own, her turning out NOT to be is the route that makes the most sense for her.

[astrxlfinale]

❛ can you show me how to fight? ❜ guinaifen has stars in her eyes . how can you say no to that -

Just as that very question was drawn to the sunlight, a few starskiffs sailed overhead, all in tune to Caelus's unconsciously squeezing his juice box within his hand. Enough to make his cheek puff out in a burst of surprise (and a rush of his drink) as the state of those words registered. They found themselves comfortably tucked at the high ends of town, a vivid view of the artificial sky beyond them as his head cranked towards her with the finesse of a rusted gate.

Only to see those eyes. The eyes of a innocent dream, a fiery passion of the kindled from the scenes witnessed.

He gulps the juice down first, then the follow ups can spark.

"Ya wanna!? We're talkin' about...." Yet, there's a conflicted pause once the vibrant energy that's just hard to simmer down with Guinaifen. What about risks? The inevitable perils? This Trailblazer isn't ignorant to the sort of calling a wish would elicit. After all, with the few glimpses gleaned, it's distinctly clear that her woven nature as a Pathstrider meant she had a few cards in that hand of fate.

Should he be the metaphorical trigger to shoot that into reality? "First off, no talkin' like it'll be a quick lesson here! Kickin' ass, gettin' your ass kicked, I'm sure with all the martial artists paradin' here, you've caught a few hints of what all that entails. Still. You've got some baddies here that can't exactly be ignored either.. Hrmmmmrgh." His lips scrunch as he tries to alter his view. To stare at the skies! Maybe their fine kicks below? How about the whipping freedom of her glossy hair?

All he did understand was things would get hard if he were to look at Guinaifen's face with this wish on the table.

So that's exactly why he does. Difficult as it is, as much as this moment relishes tugs upon the heart strings, he sees something in the possibility.

"But it would give me one less worry in the head. There's a reason I need to learn though-- Why? No givin' me those big ol' eyes either!" He immediately clips in, lips scrunched as it was clear a struggle. "Like anything else, you'll need some Heart to build that kinda skill up."

@avaere

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[bluewithpurplepolkadots]

Honestly the writing surrounding April wasn’t great in 2012 (okay it was at times a goddamn mess and they had too much going on there, streamline things people) but I don’t trust people who really (obsessively even), seem to hate her and yet apparently love and adore that shows versions of Donatello and Casey.

Please.

[onceandfutureoshainspector]

Danse: If you have the time to talk now, I'd still like to know what you think about Scribe Haylen. Cat: Is something wrong? Danse: No, not at all. Haylen's doing well. I simply wanted to talk to you about her, but I wanted to know what you thought of her first. Cat: She's as dedicated as they come. A real team player. Danse: I couldn't agree more. But I wasn't looking for an evaluation of her performance as a scribe, I wanted to know what you thought of Haylen... as a person.

- oh. ooooooooooooohhhhhhhhhh! i see what this is ;3

---- honestly? my thoughts on Haylen are mostly positive at this point, i don't think they'd make the worst couple.

-------- note to self: see if i can convince her to join the Railroad...

Cat: This isn't like you, Danse. Are you going to tell me what this is all about? Danse: I suppose I'm beating around the bush because I don't normally find these discussions easy to handle. I'll try and get right to the point. The truth is, I'm worried about her. Since you and I are getting along so well, I felt like I could confide in you about it... to get your honest opinion. Cat: She seems to be able to handle herself. Why are you worried? Danse: Haylen is a model scribe. This has nothing to do with her capabilities in the field. A few months before you found us, one of my men was shot multiple times by Raiders. Haylen stayed by that Knight's side for two days straight without sleep fighting to keep him alive... but he was on a slow decline. I decided that his suffering needed to end and ordered Haylen to administer an overdose of painkillers so he could die with dignity. Even though I'm certain she wanted to continue fighting for that Knight's life, she injected him without question. Cat: Are you asking me whether or not I approve? Danse: Of course not. I stand by every order I've ever given. That soldier was gravely wounded. Even if by some miracle he happened to survive, he would have been paralyzed for life. But the decision whether or not to ease that soldier's suffering isn't the point here. The point is what happened later that same evening. After what felt like an eternity, she collapsed into my arms, crying. I... didn't know what to do, so I just held her for a while. A few minutes later, she stopped, kissed me on the cheek, and simply said "Thank you", before heading back into the police station. Right then it hit me... maybe I pushed her too hard. I ordered her to ignore her instincts. To do something her medical training told her was wrong. That's why I'm worried about her... and for that matter, everyone under my command.

- yeah, these two would both benefit from getting the fuck away from the Brotherhood. like, tough decisions for tough situations, but ideally you don't send people into those situations, or at least without the resources and personell necessary to make it back.

Cat: Haylen will be fine. It's you that I'm worried about. Danse: Me? Look, four soldiers... over half of my team, are gone. Each one of them died because of decisions that I made. I understand the risks that come with the job, we all do. But how can anyone have confidence in me anymore? Hell, how can I have confidence in myself? Cat: Would it make you feel better if I told you that I believed in you? Danse: Actually, it does. Well, it looks like things have taken a turn. I signed up to be your sponser so I could teach you everything that I know, but it looks like I'm the one that needed the lesson today. All joking aside, I'm pleased that we had this discussion, and even with all the problems you're facing, you still took the time to listen. It's comforting to know that I can speak to you as more than just your commanding officer. Cat: I'm here anytime you need me, Danse. Danse: Anyway, thanks for letting me get that off my shoulders. I think it's been weighing on me more than I realized. I'm only sorry you had to see me at my worst instead of at my best.

- QUEST ADDED: convince Scribe Haylen to leave the Brotherhood of Steel.

[neofelis----nebulosa]

Watched kfp 4 and it’s definitely the weakest of the kfp movies but I still liked it.

[ochibrochi]

spontaneous magic manifestation was NOT mentioned in the parenting handbook 😬

I know this isn’t how magic in dc works, but the fact that Damian’s ancestry includes some pretty powerful magic users is… INTERESTING 🤔? Drabble under the cut!

I wanna preface that I'M NOT SAYIN' that Damian should/does have magic powers, but there’s still so much unexplored potential with Damian's character, and the thought that he has a dormant adeptness in magic is somewhat compelling to me. Most importantly it would FREAK! BRUCE! OUT!!!!! What is this, magic puberty 😭??

By DC laws, anyone has the ability to learn magic, but it is also possible to be an innate ability. The Al Ghuls are no strangers to the occult-- Ra's has had increasingly been portrayed as a magic user, and the recent establishment of his mother being a sorceress/witch?? Even Talia dabbled in a bit of magic, I think. There is a catch that their power is suggested to be due to Lazarus exposure, but for arguments sake let's say the Al Ghul lineage is inherently proficient in magic (and Lazarus exposure simply enhances it).

I can't recall "magic" being a part of Damian's training/upbringing (I'm still slowly catching-up on Damian comics so apologies if I miss any canon examples of magic use). Not sure why Talia wouldn't want her little "heir to an ancient assassin empire baby" to learn magic, but it would at least give reason to Damian not knowing about his magic potential, or lack of interest in it.

Through the power of pseudo storytelling, what if Damian's encounter with Mother Soul could have triggered a manifestation of magic that was once dormant; like a pressure cooker waiting to explode with energy when it hasn't been given a safe outlet.

I've yet to read a satisfying arc where Damian truly gets to contemplate his Al Ghul roots outside of "dad is good guy, mum is bad guy". Damian's initial character growth stems from him running away from, and renouncing his association with the League (i.e. "I'm nothing like you, mother and grandfather!").

The most recent thing I've read was Robin (2021), and whilst Damian is much more cordial with his mother, there's still an emotional distance and sense of distrust/resentment (for good reason, even if the context was some cartoonishly evil writing). But there is a silver-lining that they still appear to be fond of each other, in a melancholy kind of way.

Realizing he's "genetically" primed for magic would be especially confronting to Damian. There's no denying his Al Ghul blood, forcing him to confront a facet of himself he can no longer ignore or reject. A family that he likely has to approach for help/guidance.

Damian is put in a position of acknowledging this power could be used for good, to be stronger, to fight crime, balancing it with the implication that what he possesses could be rooted in dark magic (Lazarus enchantment).

If he decides to embrace it, would that be too much of an endorsement of the Al Ghul's dark occultism? Can he separate the two ideas? What if he can't control it? What if he accidentally hurts someone? What if has the ability to save someone where his other skills fall short?

Ideally, I'd love for this hypothetical story to lead into Damian exploring his Al Ghul heritage more intimately, historically, and spiritually (à la RSoB: Year of Redemption adventures). Another little coming-of-age self discovery journey.

I have my own little personal thoughts on what Damian decides to do with his magic powers, but I'd like to leave that open to interpretation... By the end of it I hope that he will at least find some forgiveness over resentment, and a balance between accepting that side of his family a little easier. It is finally a sense of inner peace :)

Any thoughts? Did I get any characterisation wrong? Let's talk over on my DC blog @arkhamochi! I'm currently trying to read all Damian-centric comics until I catch up with the current run. I'm hungry for discussion and analysis!!!!!!

[yamujiburo]

Here's an arc I thought about doing but won't do because, it'd be a bit too sad and also it's too similar to the Turing Point Arc I already did and also it would be long. But I'll write it here for you angst enjoyers. This ended up being longer than I thought.

Despite getting the "okay" from Ash to date Jessie, Delia still worries that she's not doing the right thing or being a bad mom. Up until now she'd convinced herself that she had the right to be selfish for once after knowing only sacrifice and putting herself last.

Jessie and Ash, while not as antagonistic towards each other, still go at it. A Pikachu zap here, an angry "twerp" being uttered there. The guilt settles in for Delia and figures that it's best to just cut things off before things potentially get worse or before she gets too attached to Jessie. Her son comes first after all. That's what she signed up for when becoming a parent.

She sits Jessie down, eyes watery (it's the first time Jessie's ever seen Delia come close to crying). Delia says she thinks they should end things. Jessie is stunned but accepts it quickly. She sucks it up in the moment, puts a resigned smile on her face and tells Delia she'll leave immediately and not to worry about her. Delia's also broken up about it but promised herself she'd never cry over a goodbye and she wasn't gonna start now.

Jessie goes to James and Meowth's place greeted similarly to this, lightly teasing her about blowing it with Delia, and she breaks down sobbing. Oops it's real this time. James and Meowth do everything in their power to make her feel better. They let her know that things like this happen and they're ready to go wherever she wants to go (knowing that it'd likely be to painful for her to stay in Pallet). As much as she wants to leave, she doesn't want James and Meowth to lose the good thing they have going. She's not in the right headspace to make any decisions so she'll get to it later.

Ash returns home after doing a little training at Oak's lab. He notices Jessie's not around and asks his mom where she is. Delia is about to tell him but can't quite bring herself to say the truth out loud yet. She simply says "I don't know". Ash looks disappointed. "Aw man, I wanted to see if she wanted to battle. She makes a good battle buddy for all of my newer, baby Pokémon." Delia perks up that this. As quickly as he came, he leaves again to go train his Pokémon.

Later, Delia approaches Ash, asking him if he really meant that what he said about Jessie being a good battle partner. He gives her an enthusiastic "yeah!" and tells her that it's been nice having another battle ready trainer around since there's not many in Pallet. Delia starts to pry a little more. "I thought you and Jessie didn't get along?" Ash is confused, and tells Delia they get along great! "Jessie doesn't steal anymore! And she's getting better at battling which is cool." Delia brings up that she's head them argue before. "Oh... well I guess that's just how we are. I'd be weirded out if she was suddenly too nice to me all the time. Jessie's actually a lot like Misty. But taller!" This gives Delia a lot to think about but what's done is done and it's no use pressing on. It's easier this way.

The next morning Delia's getting ready for work. She must not have noticed that she was acting weird but Ash picks up on it. "What's wrong mom?" Delia's shocked he noticed (he's not usually this perceptive). She tells him it's nothing and that she just slept bad. "Hm. But Jessie says that when you're upset you get really quiet and intense." Delia notices that she was pretty intensely mixing the pancake batter. "Jessie told you that?" Ash nods. "Hey speaking of, where is Jessie? Haven't seen her since yesterday." Delia stops mixing and tells Ash that she and Jessie aren't together anymore. Ash is confused and upset at the idea of Jessie doing something that would hurt his mom enough for them to break up. Delia lets him know that Jessie didn't do anything like that and that them breaking up was just for the best. But Ash questions this, pointing out that he's never seen Delia as happy as she was when Jessie was there and also how Delia looks really sad now. Delia can't argue with that but then tells him that it's complicated. Ash, to Delia's surprise, looks a bit disappointed. He's bummed he wasn't able to say goodbye first and asks if she thinks Jessie would still be willing to come by and train with him sometimes. Delia asks him once more if he was really okay with her and Jessie dating. "Yeah I thought I said that already? Jessie's pretty cool when she's not being evil. And she really likes Pokémon which is a plus!" Such simple criteria. Delia's now worried that she might've made a mistake. She finishes making breakfast and heads to work.

At the restaurant she's met by James. She can feel an awkwardness hanging in the air. She knows that James knows. Before she can say anything James tells Delia thank you for employing him and helping him, Meowth and Jessie get back on their feet but that he's going to quit working at the restaurant and that they'll likely be leaving Pallet soon. Delia's heart sinks. There's now a ticking clock and she has to decide what she wants to do SOON. She asks James where Jessie is. James hesitantly tells her that she's at his and Meowth's place. Delia pleads with James to work the restaurant for one more day at least and to cover this shift. She has to go talk to Jessie. He agrees, hoping that this is a good thing.

Delia runs to James and Meowth's place. She knocks on the door upon arrival and waits. It takes a moment but she hears the door unlock. Jessie opens the door, disheveled, tears and snot all over her face, draped in a blanket. Jessie notices it's Delia and, frightened, slams the door. Delia's stunned for a moment and goes to knock on the door again but before she can the door opens. This time Jessie's tears are gone, her hair's fixed and she ditched the blanket. "Oh hey, Delia! What brings you here?" Delia can't help but be charmed. But this is serious. She shakes it off and asks if they could talk. Jessie invites her in. They get to the couch and Jessie starts frantically cleaning up all the crumpled tissues and dirty dishes off the ground. "Heh I caught a cold yesterday. A one day cold. I'm fine now." Delia doesn't call out the obvious lie and gets straight to the point.

She tells Jessie that she's worried she made a mistake. She made a panicked decision that she was hoping would protect Ash and her future self. But now realizes that she was afraid of the idea that she'd made a selfish decision by dating her. It was a selfish decision but that didn't mean it was a bad one. She was the happiest she'd been, Jessie and Ash were learning to get along and were getting along much better than she'd though. She acknowledges that Jessie has been there for Ash in a way that she can't quite be and is also grateful to her for managing to keep Ash home a little longer. She asks if Jessie would be willing to take her back (despite the distress she caused). Jessie starts sobbing with happy tears. She tearfully says she'll try even harder to get along with Ash and be a better person. Delia reassures her that she's doing just fine.

They kiss passionately but then realize it's weird that they're making out in James in Meowth's place and say they'll continue later. Delia tells Jessie to head back home and that Ash is looking forward to battling with her (and she also needs to let James and Meowth not to quit their jobs).

The end~

[flawseer]

#30 - "Your Choice"

Smaugust 2024

I am very fond of the second arc protagonists. They are my favorite collective of plot focus characters, which may be evident by the fact that I've been drawing them more than any other in this challenge. They are a very charming group, even if a few possible character connections are vastly underdeveloped (Moon and Turtle, Winter and Turtle, and Winter and Kinkajou could probably form very strong bonds if they were explored).

The flipside of fondness is usually the formation of strong opinions. I think about these guys a lot. One thing I initially thought was fine, but then struck me as strange on a revisit was the ending of Moonwatcher's book. You have the group (sans Winter), who previously struggled to accept Moon for her unintentionally invasive powers, ostensibly overcome their mistrust of her and solidify their respective bonds with her. Kinkajou in particular tells her that, because she makes no secret of her thoughts anyway, it doesn't matter to her that Moon can read her mind. Up to there it is all very wholesome and heartwarming. Moonwatcher then decides to give them an out, sharing the secret of Skyfire as a way to block her powers. This is a good and very noble gesture, really showing her trustworthiness and respect for their privacy here.

But then they actually take her up on that offer, right after stating they are over their misgivings. I get why they do it--Moonwatcher's uncontrollable power is really inconvenient and annoying to be around--but backtracking 5 seconds later makes their previous declaration of acceptance ring a bit hollow. If I could make a choice here, I would really have liked this to turn into a long-running character arc for the group, where they gradually learn to trust Moon and eventually decide that they don't need the Skyfire anymore, taking it off for good. And Moon in turn could work on refining control over her power so she can be around her friends without accidentally reading every thought. Maybe all of that could have been a scene in the arc 2 finale. But at the very least I would have liked for Kinkajou to stick with her original declaration and reject the Skyfire outright, signaling to Moon that--contrary to her mother's words--the powers are not a curse and that she doesn't need to be ashamed of them.

I guess here is an idea for potential fanfiction: Make them chuck the Skyfire in the bin. Let Moon see that her friends choose to hang out with her even if they can't block her powers.

-----

Long comic today. Sorry it took a while to come out. I think this is the longest one I've drawn for this challenge too.

Just one more day and then Smaugust will be done. I hope you have been enjoying this so far. Thanks for sticking with me.

[felassan]

EuroGamer: 'BioWare knew the deepest secrets of Dragon Age lore 20 years ago, and locked it away in an uber-plot doc'

Original creator David Gaider on how "some of the big mysteries are being solved".

Rest of post under a cut due to length and possible spoilers.

"As I write about the secrets hidden in Dragon Age's mysterious Fade, and as I uncover some of them playing Dragon Age: The Veilguard, one question keeps rising up in my mind. How much did BioWare know about future events when first developing the series more than 20 years ago? That's a long time, and back then BioWare didn't know there would be a second game, which is why Dragon Age: Origins has an elaborate and far-reaching epilogue. Why lay so much lore-track ahead of yourself if you don't think you'll ever get there? But look more closely at Origins and there are big clues suggesting BioWare did know about future Dragon Age events. There are obvious signs in the original game, such as establishing recurring themes like Old Gods and the Blight and Archdemons. But there's also Flemeth, Morrigan's witchy mother, who's intimately linked to events in the series now - more specifically: intimately linked to Solas. Does her existence mean Solas was known about back then too? There's only one person I can think of to answer this and it's David Gaider, the original creator of Dragon Age's world and lore. We've talked before, once in a podcast and once for a piece on the magic of fantasy maps, where we discussed the creation of Dragon Age's world. And much to my surprise, when I ask him what he and the BioWare team knew back then, he says they knew it all. "By the time we released Dragon Age: Origins, we were basically sure that it was one and done, but there was, back when we made the world, an overarching plan," he says. "The way I created the world was to seed plots in various parts of the world that could be part of a game, a single game, and then there was the overall uber-plot, which I didn't know for certain that we would ever get to but I had an understanding of how it all worked together. "A lot of that was in my head until we were starting Inquisition and the writers got a little bit impatient with my memory or lack thereof, so they pinned me down and dragged the uber-plot out of me. I'd talked about it, I'd hinted at it, but never really spelled out how it all connected, so they dragged it out of me, we put it into a master lore doc, the secret lore, which we had to hide from most of the team.""

"This uber-plot document was only viewable on a need-to-know basis, he says, and only around 20 people on the team had access to it - other senior writers mostly. And even though Gaider left the Dragon Age team after Inquisition, and then eight years ago BioWare altogether, meaning he didn't work on The Veilguard at all, he believes - by looking at the events in the new game - his uber-plot lore "has more or less held up". That's impressive. What's even more impressive, or exciting, is that back then he also envisaged a potential end state for the entire Dragon Age series - a point at which it would make no sense for the series to carry on. "I always had this dream of where it would all end, the very last plot," he says, "which I won't say because who knows, we could still end up there. But the idea that this uber-plot was this sort of biggest, finite... That the final thing you could do in this world that would break it was there as a 'maybe we would get to do that one day'... There was just the idea of certain big, world-shaking things that were seeded in that arc, some of which have already come to pass, like the return of Fen'Harel." You've read that correctly: the idea to have Fen'Harel, also known as the Dread Wolf, reappear, was seeded all the way back then, way before Inquisition - the game in which he does actually reappear. But the concept for Solas, as a character who was Fen'Harel in disguise, was a newer idea. "That spawned from a conversation I had with Patrick [Weekes] and a number of other writers," Gaider says, "as an idea of 'what if you had a villain that spent an entire game where he's actually in the party and you get to know him?' Now, the god version and his larger role in the plot, yes that was known, but not that he would be presented as a character named Solas." Fen'Harel being known about means the other elven gods were known about, which means all of that stuff Solas reveals about his godly siblings - that they're not gods at all but evil elven mages he locked away behind the Veil - was known about back then too. "Oh yeah," Gaider says. "Everything that Solas tells you [at the end of Inquisition DLC, Trespasser]: it's all part of that original uber-lore - that was all in our mind." But why have so much lore if you're not certain you'll get to ever realise it? Well, to create a believable illusion. By creating an "excess" of lore, as Gaider describes it, Origins made Thedas feel like an old and believable place. A place with history, rather than a Western set that was all facade and no substance."

"BioWare also did something canny with the lore it did relay then, too: it shared it through the voices of characters living in the world, making it inherently fallible. In doing this, Dragon Age veiled its truths behind biases. The church-like organisation of the Chantry proclaims one truth, while the elves and dwarves proclaim another. Sidenote: you can experience this yourself through different racial origin stories in Dragon Age: Origins. This way, there's no one, objective, irrefutable, truth. "To get the truth, you kind of have to pick between the lines," Gaider says. So even though elven legends are coming true through the existence of Solas and The Veilguard's antagonist gods, it doesn't mean that's the one and only truth. There's truth in what the Chantry teaches and what the dwarves say, he tells me, which ignites my curiosity intensely. BioWare has also been tricksy in how it's rubbed out the lore the further back in time you go. "In general, the further the history goes back, we always would purposefully obfuscate it more and more," Gaider says - "make it more biased and more untrue no matter who was talking, just so that the absolute truth was rarely knowable. I like that idea from a world standpoint, that the player always has to wonder and bring their own beliefs to it." It leads into a founding principle of Dragon Age, which is doubt - because without it, you can't have faith, a particularly important concept in the series. It's where the whole idea of the Chantry's Maker comes from and with it, the legend about the fabled Golden City - now the Black City - at the heart of the Fade. This is the very centre of the lore web, and, I imagine, it's close to the series endpoint Gaider imagined long ago. All secrets end there. Did Gaider know what was in the Black City when he laid down Origins' lore? That's the question - and it startles me how casually he answers this. "Oh, yeah," he says. "What was in the Black City: that's the uber-plot. I knew exactly. "Was it as detailed in the first draft of the world?" he goes on. "No. I had an idea of the early history because that's where I started making the world. So the things that were true early-early: I knew exactly what the Black City was and the idea of what the elves believed, and what humans believed vis-a-vis the Chantry - that was all settled on really early. Then I expanded the world and the uber-plot bubbled out of that.""

"Gaider shows me the original cosmology design document for Dragon Age: Origins as if to prove this - or rather for the game that would become DAO. The world was known as Peldea back then. I can't share this with you because I see it via a shared screen on a video call, and because Gaider doesn't want me to, mostly because the ideas are so old they're almost unrecognisable from what's in the series now. But I can tell you it's a document that's just over a page in length, and that there's a circular diagram at the top showing the world in the middle and the spirit realm ringed around it. And on that document is reference to the Chantry's beliefs about a God located in a citadel that can be found there. Gaider says BioWare knew about Fen'Harel (the Dread Wolf) 20 years ago when it was developing Dragon Age: Origins, and that he'd one day reappear. The Fade wasn't known as the Fade back then, either, but as the Dreaming, because it's the place people go when they dream - an idea that lives on still. And if that sounds familiar to any fans of The Sandman among you, it should. "I'd say The Sandman series was probably fairly prominently in my head," says Gaider. "I liked that amorphous geography that was born from the psyche of collective humanity. I'd say yes, if I was to point at something specifically, that's probably where the very first inspiration of it took root." It's a lot to take in, but it reinforces the admiration I have for Dragon Age. Just as I have when hearing about the creation of my other favourite fantasy worlds, such as A Song of Ice and Fire, I begin to understand the magnitude - and the deliberateness - of the plotting that went on. I wonder if one day the Dragon Age series will end in the way Gaider first imagined, albeit slightly altered by the many other pairs of hands shepherding it along now. What a curious feeling it must be to know, so many years in advance, where things might go. Where that end is, I don't know, but I do know we'll take a significant step towards it in The Veilguard. After all, we're coming into contact with gods who were there at the recorded beginning of it all. "Yeah - we have access to people who can tell us the truth from first-hand experience," Gaider says, "although again, it depends on what the writers did with it. But if they continued the tradition of Dragon Age, you never know for sure if Solas is telling you everything, or what you're learning is the entire truth. "But yes, some of the big mysteries are being solved. I mean, will they one day definitively tell you about the Maker? Will we crack the big mysteries of the world and just make them answered finally? And does that ruin one of the central precepts that Dragon Age is founded upon? Maybe," he says. "Ultimately, that lore, when you make it big and you hint at it and hint at it and hint at it, it becomes a Chekhov's Gun of sorts. Eventually you got to pony up.""

[source]

[witchywcmans]

NEEDY. | AKI HAYAKAWA

synopsis ━━ you were in need of a roommate, and aki hayakawa needed a place that wouldn't ask any questions. you went to work during the day, while aki worked late nights. you basically had the apartment to yourself. it was honestly a match made in heaven. but then, you just had to come home one day and catch your roommate in a precarious situation. (aki x f!reader.)

content warnings ━━ voyeurism (just a wee bit), sex-deprived aki 🫶, but also possessive + jealous aki, masturbation, dirty thoughts + wet dreams, fingering, praise, multiple orgasms, classic missionary, unprotected sex, creampie, mutual pining/confession, kinda au (we're not mentioning the gun devil arc), aki has lived to see 26 + reader being a similar age, some religious imagery. nsfw (minors + ageless blogs dni).

word count ━━ 5.1k

song inspiration ━━ dealer, lana del rey / friends, chase atlantic / double fantasy, the weeknd

author's note ━━ hi.....hello.........so this idea has been in my head for a little bit, and I realize roommate aus like this are simply not that original, but god dammit I just needed to get this out of my head. anyway, I lurrrrrv sex deprived aki. shout out to my friend hollis for screaming about this with me hehe 💓

The most words you had ever said to your roommate were on the day you interviewed him before he moved in. You immediately noticed that he was strange, but also shy and seemingly harmless. When you had asked why he needed to move in so quickly, he had said something along the lines of a “toxic environment” with his previous roommates: “Denji and Power are just too noisy and reckless. They’re four years younger than me. I need a place less chaotic.” You had been interested in getting to know more – you were curious, after all, about your potential roomie – but once he mentioned that you’d probably never see him because he worked nights, you were sold.

Aki Hayakawa was your new roommate.

He had never been more excited to finally get away from Denji and Power and the tumultuous mess they had turned his apartment into. He was older now; he needed something for himself, even if it was with a roommate. Being a Public Safety Devil Hunter, he needed a place that didn’t think twice about him, a roommate who didn’t ask questions. That’s what he liked about you: your place was on the right side of the city, and you looked at him like he was normal. The Fox Devil said you weren’t going to be good for him, but Aki tended to ignore them anyway.

You had helped him move into your second bedroom just a week later and he hardly said a word, except to ask you who had formerly occupied this space. You were hesitant to talk about it at first, but you cracked soon enough: “My old best friend lived in here. We had rented this place together, but we … aren’t exactly speaking anymore,” you admitted, setting a box down at his feet. “I came home from work one evening and found my boyfriend cheating on me with her. It had been going on for months, right under my nose.” You looked away when you felt your eyes start to sting with tears, sniffling them away. “Friends come and go, I guess. But I’m thankful you, at least, worked out to rent this space.”

“Well,” he sighed, opening up the box as you turned back to him. He smirked. “I promise I won’t sleep with your boyfriend.”

You had laughed, and what a pretty sound it was. After move-in day, Aki was true to his word that you almost never saw him. You worked a normal 9 to 5, while Aki … well, you had no idea what Aki did. You assumed he was a security guard or something with the hours he worked and how he was always wearing a suit and tie. He was working all the time, even weekends. Sometimes, you would catch him coming home as you were leaving for work, or on Sunday morning as you ate breakfast in the kitchen. He would be too tired to talk, simply waving at you before retiring to his room.

It was almost like living alone … except for notes he’d sometimes leave you on the stove or the bathroom. Or the weekend mornings, when he’d get you a coffee and leave it out for you before going to his room. Or the once-in-a-blue-moon nights when you’d stumble in the early hours of the morning after drinking in the city with some friends, standing out on the deck with Aki as he smoked a cigarette. Nights like those, you could’ve sworn Fate was trying to get you two to see each other, because you would be arriving home at just the right hour and Aki would be getting off work early. And you would find him on the deck in his suit and tie, cigarette hanging from his lips, hair pulled up in his classic topknot. He would find you leaning against the railing in nothing but a short dress, the glitter on your lids making your eyes sparkle even more, and – god, you were just so pretty.

After that night, he started dreaming about you. He dreamed about how your lips would feel against his, what it would be like to have you sleep next to him and rest your head on his chest. He was consumed by thoughts of you under him, how you tasted, the way you’d tremble if he kissed that sensitive part of your neck you told him about one late night on the deck. His need for you was insatiable. In his line of work, there wasn’t much time for dating, let alone sex. He hadn’t been thinking about it that much, especially when he’d been housing Denji and Power, but now … he couldn’t stop thinking about you. Naked. Underneath him. On top. God dammit, he’d have you any way you wanted.

It made him wish he had acted on his instincts that night on the deck: pushing you against the sliding door, his lips crashing onto yours, hiking your skirt up that just barely covered your thighs and using his non-dominant hand (the one that didn’t shake) to feel how wet you were. But alas, Aki Hayakawa was a gentleman. 

You two had been living together for a year. He hardly knew you, but also knew you like nobody else did. He knew how you took your coffee – black with two sugars. He knew the brand of toilet paper you liked. He knew that you liked to hang your coats in the closet on the right side. He knew you drooled in your sleep, and what TV shows made you laugh, and how much your water bill was each month.

He was acting out in ways that were unlike him. If he came home from work and saw you had a guy over, he made his presence known. When you were at the office, sometimes he would go to your room just to smell your perfume, and other times he would steal your panties. (He always gave them back, feeling too shameful. But he did keep one underneath his pillow.) Some nights, he would pretend to leave for work early and you would retire to your room for the night, and then he would hear the familiar sound of your vibrator and – fuck, he had to go to work hard. Again. 

You were taking up too much space in his head. He was becoming distracted at work, thinking about what you were doing during these late hours. Maybe the Fox Devil was right: you weren’t good for him.

But he wasn’t moving out any time soon.

It was a Thursday after work and you were completely exhausted. After attending endless meetings and having to argue with coworkers all day, you left work early and were grateful to have a night alone with some leftovers from the night before. You had completely forgotten Aki telling you earlier in the week that he had this Thursday and Friday off, your mind preoccupied with work responsibilities. Sighing as soon as you walked through the door, you set your bag down and shuffled out of your shoes. You shut the door softly, at peace with the silence. You didn’t even have the energy to get out of your work clothes; you simply padded your feet to the fridge, plucking your leftovers out. It was only when you reached up to the microwave that you noticed the apartment wasn’t as silent as you assumed.

Sounds emanated from another room.

You got on your tip-toes, not wanting to make much noise if there was an intruder, and felt for the pocket knife you always kept on your person. Passing by your bedroom first, you popped your head inside. Empty. Hadn’t been touched since you left this morning. The bathroom was next, and you held your breath as the sounds got even more noticeable. You peeked into the bathroom and … clear. Linen closet: clear. Coat closet: clear. But the sounds only became more clear as you got closer to the end of the hall, Aki’s room, and –

You stopped in front of Aki’s bedroom, the door cracked just enough that you didn’t need to pop your head in to see what was happening. Aki was home, for once, and you … you were watching him through the crack in the door. But how could you not? You knew where the sounds were coming from now, because Aki was the one making them.

His dark hair swept in front of his eyes as he sat back against his pillows. He wore a white t-shirt, while his boxers bagged around his ankles. Grunts slipped from his mouth – that pretty, pretty mouth you'd seen wrapped around a cigarette. And his hand … his hand wrapped around his cock, pumping furiously – desperately – with a pair of your panties enveloping the head. The same red lace panties you thought you’d lost months ago. 

You almost considered walking away, making noise in the kitchen so he would know you were home, but then –

Then, your name left his mouth in a whimper.

He was stroking himself even faster, muttering your name into the silent room with your panties wrapped so nicely around his cock. He was thinking about you, wanting so desperately cum in your panties, wondering if you thought about him when you used your vibrator. You were frozen in place, completely fixated on him as he leaned back against his headboard, his face finally exposed so you could see the way his jaw went slack, the way he moaned out your name. And – oh my god, you should leave –

But you couldn’t. And deep down, you knew there was a dirty part of you that always wanted to see this. Ever since that night on the deck, when you were wearing your favorite dress and all that glitter, and you noticed that he was looking at you in a way a platonic roommate definitely shouldn’t. You had started to think about him late nights when you were alone with your toy. You brought home dates, wanting him to see, giggling when you recognized his jealous expression. You tried to wake up earlier, just to see him when he stumbled through the door. Once, you even did his laundry to smell the nicotine on his jacket. 

The two of you simply couldn’t help yourselves.

And when you watched him finally reach his peak, spilling into your forgotten red lace panties, you realized just how wet the ones you were wearing had become. You watched him grunt as he came, breathing heavily and wiping the sweat off his brow. And when he muttered under his breath a soft, “Fuck,” you couldn’t help the short gasp that left your lips.

Aki stalled. Oh, shit. You hadn’t been quiet enough. He sat up more in his bed, pulling his boxers up, and you whipped your back against the wall. You cupped your hand over your mouth, praying he wouldn’t come out and see. But he was whispering, “Who’s there?” And you only had enough time to move ten feet down the hall before you heard the creak of his soles on the old floorboards.

“Fuck,” he muttered, louder this time.

Your back went straight, and after what felt like an eternity, you slowly turned to face him. “Aki,” you put your hands up in surrender, “I didn’t see anything –”

“Oh, what the fuck,” he shook his head at himself, quickly walking back into his bedroom. You were stunned, not knowing what to do, as he continued talking to himself in the room: “Stupid fucking idiot not closing the fucking door. What the fuck? What the fuck? My worst fucking nightmare. Fuck, why do these pants always get caught around my ankles? I need to get out of here. Stay at Denji’s for the night. Fuck, fuck, fuck –”

He emerged from his bedroom, now wearing jeans, his favorite Converse, and a leather jacket. He tried to pass you without looking, whispering obscenities under his breath, but then you were tugging on his jacket, lips pressed together.

Aki paused, cheeks red with both embarrassment and anger at himself, but you didn’t let go of his sleeve. He noticed the redness of your face as well, the black of your pupils almost covering your entire eye, and were you … were you aroused?

Swallowing hard, your voice was but a mere whisper when you asked, “How long have you had those?”

He knew what you were referring to. It didn’t take an idiot. Your stares were locked, and despite his shame, he wouldn’t turn away. “A while,” he mumbled.

“How long is ‘a while?’”

“Months, okay?” His eyes narrowed and his voice took on a new tone. “Now, can you let go of my jacket so I can leave and save us both the embarrassment –”

“Months,” you repeated, licking the corners of your lips. His eyes were made of blue fire as he stared down at you, and even with your office attire on, you felt utterly naked beneath his gaze. “I’ve … I’ve been thinking about you for months too.”

Aki took a moment to process your words, and your grip hesitantly released on his sleeve. But he wasn’t – he couldn’t – let you get away so easily. His breath was shaky as he placed both of his hands on the wall behind you, pinning you to it. So many times had you two passed each other in this hallway, so many words left unsaid. And now, he was pressing you against it.

“You’ve been thinking about me … for months,” he thought out loud, leaning in a little and nosing your hair. Your scent was intoxicating. That perfume … he could cum in his pants just from smelling it. “For months, you’ve been bringing guys to the apartment to … to what? Make me jealous?” He chuckled under his breath. It took him so long to put it together. “For months, you’ve been touching yourself right before I leave so I go to work fucking hard.” His nose traveled down to your neck, grazing that spot you told him about, and you shuddered. “You’ve been putting me through the wringer and I didn’t even have a clue.”

“You’re … you’re not so innocent.” You tried to keep yourself together, but it was difficult with him pinning you to the wall and – oh, he was already hard in his pants, pressing into you.  “You’ve been stealing my panties so you can masturbate with them.”

Aki hummed quietly, pressing his lips so delicately to your neck, as if his cock wasn’t completely strained in his jeans. “I supposed I have,” he whispered against your skin, “for months.”

“Since that night on the deck,” you croaked out, hands balling into fists as he licked a stripe up your neck. If he didn’t stop, you’d surely moan. “But I didn’t say anything – didn’t think about saying anything – because … because we’re roommates.”

“We are roommates,” he said, lifting his head from your neck, his lips hovering so close to yours. “And if we’re just stating facts here, I’ve needed to kiss you since that night.”

You didn’t wait for him. Immediately leaning in, your lips pressed onto his in a hungry kiss. His mouth molded to yours, and he tasted exactly like you thought: like black coffee, cigarettes, those raspberry pastries he always kept in the kitchen. His tongue, slipping into your mouth, tangled with yours in a way that you had only dreamed about. Your hands released from their fists, instead reaching up to twist in his t-shirt, bringing him even closer to you. He’d hardly touched you and you were completely, utterly soaked. 

As if hearing your thoughts, his lips broke from yours for just a moment to beg, “I need to touch you.”

“Please,” you whispered back, and his mouth was back on yours.

He dragged one hand down from the wall (his shaky hand, believe it or not), still pressing you against it, and worked on unzipping your trousers. You nuzzled your nose against his as he kissed you deeply, slipping his hand in your pants, past the waistband of your panties and – you were exactly as he dreamed you’d be. Absolutely wet. Just as needy for him as he was for you. “Fuck,” he muttered into the kiss, spreading your soaked folds with two long fingers. 

Your lips tore away from his, a trail of spit following, because you simply had to release the moan you’d been holding in for so long. Despite loving the way your mouth fitted against his, he was glad for it, wanting to see your face when he started rubbing your sensitive clit. And fuck, was it the most beautiful thing he’d ever seen. Your fists on his t-shirt went loose as your body felt like it was made of liquid, angling into his. Your lips pursed, soft whimpers filtering out as he rubbed you in those tight circles.

“So fucking wet f’me,” he mumbled, grazing his lips over yours. “Dreamed about this for months. Fuck, I’ve gotten hard just thinking about this pussy.”

He finally dipped a single finger inside you, and your hips immediately jerked against his hand. Aki let out a shuddering breath when he felt how much you were squeezing just one finger, pumping it in and out of you slowly. “Please,” you whispered, despite his thoughts, “I can take more. I promise.”

You didn’t need to ask him twice. He shoved two fingers inside you, curling them against that spot that had your hips instantly bucking. “Fuck, Aki,” you whined as he plunged those fingers in and out of you, using his thumb to rub your clit. 

“Yeah?” He breathed. 

“Kiss me.”

Aki moaned from your words alone, kissing you hard while fucking you with his long fingers. He was practically drunk on you: your scent wrapped around him, you tasted like citrus, and the way bucked into his hand … god, he needed to fuck you. So bad. And if you didn’t want that, then he needed to jerk himself off immediately or else he was going to explode in his pants. The last thing he needed was another embarrassing moment tonight.

It only took seconds to have you sighing into the kiss, squeezing his fingers like a vice as you came. His thumb on your clit was relentless, taking you over that lovely peak, as you mewled and cried into his mouth. It was almost religious, the way you moaned, and Aki had never felt closer to God than in this moment.

When the adrenaline subsided, he slowly removed his fingers from you and broke the kiss. You watched him intensely as he brought the fingers covered in your slick to his mouth, tasting you. Your lips fell open slightly, eyes going wide while his own closed, savoring the taste. What the actual fuck, you thought to yourself. How the fuck have we been living under the same roof and it took this long for me to see that?

Without missing a beat, you pushed yourself off the wall, winding your arms around his neck and latching your legs to his waist. He lifted you as if you were made of air, kissing you so that you could taste yourself. Before you could even perceive how much time had passed, you were on his bed, blouse disheveled and trousers undone. Even your hair hadn’t left the updo you put it in every weekday. Your eyes flickered to the right and you giggled to yourself. He had finally shut the door.

His eyes remained on you as he shrugged off his jacket, and then his pants. He was back in the same outfit you saw him in earlier, when your panties had been wrapped around his cock like a birthday present. He hesitated before finally pulling off his shirt, and you saw the scars lining parts of his chest. Definitely not a security guard, you thought to yourself but decided not to ask about it now. You reached up as he stood between your legs, brushing your fingers over the scars, and then dragged them down his abdomen. His frame was thin, but he was more built than you believed, always hiding himself under those oversized button-ups.

He wrapped his hand around your wrist as you touched him so gracefully. “Do you want to …?” His voice was so soft, the question hanging off the edge of his tongue.

And then, you smiled up at him, looking like an angel. “Yes, Aki,” you whispered.

He felt like a kid in a candy store. The only thing – the one person – he’d been dreaming about and looked at him as if he weren’t a machine, or a gun with the trigger pulled, was lying before him and liked him. For months, they’d both said. His dominant hand was shaking as he started unbuttoning your blouse, and when you noticed (though you had observed this the day he moved in), you grabbed his hand and placed it on your cheek. With his left hand and your right, you worked together to undo the buttons until your chest was exposed for him. 

Moonlight streamed through his bedroom, the only light source in a seemingly dark area.  City lights reflected on you as you pulled your hair free from the updo, those pretty strands fanning on his sheets. His sheets. Because you were in his bed. The blinking lights from corporate buildings outside your little apartment created a halo around your head and – fuck, you really were something religious. For so long, Aki thought only hell existed. I mean, all the Devils were here, contracted to them. But seeing you splayed out so heavenly for him on his bed, he knew then that Angels had to exist too. 

He took his time taking your pants off, watching the way you bit your lip when the cold air of his room hit your soaked panties. Your eyes glanced up to his boxers, seeing the indent of his long, thick cock, and your mouth went dry. His fingers hooked on the waistband of your panties, slowly dragging down and throwing them off to the side, hoping you’d forget about them so he could pocket another pair. With you exposed and bare on his bed, he really took a moment to admire you: the way your cheeks flushed, how the halo around your head flickered, the way your arousal seeped out of your pretty pussy and your nipples peaked. He just had to touch you; it would kill him if he didn’t. Leaning down, he began peppering kisses on your neck, your collarbone, before finally latching his lips around one of those sensitive nipples. Your breath stuttered at the sensation, and he used his left hand to palm your other breast, twisting the nipple between two fingers. You writhed under him, and he couldn’t help but grind his clothed cock against you, groaning and swirling his tongue around your nipple in tandem. Locking your legs around his waist, you held him to you so he was forced to keep grinding against you. It felt too good, and he wasn’t even inside you yet.

He tugged on your nipple and released it, breathing heavily as his eyes met yours. “If you don’t let me go, I’m definitely going to cum before I’m even inside you.”

“Poor Aki,” you giggled, letting your legs fall back on the bed. “Would that really be so bad?”

His eyes were burning into yours, serious as a heart attack. “I’ve been fucking my hand to the thought of you for what feels like forever,” he whispered, pressing a light kiss to the valley between your breasts. “I don’t want to ruin this moment.”

Aki moved up so that his lips were hovering over yours again, and he could really see the sparkle of your irises in the moonlight. You reached in between your bodies and gingerly massaged his bulge, feeling how much he’d already soaked his boxers with precum. “You couldn’t ruin anything even if you tried,” you replied, your voice light and airy. “I’m on the pill. I’m ready when you are.”

“Shit,” he groaned at your mention of being on the pill, trembling as you massaged him. This had to be another one of his dreams. Just the thought of being inside you without the barrier of a condom … he was so close to completely exploding. He didn’t deserve this, didn’t deserve you, after all the hell he’d witnessed and brought forth into this world. But he couldn’t help himself. He needed to have you, roommates be damned.

He stood up, needing to get away from your gentle hand. You sat up a little to help him tug down his boxers, careful of that shaky hand of his, and his cock sprang free, dripping precum on the floor. Aki, ever the gentleman, laid you back down on his bed with ease, holding your stare as he spread your legs wide for him. He breathed, praying to whatever god placed you in front of him that he wouldn’t cum prematurely. He couldn't remember the last time he had sex, but he was so desperate for you that all he cared about was not tainting this moment, this dream. 

Aki grasped his cock, giving it a few hard pumps and grunting, before positioning himself at your entrance. You both seemed to hold your breath as he finally slid in, just an inch at first, and the two of you seemed to release that shaky, nervous breath. “Oh, fuck,” he groaned, burying himself further in your tight warmth, bracing his elbows beside your head. 

“Keep going,” you begged. “It’ll fit, Aki. Promise.”

You were going to kill him, he was sure of it. Aki had felt the way you squeezed his fingers, but it was nothing compared to pleasure of being inside you, feeling how tight you really were. So much better than his hand. Once he was fully seated inside you, he opened his eyes just to look into yours. Your lips pursed, legs wrapping around his waist once again, and you slowly nodded for him to continue. His cock twitched.

“You’re going to be the death of me,” he muttered, sliding out of you before slamming back in. You cried out, carding your fingers in his hair, and he molded his face in the crook of your neck to muffle his own whimpers. You just felt so, so good – so good that he could cry. To think that his bed had once been so cold, so lonely, but now you were occupying the space, trembling underneath him as his cock slipped in and out of you. 

Your moans were like gospel. For so long, Aki had been used to loud noise: to Denji’s complaints, to Power’s shouting, to the Devils’ in his ear. But now, it was just you two on the altar of your apartment, silent except for your heavy breaths mingling and the sound of car horns outside. You were wet and slick like holy water, taking him so nicely despite his size, and god – it was like you were made for him and he was made for you. 

You tugged on his hair, needing him so badly even though he was already yours to begin with. He really would have you any way you wanted. All you had to do was ask.

Aki was already so close to release, but he needed you to cum with him. As he fucked into you harder, deeper, his cock curving against that spot that made your eyes roll back, he reached in between you two and found that swollen bundle of nerves in the apex of your thighs. “Aki,” you whined, tears pricking at your eyes as he rubbed your clit. He could die happily now that he heard your voice like that in his ear, knowing it was him that made it happen.

“Yes?” He said, breathless, placing sloppy kisses on your jaw. You clung to him, melting into him like ice cream on a hot summer’s day. “I’m so close. Are you close, angel?”

You whimpered at the nickname. “Almost.”

“Almost?” He fingers went a little faster. “Let’s get you there.”

As his two fingers rubbed tight, small circles on your clit, he angled his cock inside of you so that he could brush your G-spot with every thrust. You were now clutching onto him with all the strength you had left, entwining your body with his and feeling his muscles flex against your stomach. He was so deep now and you were so close and oh my god, Aki Hayakawa had you like putty in his hands.

And it was like he knew it without you even saying it. Because as your walls started to clench around him, he whispered into your ear. “Cum for me, angel. Please, please, need to cum with you.”

Your body convulsed, going tight around his cock as you came. Tears streamed down your cheeks and you called out his name, spurring him to fuck into you faster, reaching his own peak in the middle of yours. He groaned deep into your neck, hips stuttering as he spilled himself inside of you. You kept your legs around his waist, not wanting to miss a drop, and arched yourself against him, coming down from the high of your intense orgasm. Aki was still rubbing your clit slowly, whispering praises into your skin like, “Did so good me … So pretty … Could listen to you cum for hours.”

You two laid like that for a while, feeling his cock soften inside you, panting heavily against each other. Once he finally pulled out of you, your combined releases dripping down your thighs, you laid beside each other on his bed and stared at the ceiling. The silence was comforting, until he whispered, “Please, tell me that wasn’t all a dream.”

Turning your head, you smiled at him. “Do you feel this?” You pinched his arm.

Aki flinched. “Ow.”

“Definitely not a dream,” you chuckled.