#anyways sorry sorry it’s not comprehensible or good like. my line of reasoning (?) my line of thoughts are not quite in order

[m3tr0n0m333]

🎵A Pearl - Mitski

Sonic and Nine animatic

[alciedoodles]

hi!! i saw your other post about how you simplify details and it was really helpful - was wondering if you had any tips abt drawing expressions/poses to express a story/emotions. like i saw your recent sumeru char doodles on twt and the way you draw alhaitham and hungover kaveh is so!!! ahh!! all of the lines feel really intentional, from the expressions to the fabric of the clothing and omg i love it so much. anyways sorry for rambling HAHA thank you sm for sharing your art! gl w art school 💪

Hello!

Thank you so much for the lovely words <3 it's really such a honor to hear that so many people consider my art to be very expressive, which I think is an essential skill to have for storytelling in comics!

First of all, I'd like to say this isn't something I can easily answer... you must already know there's no easy step-by-step guide on how to be "good" at art or expressions or whichever aspect you're trying to improve, the answer will always be observation and practice. However, I can tell you some of my methods I use to make sure emotions are conveyed as efficiently as possible(?). Here are the key points I always try to apply (note that these aren't rules, these are just my guiding points):

Understanding the character(s), the context, and how the two work together

Laying down a foundation

Not letting dialogue be the main driving force behind storytelling

Paneling conveys emotion too, actually

The absence of something can also convey emotion

You didn't specifically ask about comics, but since it's my favorite subject and it ties into your question, I'll be using a lot of examples from the comics I made! And it might interest other people who were curious?

VERY long post ahead :)

1. Understanding the character(s), the context, and how the two work together

This is what I think is the most fundamental part of storytelling! I mean, makes sense, right? Obviously you don't need a PhD in The Character to make stories based off them. I literally cannot tell you every detail about my favorite characters despite loving them very much, but I think understanding them and their relationships on a big-picture level is primordial. What drives them, what are their principles, what are their biggest fears, who do they make exceptions for, etc. Also, to me, understanding their relationships is sometimes more important than understanding the character at a molecular level. We can tell so much about someone just from the way they interact with specific people vs how they interact with strangers. The person I am online isn't the same I am with friends nor even with family-- like one of the reasons some characters can feel one-dimensional is because they don't show variation in their character throughout their relationships (and since you mentioned Kaveh and Alhaitham, I don't need to tell you the way both of them interact with each other is far removed from the way they interact with friends, strangers, etc... I think a lot of people forget who they are outside of their relationship, which a huge point of contention behind mischaracterization in fan works). I don't have much to say about this other than this is something I keep in mind every step of the way through.

2. Laying down a foundation

This is what the majority of my comics look like on second draft:

I said second because the first drafts usually look like this, which are barely comprehensible to anyone but myself:

The purpose of these are not only to give me a better guide for posing than whatever i did on the first draft (storyboard), but also have a first pass at motion and emotion. The expressions and gestures are legible enough that you can probably glean the emotions of each character based off the little sketches. Ultimately, some of the things I'll draft will end up adjusted, changed, expanded on or even removed.

This particular panel of Reigen is a favorite of mine, because the first pass already shows his confusion, but the final one is even more distorted because it felt like it needed to be even more accentuated.

This panel where he mansplains is also a good example, because the first pass gave him too much of an arrogant/uninterested look (notable with his upturned face), whereas Reigen is more likely to take pride in explaining something he knows to make himself look like a wise and mature figure (notable with his slight smirk and downturned face, as if nodding to himself; the hand is also slightly more forward as if inviting rather than dismissing). And since I basically made an example of it above: body language is super important! This applies for everyone. It doesn't stop at characters who make grand gestures and exaggerated poses every waking moment of their life, but also characters who are socially awkward, private, reclusive...

The posing here is intentionally stiff but not entirely closed off, giving the sense that he's earnest, tries his best to make connections , but also doesn't want to take too much space, thinking the smallest wrong move could cause trouble. Also, give room for the body to do its thing. Avoid cropping out things that shouldn't be cropped out. Leave enough room between the edges of the panel and the point of focus to emphasize what you want to emphasize. Close-up shots shouldn't be too frequent (in fact, personally I don't like doing close-up shots but it doesn't mean they're bad or shouldn't be done, again, my word isn't gospel!), especially if what you're conveying isn't too emotionally charged. Lastly, I have terrible news for people who hate drawing hands. Hands are possibly the second most expressive part of our body (if we don't count the body as a whole), so especially for your charismatic characters, you will very often want to use hands as a tool of expression.

(Think how much emotion and personality would be lost if the hands weren't there!)

3. Not letting dialogue be the main driving force behind storytelling

With my comics, I play an incredibly dangerous game called "I'll think of dialogue as I make the storyboard and then when I'm done drawing every page I'll write the dialogue over it guided solely by memory and whatever I drew". Don't do this. Have a script in hand or write it at the same time as you draft your storyboard. The reason I do this is because I'm lazy and I don't want to open a simple writing software to type down a script. Genuinely I have no other reasons. Anyway, the only advantage this gives to my comics is that they will generally be able to stand on their own without much dialogue; obviously dialogue is essential, but what I mean is that we don't need it to have a pretty accurate read on the room.

For example, if I remove all the dialogue from this page, you probably can't guess exactly what's being discussed. However, you can identify through their emotions alone that there is disbelief, bargaining, and finally a pretty devastating info was dropped. Alternatively, cutting down dialogue from your page and leaving room to expressions/body language alone can be entirely more beneficial than having any dialogue to begin with.

AKA Readers aren't stupid (some may be, but the majority can extrapolate just fine). You'll realize how much you don't need words and how your stories can be even more funny/impactful by pushing forward visual storytelling.

4. Paneling conveys emotion too, actually

Being a "good" artist isn't enough to make good comics. The way you panel things is extremely important, because it sets the tone, mood, pace, you name it. Some of the best works out there are the ones with the most care put into the flow of the comic. You need to understand how people will read it, and it starts with what order you deliver the information and how. This is paneling 101, but a page with irregularly shaped panels, multiple changing camera angles and such will be exponentially more dynamic than a page where each panel is the same size, have similar compositions and/or repetitions with little to no diagonal or curved lines of action.

The two examples above are WIPs from 2 different stories so unfortunately you'll have to make do with the rough sketches. That being said, you don't need to know the context of either pages to know the kind of emotion that should be felt through the paneling alone. Give time for the important emotions to be processed by the reader (unless it's intentionally fast-paced). Every emotion that needs to be emphasized should have its own panel.

In this example, I could easily have condensed these two panels into one by transferring the dialogue from the second into the first and jumping on to the next action. However, it would undeniably give much less impact to Kaveh's disbelief. On an inverse situation, sometimes you will want to condense two panels you made into one, because whatever those two panels are doing are perhaps not important enough to deserve separate panels! Lastly, you can notice that the space on the page is not always filled. Leaving space between each panel and/or between the edges of the page gives room for the reader to breathe and slows down the flow; and inversely, if you want to make the situation more frantic, make everything look more tight and constricted.

5. Not showing facial expressions sometimes conveys more emotion than doing so

This ties nicely to the point I made about body language. You don't need to see a character's face to know what they're going through, necessarily. Sometimes, their posture or their dialogue is enough. In my opinion, a story is more compelling when this equilibrium of facial expressions / body language / paneling / dialogue is correctly adjusted-- you will not need to have all the elements to convey the message or it could be a little overbearing. I don't have many examples for this one because they tend to be more relevant in dramatic scenarios, which I haven't done that many of.

(The first one is once again from a WIP)

And that's about it for my insane guide on comic-ing. I hope ANY of it made sense.

***

Here's a round up of extra tips, focused entirely on the drawing part which might be more of what you asked to begin with :'D

- That little line/wrinkle that adds so much character

Yall know what I'm talking about. In my opinion, too many artists are afraid of giving laugh lines/wrinkles because it makes their characters look older, except when it's to add those sexy sexy eyebags. I'm encouraging everyone to add them to their art little by little and see how much it can improve the expressiveness! Obviously, I don't use it everywhere, but it's a very effective way to make your expressions feel even more... well. expressive.

- Line of action

You've probably seen this picture going around before, from Preston Blair:

Although it's called line of action which implies action, this line is important even when the character isn't really in action.

You can gain a lot in expressiveness when you think of the body as one whole fluid instead of a sum of multiple disjointed parts. This is why drawing a very rough base comprised of only lines and circles can help figure out if the posing works before you start refining it.

On a different note, animation principles work very much in comics as well! I recommend looking up animation guides especially those that show how to make key poses.

- Shadows and/or color fill

This is one I will use quite often for different situations.

Shadows can immediately set a tone when they're used dramatically. For example, a shadow over a character's face can convey unease and/or evil intent.

On the other hand, I will use color fills for different purposes:

Differentiating ground layers

This can help with readability.

2. Conveying a certain mood

It can separate the character from the color of their background to give a sense of isolation, reflection, realization, being disconnected from their surroundings, etc...

- Don't be scared of using codes / tropes / archetypes

...As long as it benefits the narrative, of course. By codes / tropes / archetypes, I mean posing or expressions or visual effects that are universally understood and used for specific expressions. The semicircle sweatdrops and blush made with slashes are incredibly typical of manga/anime, but it doesn't mean they're bad! Visual effects are there to help remove the ambiguity of an expression considering a single expression without visual codes could convey multiple emotions!

- Find what inspires you and take notes!!!

In my case, what greatly shaped my art style to what it currently is: One Piece, the Ace Attorney series and Mob Psycho 100 (yes, I only watched the latter last year but it still managed to become a source of improvement/inspiration for my art even at my current level, because you'll never stop improving :) )

I hope this wasn't too long or too off-topic, and I hope it can also help other people who might be interested! Thank you for reading!

[ai-the-broccoli]

lawlight, told through taylor swift songs: a non-exhaustive list

no really, why do so many taylor swift songs fit Death Note (and sometimes especially Light and lawlight) so perfectly?

many others have already made pretty good posts on this topic before, but the parallels are truly kinda crazy, so here's my take on it. the rankings within each tier are not super fixed or meaningful, like honestly everything within each tier is pretty much the same degree of fitting to me.

(yes, I double-checked basically her entire discography for this. no, I still don't think this is a fully comprehensive list.)

Tier S - every single line is a fit

1. my tears ricochet (<- category C: "I Knew You'd Miss Me Once The Thrill Expired")

post L's death lawlight, from L's perspective: the song. nearly every line fits what the hell man. one of my favourites here

-> Full Lyrics

2. hoax (<- category C: "I Knew You'd Miss Me Once The Thrill Expired")

@kiyomitakada pointed this out and... yeah, every single line does fit! it's very lawlight from Light's perspective.

-> Full Lyrics

Tier A - the whole song fits well

3. Blank Space (<- category A: "Let the Games Begin")

we probably all know this one lol. while the idea that it was actually written as inspired by DN is a myth, it very much does fit.

-> Full Lyrics

and GOD did the MV imagery not help. like, I mean...

the MV uses a colour scheme of red/blue/black/white/green-ish, I think, which doesn't NOT look like the first OP of Death Note anime to say the least.

apple imagery. yeah. the above is literally something Light does in said OP. both song videos have close-up shot of biting a very red apple.

the character Taylor Swift plays in this video (who is supposed to be a satirical caricature based on media perception of her as a crazy obsessive jealous 'serial dater' women iirc) is depicted doing a lot of voodoo to torture her lover.

in one scene she seems to be in a great and dramatic frenzy with mixed emotions (sadness, desperation, manic, anger, hate, etc.) over the boyfriend character's... unconscious body? I'm not super sure if it's supposed to be unconscious. but it's like this:

and then after a while of this, we see a shot of her sneakily winking at the camera. but anyway so yeah this entire part weirdly actually reminded me of L's death scene for some reason lol

at the end of the MV there's a short B-T-S trivia clip. there's a freaking black notebook there:

it's titled "My True Loves" and the content has nothing to do with lawlight, because it just contains pictures of her cats... is what I'd say, but actually, if you stretch it a bit, there's a comparison to be made about the fact that J-Drama Light Yagami's actor is a cat lover who actually has a cat named L

anyway this isn't exactly a T-pose but it's not too far from one either

I think I've made my point.

4. Getaway Car (<- category B: ''Now This is An Open/Shut Case")

this is very the end of the Yotsuba arc to me, specifically from while they are catching Higuchi to after they catch him and Light regains his memories. man...

-> Full Lyrics

Tier B - largely/mostly fitting

category A: "Let the Games Begin"

the mind games begin.

1. Ready For It

Knew he was a killer first time that I saw him Wondered how many girls he had loved and left haunted But if he's a ghost, then I can be a phantom Holdin' him for ransom, some Some boys are tryin' too hard, he don't try at all though Younger than my exes, but he act like such a man, so I see nothing better, I keep him forever Like a vendetta-ta

and

Knew I was a robber first time that he saw me Stealing hearts and running off and never sayin' sorry But if I'm a thief, then he can join the heist, and We'll move to an island, and And he can be my jailer, Burton to this Taylor Every love I've known in comparison is a failure I forget their names now, I'm so very tame now Never be the same now, now

+ the repetition of "Let the games begin". pretty self-explanatory

2. LWYMMD

I've got a list of names and yours is in red, underlined I check it once, then I check it twice, oh!

...and more. also you know how she T-poses at the end of the bridge in the MV, as she stands over many many other past version of herself?

very lightcore pose. (and this isn't even to mention how she kicks off other, "weaker" versions of herself off the giant T in the same scene, which is... arguably also a symbolic parallel to when Light screams in the helicopter as he regains his memory, if you see it that way.)

3. cowboy like me

And the tennis court was covered up With some tent-like thing And you asked me to dance But I said, "Dancin' is a dangerous game."

Oh, I thought This is gonna be one of those things Now I know I'm never gonna love again

I've got some tricks up my sleeve Takes one to know one You're a cowboy like me

this one even has the freaking tennis mention of all things it could've included

4. Mastermind

So I told you none of it was accidental And the first night that you saw me, nothing was gonna stop me I laid the groundwork and then saw a wide smirk On your face, you knew the entire time You knew that I'm a mastermind And now you're mine Yeah, all you did was smile 'Cause I'm a mastermind

honestly though, this one is more like the perfect Kaguya-sama Love is War Kaguya/Miyuki song. every single line fits them perfectly. but since lawlight also do mind games and all, the song also can be seen through a lawlight lens, although I maintain that it is still the perfect kaguprez song instead of a fully lawlight one.

5. Suburban Legends

I had the fantasy that maybe our mismatched star signs Would surprise the whole school When I ended up back at our class reunion Walking in with you You'd be more than a chapter in my old diaries With the pages ripped out I am standing in a 1950s gymnasium And I can still see you now

I didn't come here to make friends We were born to be suburban legends When you hold me, it holds me together And you kiss me in a way that's gonna screw me up forever

I know that you still remember We were born to be national treasures When you told me we'd get back together And you kissed me in a way that's gonna screw me up forever

idk the vibes here kind of make me think of the entrance ceremony scene lol

category B: ''Now This is An Open/Shut Case"

the Kira investigation.

1. I Can See You

I can see you in your suit and your necktie Passed me a note saying, "Meet me tonight" Then we kissed and you know I won't ever tell, yeah And I could see you being my addiction You can see me as a secret mission Hide away and I will start behaving myself

the MV is important context here again, because actually, the official video for this love song depicts one person watching/"seeing" another person through - guess what - surveillance cameras. in reference to the title which is also a line repeated in the chorus. so that explains it I think. also it's implied to be about a workplace relationship

2. I Think He Knows

He got that boyish look that I like in a man I am an architect, I'm drawing up the plans It's like I'm 17, nobody understands No one understands

[...]

He got that boyish look that I like in a man I am an architect, I'm drawing up the plans He's so obsessed with me and, boy, I understand Boy, I understand

Light's pov. the title line "I think he knows" keeps getting repeated in the song which if you view it through a lawlight lens that might be about Kira lol

3. willow

Now this is an open/shut case I guess I should've known from the look on your face Every bait-and-switch was a work of art

The more that you say, the less I know Wherever you stray, I follow I'm begging for you to take my hand Wreck my plans, that's my man You know that my train could take you home Anywhere else is hollow I'm begging for you to take my hand Wreck my plans, that's my man

L pov-ish.

4. The Tortured Poets Department

You're in self-sabotage mode, throwing spikes down on the road But I've seen this episode and still loved the show Who else decodes you?

And who's gonna hold you like me? And who's gonna know you, if not me?

and also:

Everyone we know understands why it's meant to be 'Cause we're crazy So tell me Who else is gonna know me?

...as well as more lines in the song that expresses the same sentiments, like: Who's gonna hold you? Gonna know you? Gonna troll you?

in any case, "who else decodes you?" is definitely a lawlight thesis. imo. in fact I may have even actually started an essay on it in fic format with that thesis. or not? who knows! maybe one day you'll see...

anyway, this song is post-Yotsuba arc-ish to me, sort of.

category C: "I Knew You'd Miss Me Once The Thrill Expired"

L's death and Light's grieving, eventually.

5. Haunted

from Light's pov, especially in anime canon probably.

12. My Boy Only Breaks His Favourite Toys

My boy only breaks his favorite toys, toys, oh I'm queen of sand castles he destroys, oh, oh 'Cause it fit too right Puzzle pieces in the dead of night I should've known it was a matter of time Oh, oh, my boy only breaks his favorite toys, oh, oh-oh-oh

[...]

My boy only breaks his favorite toys, toys, oh I'm queen of sand castles he destroys, oh, oh 'Cause I knew too much There was danger in the heat of my touch He saw forever so he smashed it up Oh, oh, my boy only breaks his favorite toys, oh, oh-oh-oh

which is quite fitting. moreover, there's this...

He was my best friend Down at the sandlot I felt more when we played pretend Than with all the Kens

...as well as the the original version below:

He was my best friend and that was the worst part I felt more then, in brief moments Than with all the Kens

L's pov. the "Kens" mention here is kinda like Light apparently having like 6 girlfriends in college and not caring about any of them despite being significantly bad at getting over L etc etc I think

8. Hits Different

I actually didn't think of this song in association with lawlight at all before I saw @selfdigestion bringing up the connection, and.... YEAH this is pretty lawlight-coded as well

I trace the evidence, make it make some sense Why the wound is still bleedin' You were the one that I loved Don't need another metaphor, it's simple enough A wrinkle in time like the crease by your eyes This is why they shouldn't kill off the main guy Dreams of your hair and your stare and sense of belief In the good in the world, you once believed in me And I felt you and I held you for a while Bet I could still melt your world Argumentative, antithetical dream girl

and also:

I used to switch out these Kens, I'd just ghost Rip the band-aid off and skip town like an asshole outlaw Freedom felt like summer then on the coast Now the sun burns my heart and the sand hurts my feelings

which is what the song is overall about. (there sure are a lot of Light pov songs in this category man)

and on the topic of "Kens", as it is with the previous time song, in Light's case it makes me again think of all his college girlfriends that he doesn't care about. I'm not going to comment too much on the gender-reverse implications this has for the narrator "I" in the song, but I would think that the original lyrics "bet I could still melt your world / argumentative, antithetical dream girl" with echoing repetitions on the phrase "dream girl" should've already done it for me. anyway. moving on.

10. Would've, Could've, Should've

If you never touched me I would've Gone along with the righteous If I never blushed then they could've Never whispered about this And if you never saved me from boredom I could've gone on as I was

[...]

God rest my soul I miss who I used to be The tomb won't close Stained glass windows in my mind I regret you all the time I can't let this go I fight with you in my sleep The wound won't close I keep on waiting for a sign I regret you all the time

I don't know how to explain this one, but it's... something. I think it only makes more sense as a lawlight song if you want to place emphasis on the age/maturity difference angle, although even without that it would still partly fit.

17. Guilty as Sin?

My boredom's bone-deep This cage was once just fine Am I allowed to cry?

I dream of cracking locks Throwing my life to the wolves or the ocean rocks Crashing into him tonight, he's a paradox I'm seeing visions, am I bad? Or mad? Or wise?

This, plus the fact that it uses similar imagery (dying in a hedge maze, crashing over graves, etc.) as Saltburn (2023), which... has that infamous grave scene that reminded every Death Note fan watching it of Light Yagami on L's grave.

13. cardigan

A friend to all is a friend to none Chase two girls, lose the one When you are young, they assume you know nothing

[...]

But I knew you'd linger like a tattoo kiss I knew you'd haunt all of my what-ifs The smell of smoke would hang around this long 'Cause I knew everything when I was young I knew I'd curse you for the longest time Chasing shadows in the grocery line I knew you'd miss me once the thrill expired And you'd be standing in my front porch light And I knew you'd come back to me You'd come back to me And you'd come back to me And you'd come back

yet another post-L's death lawlight song, this time with L+Light switching povs. with the final line I think of the anime scene when Light sees a vision/ghost/whatever it is of L on the stairs:

And when I felt like I was an old cardigan under someone's bed You put me on and said I was your favorite

Tier D - honourable mentions

The Prophecy

I got cursed like Eve got bitten Oh, was it punishment?

lightcoreTM

False God

self-explanatory title

You Are In Love

You kiss on sidewalks, you fight then you talk One night, he wakes, strange look on his face Pauses, then says, "You're my best friend" And you knew what it was, he is in love

Mr. Perfectly Fine

So dignified in your well-pressed suit So strategized, all the eyes on you Sashay away to your seat It's the best seat, in the best room Oh, he's so smug, Mr. "Always wins" So far above me in every sense So far above feeling anything

lightcore #2

You're Losing Me

doesn't fit that well lyric-wise, but it sure has got a heartbeat sound effect (sampled with her own I believe) in it referencing the stopping of a heart that sounds a lot like the one used to signal cardiac arrest in Death Note anime.

The Smallest Man Who Ever Lived

Were you sent by someone Who wanted me dead? Did you sleep with a gun underneath our bed? Were you writing a book? Were you a sleeper cell spy? In fifty years will all this be declassified? And you'll confess why you did it And I'll say, "Good riddance" 'Cause it wasn't sexy once it wasn't forbidden I would've died for your sins Instead I just died inside And you deserve prison, but you won't get time You'll slide into inboxes and slip through the bars You crashed my party and your rental car You said normal girls were "boring" But you were gone by the morning You kicked out the stage lights, but you're still performing And in plain sight you hid But you are what you did And I'll forget you, but I'll never forgive The smallest man who ever lived

lightcore #3

Anti-Hero

I'll stare directly at the sun, but never in the mirror

lightcore #4

Clara Bow

"The crown is stained, but you're the real queen Flesh and blood amongst war machines You're the new God we're worshipping Promise to be dazzling"

there is a joke I can make here about how "dazzling" is "kira-kira" in Japanese

lightcore #5

(man that's a lot of lightcore songs)

Other songs

...that grieve the loss of a lover,

or mentions a lover being a friend/not a friend;

songs with ghost/death/grave/tomb/cemetery imagery,

songs where the self or the lover is compared to God or a god,

songs that mention a difference in age or has the lover looking down on the narrator's maturity (e.g. illicit affairs, All Too Well),

songs where love is characterized as a game of cat and mouse;

and so on.

taylor swift seems to write about those motifs a lot, so there really are a lot of other examples to pull.

and that concludes my list, I think. there may actually be even more comparisons if you look into her album liner notes and such, but this is what I've got for now

[desire-mona]

so, i want to get into nickel creek, where do i start?

a comprehensive guide / masterlist by desire mona :-)

so ive gotten like. probably 3 or so asks about this + i need a pinned post for the nickel creek community so im making this. keep in mind that i am still a relatively new fan so i definitely dont have the seasoned advice that someone who's been listening for a while would have.

more info under cut!

lets start with the basics -

who is nickel creek?

nickel creek is a 3 piece bluegrass band from california made up of chris thile on mandolin, sara watkins on fiddle, and sean watkins on guitar. all 3 members are vocalists and sing lead vocals on various songs, but youll most likely hear chris on main vocals in a majority of their songs. though they are categorised as bluegrass / folk, their music delves into sounds from a variety of different genres, so a general acoustic label would probably be more fitting. they were originally known as "the nickel creek band" starting in 1989, but they dropped the "the" and "band" in uhhhhhhhh... some time before 2000.

what should i listen to first?

thats honestly up to you, i think anywhere is a good place to start since literally everything they make is good, but i can give u some kick off points so u can know whether or not u like them the quickest i suppose. i was introduced to them at a pretty young age, and the 2 songs that i remembered after years of not hearing them were the lighthouse's tale and this side.

lighthouse's tale - youtube, spotify, apple music

this side - youtube, spotify, apple music

after deciding that i should fully commit to the creek, i started with the tiny desk. i was BLOWN away by how kickass their live vocals were. i went thru and i listened to their albums one by one after that, but i'll have a list of all the albums later on.

"ummmm mona that's too many fucking buttons!!"

ok FINE here's two much easier ways but i think the way i did it was best. whatever.

both my father and my fellow creeker coworker discovered them from their best of album released just after they began their hiatus from 2007-2014. that was a good starting point to go through and listen to the rest, but beware that there are two (very good) albums that came out after this was released.

reasons why: the very best - youtube, spotify, apple music

OR i'll be extra nice and make a spotify playlist for you that i'll eventually make a youtube playlist as well (but not apple music im not paying for that shit <3)

(DO NOT LISTEN ON SHUFFLE - IT IS IN INTENDED ORDER)

every nickel creek album (even the baby ones)

*im doing my best to link physical copies from their official merch site, but some vinyls havent been reissued. if theyre not sold then ive linked the amazon page, but if theyre just sold out then ive linked the merch page anyway. physical copies linked are cds and vinyls respectively, sorry tape users.

little cowpoke (1993) - internet archive, cd

here to there (1997) - youtube and theres a cd but its over $100 so

nickel creek (2000) - youtube, spotify, apple music, physical copies (cd on official merch site is sold out as of 10/2/24)

this side (2002) - youtube, spotify, apple music, physical copies

why should the fire die? (2005) - youtube, spotify, apple music, physical copies

a dotted line (2014) - youtube, spotify, apple music, physical copies (no dotted line physical copies on the merch site, sorry!!)

celebrants (2023) - youtube, spotify, apple music, physical copies

ok fine i like these guys, what can i watch?

OH IM SO GLAD YOU ASKED!! here are my favs, you can do some exploring on your own as well!

their music videos

celebrants music videos (these are live performances)

2002 live @ aol sessions

2000 acoustic innovators documentary

toxic cover

studio session @ the current + interview

cmt's on the verge

new haven 2024 concert

kill bill cover w/ kacey musgraves

ok but what else have they done?

well all 3 members have their own solo careers, as well as separate bands and projects that theyve done. i wont be linking anything for this section, so you're just gonna have to do some digging for yourself.

chris thile:

solo career

unbelievable amounts of collaborations, too many to list

punch brothers

mutual admiration society

live from here

probably other shit, chris is kinda everywhere

sara watkins:

solo career

watkins family hour

im with her

mutual admiration society

sean watkins:

solo career

watkins family hour

fiction family

works progress administration

mutual admiration society

in conclusion + notes

listen to nickel creek or i will kill you with hammers. if you have any more resources youd like me to add to this post, let me know and i absolutely will!! i do plan on making some fandom-y stuff, such as blinkies and dividers. if youd like to check out all of *my* nickel creek posts, you can visit my #certified creeker tag, or if youd like to see all my posts about chris thile, you can visit my #dangly mandolin boy you will be mine tag. i apologise about the name i just. i like him.

thank u for reading!! feel free to send to anyone you want to annoy the shit out of <3

[ithappensoffstage]

r&g report

I had the privilege of seeing rosencrantz & guildenstern are dead with billy boyd and dominic monaghan on march 5! a few people asked for my thoughts after, so here's a sort of stream of consciousness report that may or may not be comprehensive depending on what you're looking for out of said theatre report

anyway I do genuinely believe boydmonaghan are literally the only people who can and should ever play r&g

to start off I will say that this was my first time seeing r&g staged -- I've previously just read it A LOT -- so I can't make comparisons to other productions. I am also a lifetime fan of theatre and have been somewhat involved, but do lack some technical knowledge, so apologies if I can't cover some aspects accurately!

most important of course, boydmonaghan were stellar. their comfort and familiarity with one another is amazing to witness. of course it's staged, but none of their movements come across as anything other than two old friends. they move together like dance partners; there's really no other way to put it. when you put on a show with someone you're so intimate with, it just comes through in the physicality in ways that aren't replicable with people meeting just for one production. watching them as r&g just feels like you're watching them hanging out. they anticipate each other's movements beautifully, lean into each other naturally, play off each other with such comfortable rapport that you feel like you're watching childhood friends goofing off from your corner of the party.

and the RAPPORT I mean wow. damn. if you're familiar with r&g -- the question game scene? holy shit. breathtaking quickness. they are rapid-fire, on each other's heels in the vein of the best comedies. for everyone who knows my tastes of course, they have * the * hawkbeej dynamic. (I almost cried watching because I kept thinking of my beloved url namesake fic.)

great pacing, great chemistry. even when they're sitting still you can still feel the intimacy between them in just how they arrange themselves. lots of staging to reflect mirroring, lots of staging to reflect the thematic element of identity (sorry, I'm rosencrantz; he's guildenstern), etc. great costuming choice -- billy wears green except his blue waistcoat; dom wear blue but for his green waistcoat.

their deliveries were nothing short of spectacular. that of course wraps into pacing and chemistry as mentioned above. but I do feel it's worth mentioning again that they're both so good at speaking their lines. they have such rhythm with each other. and of course that's going to happen--they have a podcast, theyre incredibly close friends, but it's so great to see in a setting with predetermined script, predetermined runtime. again, youre watching two friends who are off their minds at a party really Go Through It.

boydmonaghan aside, I had some general issues with the production. they had quite regular sound errors, and made some sound design choices with music and vocal warping/autotune that were not to my taste. there was a cool echo element utilized that I liked a lot. as I mentioned I don't know other productions so I don't know if this is standard practice, but for this one it was quite fun. coin echoing, echoing around the stage when they shouted into the wings to give you that sense of being trapped. when they spoke to the audience space, it felt enormous, and as if they were speaking to you specifically. I just got so distracted by the mic problems and weird autotune.

the autotune moments were exclusive to the hamlet scenes. that brings me to the other actors. the player himself was magnetic. phenomenal. so much presence. emcee cabaret presence. great stuff. hamlet? so lacking imo. he played hamlet very angry and masculine, which is a choice I guess, but not how I like to see hamlet done. it did make some of the intersectional scenes a little jarring; which, I know is not entirely without reason, but it just wasn't my ideal way to play it.

other than the question scene, one of my favorite scenes in the original text of r&g is when they're talking about leaving the stage, and they continue to make excuses not to. "i think he went this way / maybe that way / why don't you come with me it'll be safer / we should try this direction / oh we should actually wait in case he comes back here." the director did skip this dialogue, which I think gives the indication of less agency for r&g. a little less participation, a little more of things happening to them. which is fine. I have no feelings either way of a better way to do it, but that is just the sense I got of it.

the stage is very small, the set is very cramped. lots of overt use of trapped imagery. theyre often crowded into specific space, sitting very close. when they make space, they make SPACE, indicating periods of disagreement. pretty basic staging for this, I'd assume.

outside staging, very cool lighting, although I am generally against scenes with "party lighting." again, not sure what typical lighting is the scenes with the players that got that, but I could have left it out. similarly, we got a scene with "rock" lighting, and I just thought it was too on the nose / in bad taste. arguable how meta you need meta/absurdist work to be ofc but that decision wasn't for me.

the other lighting choices were great. it starts SO dark. I had lower balcony seating and have great vision, but the start spotlight was so soft the two of them were damn fuzzy for me at the beginning. they gradually get more light in the spotlight, and then it expands. there was a great sunrise moment where they turned the Big Warm Light on the audience and it truly felt like a sunrise over me. the final "rosenc--? guilden--? now you see me / now you don't" from billy was beautifully performed. the lights split the stage into two distinct chambers, truly separating r&g for the first time despite any previous physical distance. I did get a little choked up.

(the final hamlet scene that follows jarred me from the emotion a bit because the horatio actor didn't even try at an accent ToT and it was just weirdly red-lit and they came in with the autotune for the Big End of Speech). and I wish they hadn't made it so Intense and Dramatic because they of course we get our time loop / back to the start / they start on "heads!" and it's such a hold-your-breath type moment. boydmonaghan are good enough that it brought me back but damn. (horatio actor please don't skip vocal lessons again.)

and yeah then I skipped stage door because it made me a little uncomfortable and I went home!

I was very lucky to go and I took my lovely wife (who liked it very much despite only having seen hamlet the day before lol). anyway if you can go I highly recommend! I am even considering pulling a @thealogie and going to see if I can scoop some last-minute box office tickets one of my remaining days here.

ask box is of course open for any questions <3

quick edit: I will say, sincerely, the r&g audience was one of the worst audiences I’ve been in. none of these people knew what the fuck was going on. I wanted to eject them all from their seats into the city skyline and have the theatre to myself (+ wife). literally constantly “what” “what is going on” “huh” from around us. go away. mutuals please come see this show so I can sit with you and not next to someone trying to have a y/n when they look at the audience.

edit 2: I think I mentioned but I did have lower balcony seating. I could see well! I think I might have preferred to be a bit closer just for the microexpressions I probably missed, but I would echo others in saying there really were no *bad * seats at all.

edit 3: stage door is out front to the left of the main doors if you're interested. I personally was not (I already have something signed by billy/have met him multiple times, and would prefer to meet dom at a comic con setting because that makes me more comfortable than stage door).

[elfelt-valentine]

I'd listen to you ramble about Sunstreaker. Because I know nothing about him but you seem to like him and that made me curious.

hi i am so terribly sorry to be replying so late, mental health is a bitch lately but heres my questionably comprehensive rambling about Sunstreaker

He's a very simple character compared to like majority of main autobots from g1, he's a vain pretty boy who thinks he's better and prettier than everyone around him, which is not even exactly untrue, but you're not really gonna go and tell him he's wrong. it's been a staple of his persona throughout all the stories he's appeared in to my knowledge. my interest especially arose when he was a central piece of some idw comics.

i made a whole small piece of writing about him months back, but essentially, what i gathered from very little he has in a whole scope of things, is that he was not a good person. period. he was a law enforcer who fancied watching mechs fight to death. he wanted to join megatron on the arena. he's lavishing in the limelight and he's not unwilling to stomp down anyone who doesn't meet his expectations. that "someone" happened to be his own brother who stopped him from joining megatron.

i always find sibling dramas interesting for personal reasons, and i relate to sunstreaker a lot as a person who had to learn to grow and be better, not just everyone but my sibling first. sunstreaker underwent an extremely traumatic experience that was worse than death - but you could also consider it the death of "Him" as a person. he was merged with a species completely unlike his own. he was forced to be connected to the copies of him while immobilized and in pain. he begged to be killed only to be forcefully saved.

his grudge against humanity is understandable, and his betrayal was something that could've been the end of his dignity. he was ready to accept death in self-sacrifice, still in pain and turmoil over what he had done to his team, to his brother.

he's the kind of character who you aren't supposed to really like. he's not a good person, even if his intentions are for the better - he's doing it to stroke his ego, the autobot cause is not what he ultimately fights for, or fought, at least how i see it. compared to his brother, though, who's there just to fight decepticons because they're "bad guys", i think Sunstreaker saw the lines between "bad" and "good" more blurry. He almost became a decepticon. He was regularly cruel to his brother. He values his self more than others.

Then he had to grow to understand He is not where the world ends. He always cared for Sideswipe, he always cared for people around him, but it took him to almost die, almost risk everyone dying, to understand, and it sucks.

He's a martyr to me in a way that he endures all his heavy self and burdens when trying to be better while world will never be the safe place to him. He gets a service dog about it.

Anyway i think his design is also one of the coolest things ever have you seen him

his fins are EVERYTHING to me

[handsome-2d-guys]

This might get long and normally I DO NOT do this at ALL and I am SO sorry but…

Is it just me or Cove and Garrus are similar??

I knew nothing about Mass Effect until that poll of Garrus vs Baxter appeared on my dash. Of course, my first instinct was to vote for that Vakarian guy because no way I would vote Baxter AND THEN it hit me… “Wait you can date the alien in this game??”

So anyways I played Mass Effect and IM DESTROYED but that’s besides the point. I feel like I’m connecting the dots buy maybe I’m not connecting shit but here is what comes to my mind after playing both games because both characters are absolutely husband material.

-Both don’t like the cold. Garrus says turians don’t like the cold when you take him to a snowy planet and my man Cove does not like to wear layers, would prefer to be cold than wear a Jacket.

-SCARS!! THEY ARE VERY PROUD OF THEM!! They might have acquired them in a very… hard way but they learn to like them as a part of them. Both of them MIGHT want to get new ones as a joke- maybe- Garrus says to Shepard he could get new ones if it gives him a possibility for her to still be interested in him and Cove there’s this option to tell him to not even think to get a new one. These guys would probably be serious about getting new ones honestly.

-Awkward flirts. Flirt with these two and they get all nervous, I love it, and the lines they can throw?? Just see:

Garrus: “If you were a turian, I would be complimenting your waist or your fringe. So… your, uh, hair looks good. And your waist is… very supportive.”

He is trying ok?

Cove: “You know, if you were a fish, you would be… A paradise fish, b-because being with you is like being… in paradise”

MY HEART very appropriate for ocean man.

-Are open to try new things because is for someone important to them!!!

There are moments with Cove in the game where he would be uncomfortable about a situation but always reassures you that is not because of you that even though he himself doesn’t understand why, he says he likes to try because is for you, that he likes when you want him there and it makes him happy and even if the first time he cant do it he WILL try again for you!!

As for Garrus when Shepard say she wants to “Blow steam with him” he say he didn’t even consider it and has no fetish for humans yet because is Shepard the one that is suggesting, his only friend and the woman he respects the most he wants to try. You might think this a fling for them IT IS NOT. Look at Baxter THAT is a fling, for Garrus is a promise of a starting point, even if its alien for him, he will try because is for Shepard.

-RESEARCH.

Cove has this whole moment where he plans three dates for you, and what did he research?? “How to make someone happy” because he was worried about not doing enough for both of you to continue being together, not wanting to drift apart when adulthood reaches both of you. He is a very emotional and attentive person.

Garrus whole research, you might laugh, is for his night with Shepard to go well, the whole “interspecies intercourse”. He researches a lot, so it goes well because a lot of things had gone wrong for him, and he doesn’t want this to be one of those. It gets funny if you think he is researching about the whole connecting port A to port B but like, its just not sex nor “a one-time thing” (looking at you Baxter) there is FEELINGS. And also, research on human customs so he doesn’t say something offensive he he.

-BOTH ARE GOOD LOOKING AND HAVE A NICE VOICE, "but garrus looks-" I WILL NOT HEAR IT.

So, to end this, sorry for the whole ramble and if it isn’t very comprehensible, I LOVE both characters and games, head full at the moment and if for some reason someone reads this whole thing:

Affectionately: You are crazy. With great entusiasm: Thank you!

QUARTER-FINALS MATCH 2

Garrus propaganda:

"Garrus is a character who went from being a shit head punk in ME1 and grows and betters himself over the games. He talks over the hard choices in ME3 without judging Shepard no matter what they choice. He is pretty much the first to stand up for them and even when his own home is being destroyed and he doesn’t know if his father and sister are alive he’s there for SHEPARD. He is there for the person who is always there for everyone else! ME3 Garrus is honestly Best Garrus and I want to celebrate how good his character arc is over the games.

And the best part is: the romance doesn’t fix him. He still grows and improves if you romance him or not!

Idk, I just don’t think it’s super fair to reduce him to his ME1 character when the fact that him growing and improving is the part I like best about him. Garrus, to me, shows you can always get better and life is about always getting better. It’s never too late to be better.

And he has the power to make Shepard dance good in the Citadel DLC."

Cove propaganda:

“This bad boy can fit so much autism in him”

“he is sooo loveable. he's autistic. he's kind. he has a scar on his arm from a waterbike accident. he likes food when they mix them he is VERY awkward with a crush (love it) and he's so interested in the ocean. hates being all formal and stuff. his game is basically about possibly living life with a neighbor like him and it's so cool. please play this game. for him. ocean man take me by the hand”

“Cove is the best boy. He's the deuteragonist (Next to the player) from the game and he's literally the best thing that happened to me. He can be kinda clingy, but who doesn't love a little guy who sneaks into their room to say hi (not as creepy as it sounds, I swear).”

“He is such a sweet person, that deeply cares about the mc, he is such a crybaby in the best way.”

“Look I know he's already your profile picture, but HEAR ME OUT ON THIS!! He's so nice, he's so sweet, it's childhood friends/neighbors to lovers, he likes sea animals and his game is summer themed and I'm a sucker for summer stuff abhdszagvaz!!!!! The VN is so wholesome and fluffy and Cove is just perfect boyfriend material”

[thegirlwhorideslikeasamurai]

Hi. I wanted to check in re: some Japanese language in this post: tumblr dot com slash kowabungadoodles slash 720090237631692800 (sorry, I don't know how to find the original post since some of the recent tumblr changes). You wrote that お願いします was "a very formal expression that translates as “please take care of me." That is not accurate. おねがいします　is not wildly more formal than ください. I don't know what the original line in the anime is, but maybe you meant some other part of the statement? Additionally, the phrase that is usually translated as "Please take care of me" is よろしくおねがいします。That does end in おねがいします, but the よろしく is the part referring to an interpersonal relationship. Another translation might be, "Good relationship, please." That said, よろしくおねがいします is for, like, both offering yourself to someone for a good relationship, but also for implying that you need the other person to do something for you in order to keep the relationship going well. It's usually said when you first meet someone. But, you can say よろしくおねがいします to, like, the cable guy to remind him that he has an obligation to you. So, it's not only for romantic relationships. And apologies, I don't know enough to know if the other Japanese parts are accurate. Anyway nice work love those ice skating fools.

Hi! Thank you for sharing your knowledge!

It's been about one year since I wrote my post on Japanese dating culture in Yuri!!!, so I don't remember my exact reasoning when I phrased that paragraph and likely left out some important bits when I tried to condense the information I had back then. The entire line is 引退まで 僕のこと—　お願いします, so you're absolutely right that some parts were missing that would have helped to make sense of the line!

I'm by no means an English-Japanese translator. I started studying Japanese two years ago, but I'm still far from being able to do translations myself. So, most of the time, I rely on people who do regular translations and thus know their job and refer to their works. For this section, that wasn't possible, which wasn't ideal.

For reasons of transparency and completeness and in case readers are interested in this stuff*: Often, ください (kudasai) and お願いします (onegaishimasu) are interchangeable, but there are some nuances. ください (literally "please give me") is used when the speaker addresses peers or people of lower social rank and requests something they are entitled to. In contrast to this, お願いします is a very formal version of the verb 願う (to wish) as the prefix お and the ます-form indicate. It's used when you address someone superior or ask for something you cannot do by yourself. It can also be used to emphasise how serious the speaker is about their request. For the airport reunion scene, this means that Yuuri, who is convinced that his time with Viktor is limited and borrowed, asks Viktor to make the best possible use of their time together ("Please take care of me until I retire"), which makes total sense given how Viktor washed up on his doorstep and offered to coach him. And it accidentally comes across like a marriage proposal in the most positive way (I guess that's because this is what Yuuri's heart desires most). Note that not the お願いします but the indirectness of the entire line makes it sound like a proposal. It's the same style as classic proposals like "Please make miso soup for me every day". Marriage proposals can be phrased with ください, too!

For a more nuanced and comprehensive discussion of this scene, please check out this post by rikeijo! In addition, I updated my original post in the meantime as my interpretation of this scene has changed over the course of the last year. I apologise for any confusion this paragraph has caused and I will be more careful with translations in my posts in the future. Spreading misinformation certainly is one of the last things I want!

Thanks again for your remarks! It inspired me to dig a little deeper into the meaning of these expressions and I learned some things I didn't know before!

*based on my knowledge as of today, but if you google the difference between both expressions, you'll find a plethora of articles on this!

[somnambulants]

hi!! i was just wondering if i could request more yelena where yelena introduces her gf to natasha and her family and she’s uncharacteristically nervous so nat finds it amusing? thank you :)

a bit of minor surgery

summary: Yelena tries to keep you to herself but her family has other ideas word count: 1.7K notes: so this is a little different to what you asked for but i hope you still like it! for the sake of this, nat, yelena, alexei and melina are just one happy family 

“But if we –"

Natasha holds up a hand and Yelena stops talking. “Do you hear that?”

It’s faint but there’s the sound of someone moving around on her apartment floor. Being the only person who lives on this floor and one of the few in this building is enough for this to raise the hairs on the back of her neck.

Survival for them has always meant constant vigilance.

Both of their heads swivel towards the front door as the footsteps become louder, very clearly approaching her apartment.

Yelena doesn’t have to look to know Natasha is mirroring her, pulling out her gun and scanning every entry-way for possible intruders.

On edge, Yelena presses herself against the door, readying herself until she listens properly and realises the approaching footsteps sound familiar. 

Somehow, she feels herself relax and become even more tense at the same time.

“Stop,” she says as Natasha moves towards the door as well, holding an arm out to stop her. “It’s okay. I know who it is.”

At her words Natasha relaxes, putting her gun away but she watches her face carefully as she does so.

The panic Yelena can feel building inside her must not be as well hidden as she thought because a slow grin spreads across her face as the sound of a gentle knock echoes through Yelena’s apartment.

��Is it..?”

“Yes,” Yelena replies curtly. “And no. You can’t meet them.”

Natasha gives her a wicked look, clicking her teeth together teasingly. “What? Scared I’ll…eat them?”

She snickers as Yelena reaches out and shoves her hard enough to knock the air out of her while also giving her a firm and clear: im going to kill you if you don't listen to me look as she goes to open the door.

Not that it's ever stopped Natasha before.

“Just stay there,” Yelena hisses and then wrenches the door open, finding you behind it with your hand still mid-air, prepared to knock a second time.

“Y/N!”

“Hi,” you say, looking a little startled but smiling at her none the less as you drop your hand.

Beside her and thankfully, just out of your view, Natasha, to her credit, is silent but Yelena can feel her gaze glued to her face and can especially feel the amusement radiating off her in waves.

She grits her teeth, forcing a smile. Your own fades a little as you take her in. “Is this a bad time?”

“No,” Yelena says quickly. Still out of sight, Natasha lets out a huff of laughter just quiet enough that she hopes she’s the only one that hears her.

“Not at all,” she adds, and since the door covers most of her body, it’s safe for her to reach out and pinch Natasha on the arm. Which is what she does. Hard. “Just --give me a second?”

Clearly still puzzled, you nod and Yelena closes the door, giving you a smile that she has a feeling looks more like a grimace.

Next she grabs Natasha by the arm and starts walking her forcibly towards the window. “Out.”

Natasha raises an eyebrow as she pulls them to an abrupt stop, looking at her then looking out the window. “You seriously want me to scale ten stories because you’re an idiot?”

As an answer, Yelena unlocks the latch and lets the window sweep open, giving her a pointed look that says: Yes. Obviously. 

Natasha rolls her eyes but to Yelena’s relief, she slides out the window.

“неудачник,” is all she says in parting before she disappears, dropping down the stairwell and vanishing from sight completely.

The word lingers in the air after her: Loser.

Yelena scowls after her for a second before she rushes back to the door and opens it, letting out a sigh of relief when she sees you’re still there, standing in the same spot.

“Sorry,” she apologises, swinging the door open. “There was just a uh, complication....a spider. I caught it and put it outside. I know you hate them.”

As she speaks, you slowly raise one eyebrow at her. The other quickly follows and it's then that she notices the narrowed look in your eyes.

When you start speaking, your voice is low and scarily calm. “So it has nothing to do with the woman I just made eye contact with as she was climbing down your fire escape?”

Something Yelena is proud to say is that in her life there have been very few times she’s been at a loss for words. 

This however is one of them.

She stares at you, blankly, knowing her panic must be showing on her face by the way your expression progressively becomes darker and darker as seconds pass and she fumbles frantically for something to say.

“I, uh, she is, she, uh –”

“—Natasha Romanoff. Nice to meet you.”

To her credit, Natasha has always been the stealthier of the two of them. Ignoring that fact, Yelena chooses to believe that her being distracted by you is why she doesn’t hear her coming back up the stairwell.

She also chooses to believe that she didn’t visibly jump at the sound of her voice and that the cough Natasha lets out is genuine and not covering up a laugh that says she’s going to mock her mercilessly for this entire thing later.

Of course, Yelena can’t fool herself but she tries anyway.

You look even more unimpressed as Natasha comes to a stop beside her and it clicks in Yelena’s head that you think her and Natasha – her and Natasha. She can’t even finish the thought.

As funny as it is, she doesn’t let herself laugh, knowing instinctively that it’s not a good idea. The flinty look in your eyes just confirms how much of a not good idea that is.

Just because you weren’t raised like her doesn’t mean that you couldn’t pack a punch; something she learned early on in your relationship when she’d accidentally snuck up on you once. She’d had a black eye for weeks after that.

“Natasha is my --” she isn’t sure how to say: ‘this is the woman I was trained to kill people with while we grew up being tortured and experimented on, remember I told you?’ In a way that won’t make you go running for the hills.

As she trails off, Natasha, sensing her panic, jumps in. Yelena knows that internally, she must be laughing hysterically though to her merit, she keeps it to herself. “I’m her… sister. Of sorts.”

You know about her past – all of what she was willing to repeat of it anyway – so comprehension quickly dawns on your face.

“Then why…?”

She watches as Natasha’s mouth twitches, sounding amused as she directly addresses you: “Well... my sister is an idiot. I’m sure you’ve noticed.”

Yelena tenses as you give her a once over, raking your eyes over her consideringly, before you turn back to Natasha.  “I may have noticed that. Yes.”

"Hey," Yelena protests, weakly. "That's not fair."

You give her a pointed look and she falls silent. Resigned to her fate, she lets out a sigh.

She can tell from the matching scheming looks brewing in both your own and Natasha’s eyes that this is only going to be the start of her own personal torment.

--

The one thing she really, really hates about her family is that they have this habit of showing up unannounced – you’d think that the whole being assassins and consequently, a little trigger happy as a result would make someone call ahead but no.

Never.

For this reason, it comes as no surprise when there’s the familiar three tap repetitive secret knock knock knock they had all come up with years ago on her front door early the following morning.

Silently, Yelena prays you don’t hear it and stay asleep as she drags herself out of bed and prepares herself for what she’s about to deal with.

Truthfully, she’s a little surprised that they’d had enough tact to wait until morning. She’d half expected them to be knocking her door down the second Natasha relayed last nights events to them. 

Yanking the door open, she comes face-to-face with Alexei and Melina. Taking them both in and cataloguing mentally that they look alive and uninjured, she lets herself glare at both of them.

“Is something wrong?”

They both frown. “No?”

“Okay I’m closing the door then.”

She starts to swing it shut but it’s quickly caught as Alexei shoves a foot in between it and the doorframe, giving her a reproachful look.

“Is your –”

“Yes,” Yelena interrupts, scowling harder than before, if that was even possible. “Now, leave.”

The look on Alexei’s face shifts, now suddenly a little too much on the wrong side of sneaky. “Can we—”

“No.”

“But–"

“I don’t care. You can’t meet them,” she barks, probably too loudly, as she shoves him back out into the hallway. If she has to throw them bodily out of here, she will. It just would likely attract your attention, which is the opposite of what she wants. “They’re asleep.”

“We can wake them,” he suggests, unhelpfully.

Yelena glares at him harder. “No.”

It’s faint but all of a sudden, she can hear the sound of a door squeaking as it opens. Her bedroom door to be more exact. Your voice calling out to her quickly follows.

“Okay,” she says. “I’m closing the door now.”

“Hey, no wait –” Alexei starts to protest. Yelena closes the door firmly in their faces and is working on dead-bolting it just as you appear in her line of sight.

You blink at her blearily, wearing just one of her T-shirts and nothing else. Thank god she hadn’t let them in. “Who was that?”

“Neighbours,” Yelena lies. “Looking for their …cat.”

Still half asleep, you don’t think to question her and she sags against the door in relief as you venture into the kitchen in search of coffee.

To her relief, there are no subsequent persistent knocks or calls through the door and after a second, she can hear the quiet sound of footsteps and Alexei’s grumbling as they retreat.

Natasha is one thing – their parents or pseudo-parents or whatever they are – are another thing entirely. She’d save that one for another day.

Or never, preferably.

[sukirichi]

reckless [02.]

With a lackadaisical playboy as your boss, being reckless wasn’t an option. But on the one time you let loose and made mistakes, your life is shattered, and now you’re playing house with your insufferable boss who is the father of your baby.

✘ cw. angst, toxic situations

✘ note. yes, feel free to scream at me in the asks. but like don’t worry, i promise there’s more to come and there’s more to happen! it’s going to get fluffier as we go hehehehe. ALSO, I can’t help but feel that Zayn’s “Let Me” speaks perfectly to CEO playboy Gojo. hmph.

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One glance at the tall man beside you, and you would’ve thought he would pass out soon.

Satoru had been endlessly fidgety hours before the appointment. Flicking from music stations to another, drumming his fingers on the steering wheel or sighing at the sight of you calmly watching the city go by in a flash – it was clear he was restless. Judging from the dark circles he tried to conceal under a pair of shades, he probably hadn’t slept much last night as well.

Now that you were both inside the clinical room, with you laying back down on the reclined bed, belly exposed and all for him to marvel at, his knee hadn’t stopped bouncing. “Satoru, calm down. It’s just a doctor’s appointment.”

“Sorry,” he apologized sheepishly, rubbing his sweaty palms on his pants. “I’m just…excited yet nervous, you know? It feels so real now.”

Real didn’t begin to cover it. Although you masked your nervous quite well, you felt your stomach tighten when a woman came in. Her smile was gentle and comforting enough, talking you both through the process and spilling little fun facts about pregnancy. She applied a cool gel over your belly before turning to a screen, where mixed dots and waves of black and white blurred in front of your visions. Your eyes widened in awe, throat dry from the inability to speak. The baby had always felt real, but seeing it with your own two eyes, a small figure barely even a comprehensible shape in the screen, you couldn’t help but tear up a little.

“That’s mine?” Satoru breathed out, absentmindedly looping his hands through yours. It made you stiffen for a quick second, but your attention was quickly pulled back to the sonogram. “We made that?”

Your heart clenched at his words.

He sounded so happy – like all his dreams came true and you’d just given him a gift that was beyond priceless. You supposed it really was; a baby was always a miracle and joy to have, but this child wasn’t made out of love. How could he have so much fondness for something he didn’t want in the first place?

“The baby is perfectly healthy. This pregnancy doesn’t seem like a high-risk one, but it’s too early to tell so we’ll keep checking in on you,” the doctor pushed her glasses back to her nose, the sound of her cool voice pulling you back from a dangerous path of self-doubt and wariness. “Do you guys want to know the gender?”

Glancing at Satoru, you shook your head. It was amusing that you didn’t need to share words before he got the meaning behind one look, and he squeezed your hand as if to say he understood.

“I’d like that to be more of a surprise. Thank you, doctor.”

“Congratulations on being a father, Sir,” she bowed, and it occurred to you just now she was probably a family doctor. Satoru did end up keeping his promise that your pregnancy be kept private for a while. This little detail made you turn to him with shock written all over your face, though his attention was centred in on the swirling monochrome colours on the screen. Whether the doctor noticed the brewing tension between you two or not, you were still gad when they bowed once more to excuse themselves. “I’ll leave you two to talk now.”

The moment she was gone, you sat up and pushed your blouse down. Satoru’s demeanour had changed as well. His smile was wiped from his face, replaced only by a slight downturn of his lips.

Sighing, you swung your legs over the bed, not minding one bit that he was inches away from resting his chin onto your thighs. “Is there something you’re not telling me? You’ve been so worried since we got here.”

Satoru winced.

“Am I that obvious?”

“Even if you aren’t, it’s not that hard to see through you,” you spoke gently, a spirit possessing you because there would’ve been no other logical reason on why you placed a palm over his. Satoru’s hands were warm and large as he cupped your knee, tracing little patterns over your jeans as he kept his gaze lowered to the floor. It was an odd sight to see; that the Gojo Satoru refused to look a woman in the eye. “Tell me. What’s wrong?”

Satoru’s sigh is painfully drawn out, though his chuckles took the brunt.

“I don’t know what to do – how to be a father, I mean. Don’t you ever get worried…that maybe we might fuck up and ruin someone’s life?”

“Hey,” you cupped his cheek, forcing him to look you in the eyes – which you really wished he didn’t, because you’d never seen such azure this up close before. It was no secret that his eyes alone stole the hearts of people, but you had to remind yourself he broke them as well, so that you pulled away right before he got too close for comfort. It wasn’t what he needed anyway. Satoru simply required reassurance, so you opted for an awkward pat on the shoulder. “Weren’t you the one telling me the other day we’ll work it out?”

“Yeah, but…”

“But what?”

“It’s nothing,” he shook his head, a smile lighting up his features once more. “Are you feeling good? There’s someplace I want to take you, as a celebration for our healthy baby.”

You pursed your lips. As much as you appreciated his enthusiasm, this ‘celebration’ didn’t sound like a good idea. You’ve made mistakes before and now you lived the consequence of it; being reckless was outdated. Caution, wariness, and space were the top three perfect recipes for the complete opposite of a disaster.

“I don’t think that’s necessary.”

“Why not?” he challenged, taking your hand in his as he guided you out the clinic. You made no comment on why he led you out the back where he’d parked his car, even going as far to bow for you as he opened your door. “Liven up a little, we got good news today! Plus, we didn’t both take a day for nothing. Come on, you’re going to have fun, I promise you!”

“And where would we go where people won’t recognize you?”

“Somewhere people are too lost in their own world to focus on others,” Satoru announced before sending you a side glance, smooth hands already on their way to rev the engine.

This wouldn’t go down well. Or at least that was what you wanted to believe, because his smile and excitement were too contagious that you couldn’t restrain the smile you wore.

“A carnival? Really? We’re too old for this.”

“We’re never too old for anything,” he insisted, placing his hands on your shoulders as he maneuvered from stall to stall. Everywhere around you, children and people of all ages milled by, laughter and screams that fading into the distance. One survey at the long, endless lines for the rides and crowded spaces, you grimaced, feeling an uncomfortable weight resting on your shoulders that was beyond Satoru’s hands. “Aw, come on, don’t be such a bore. Day offs like these are rare and think about the baby! Don’t you think they would’ve wanted us to get a long?”

“You’re just using the baby as an excuse to have fun.”

Of course he would – Gojo Satoru was like a man-child. Whether it was someone randomly bringing donuts or puppies into the office, he easily lit up like a firework, seemingly finding joy in every little thing. Being stuck in the office and forced to work his ass off under your supervision must’ve taken a toll on him too.

Add on the fact he hadn’t gone out on dates or parties ever since he found out he was going to be a dad, the desperation to go out and do something was written all over his face.

Satoru pouted. “That’s mean. Take that back.”

“No.”

“And I’m the childish one here?” he snickered. You merely rolled your eyes at him and gave in; too much time spent working and not enough time relaxing (not that being a carnival was your definition or relaxation, but alas, Satoru was dragging you around everywhere like always) wouldn’t be good for the baby.

“You see that bear over there? I’m going to win that for you. It could be my first ever present for our baby.”

There was no stopping him. You didn’t want to, either, because you just stood there, arms crossed against your chest as you let him do whatever he pleased. A literal man-child, a youthful soul stuck in an irritatingly attractive man’s body – these were the thoughts that ran through your head while Satoru kept swinging his arm back and forth. He chose a stall where you had to knock down stacks of cans down with one set of three balls, all because he wanted to win a bear. You would really rather go home than watch him fail four times now, but he wasn’t giving up, only flexing his shoulders before gesturing to the young man.

“Hey man, three more balls please.”

Nothing was funny about it at all. Watching your boss fail miserably even after ten tries shouldn’t have been so hilarious, yet sweat was dripping all over his face and his patience was hanging on a loose thread that you were giggling before you knew it.

His usual confident bravado began to tear down bit by bit, his face flushed from the sounds of your teasing.

“Satoru, stop,” you laughed, “We’ve been here for twenty minutes and your wallet might as well be empty! You can just go buy a bear at the mall.”

“You’re too functional. Where would be the meaning behind it if I just bought a random bear?” he huffed, pushing the sleeves of his denim jacket up to his elbows. Determined now more than ever, he even stretched his long arms side to the side with a shake of his hips. You could tell the young man manning the stall was hiding his amusement by whistling to himself, but Satoru really was such a ridiculous sight you couldn’t blame him. “No, I’m going to get that for you, then I’ll brag to my baby how cool their dad was when he knocked those cans down.”

“You mean, if you knock those cans down.”

His shoulders deflated. “Support me a little bit, will you?”

“Hmm, I don’t know, it might just inflate your ego and you’ll be too distracted by yourself to ever actually knock those cans down,” He threw a ball with a force so strong it hit the curtain above the cans, and it bounced back somewhere below the tables. It didn’t even touch the can by a smidge, and you snorted. “See what I mean?”

Expecting that Satoru would take insult to heart (as his ego was easily wounded, this much you knew when he refused to talk to anyone at the office for a whole day because one of his directors forgot his name) you smirked at him, but that smirk immediately dropped when he grinned back at you. He was no longer wimpy like before, an aura of confidence brimming from him. “That’s like the second time you’ve told me I was distracting,” he mused, leaving you baffled because he was right. “On the contrary, I think you’rea lot more distracting, so I take that back. Just stand there and watch me win.”

“Okay,” you drawled out in faux disinterest, thankful for the corny carnival music and chatter from the crowd that he couldn’t hear your poor beating heart.

You were too focused on pretending to be unbothered by him that you failed to see how the cans were knocked down. The counter guy was already picking them up as Satoru pumped his fists in the air, way too much like a child high on sugar.

Was this really the father of your baby?

“I won! I fucking won! That huge brown bear, please!”Satoru’s smile from holding the bear that was half his size couldn’t even compare to the city lights and sparklers. Even his eyes were lit up in joy as he skipped back to you, happily waving the doe-eyed bear in front of you. At your lack of reaction, he sighed before jutting his cheek out to you. “No congratulations kiss?”

“How about a slap?”

“Kinky,” he teased, sending your brain to overheat when he tapped his chin in thought. “Well, you did make my back bleed so I kind of got the idea you’re sort of extreme in bed – ow! Would you please stop hitting me? I just won you a wonderful prize and your first reaction is to hit me! This arm is exhausted from swinging endlessly, you know.”

“Maybe if you aimed better, you wouldn’t have had to exhaust yourself. Like I said, you could’ve just bought a bear,” you scolded, raising your arm threateningly when he opened his mouth again. Idiot. “Give me that.”

Satoru effortlessly swung the bear until it was under your chins, his white lashes ethereal as he peeked at you through them. He was close enough that you could feel the warmth of his breath dusting on your cheeks, that same warmth that had been mixing with yours in a sloppy, heated kiss just weeks ago. “And who said I was letting you carry this?” he taunted, thoroughly enjoying how for once, you weren’t hitting him.“I’m supposed to wave this around proudly then place it in our baby’s room when we get home. Besides, your hand looks heavy already.”

“My hands? Wait, what do you mean our baby’s room?”

At your words and questioning gaze, Satoru did a quick turn, trying to use the bear as a shield.

“Yeah, I forgot to tell you,” he scratched the back of his head awkwardly, “I may or may not have had my parents’ guest room renovated as a baby room, although if you ask me, I think moving somewhere else would be much better. Raising a child in a penthouse doesn’t seem like such a great idea if you ask me,” opening your mouth to scold him, Satoru stopped you by placing a finger on your lips, noses grazing against each other. “Don’t scold me right now; I know that look on your face and I’m sorry I didn’t tell you sooner, okay? We can still decorate it ourselves. I just had the beds removed and the space cleaned out. Now stop over thinking and let me help you with your problem.”

You pushed his face away for the sake of your heart. In fact, you should be paid for your acting skills for looking so unaffected.

“What problem?”

“Your hands look heavy,” he beamed, long fingers looping through yours as he swayed them side to side. “So let me carry it for you.”

“Satoru, I—”

“Don’t get me wrong,” he blinked innocently while surrendering his free hand, “I’m not doing this for you, it’s for the baby. Did you know oxytocin is released and makes you feel good and reduces pain, maybe even stress? We can pump your oxytocin levels through touch. It also lowers your blood pressure, and we want you at your happiest and healthiest for this pregnancy, right?”

“Since when were you an expert on this?”

“Since I found out I’m becoming a dad,” his words struck you speechless, mouth pressed into a flat line as you stared him openly. You hadn’t mean to come off as rude in that moment; you were just trying to gauge the sincerity behind his words, to explore the depth in his eyes, but Satoru must’ve took it wrong as he cleared his throat, “I can let go if you really want me to.”

“N-no! It’s fine…can we move? We’ve been standing here for ten minutes now,” Embarrassed, you pointed to the closest thing in your sight – a photo booth. “How about there? That looks fun.”

Satoru followed where your arm was pointed, laughing when a couple exited the red curtains while giggling amongst themselves. The guy even leaned down to steal a long kiss from his lover, and if you were embarrassed before, you wanted to crawl into a hole and never come back again right now. “You know, if you wanted me to be stuck in a cramped space next to you, you could’ve just said so. I didn’t bring the limo with me, but the Audi could be pretty small for us, I guess…”

You hissed at him in warning, “God, you never shut up do you?”

“It made you smile.”

“I wasn’t smiling!”

“Sure, mommy, whatever you say,” bumping his hip with yours, Satoru led you inside the cube. There were a plethora of filters to choose from; ranging from heart frames and ones that placed shades on your face. Not really thinking of what to pick, you reached out to press the frog hats one, but Satoru was swatting your hands away for the effect with heart emojis everywhere. “This is cute. We can show this to our baby once they’re born.”

“They won’t really know what a Polaroid is, Satoru.”

“It’s still sentimental!” he grumbled before clicking the camera icon, a huge smile already on his face until he saw you squished on the other side of the booth. Only one side of your ear could be seen, and Satoru furrowed his brows at you. “Come closer, you’ll be cropped from the frame.”

“I don’t want to.”

“Jesus, Y/N, don’t act shy now, I already fucked a baby into you,” mouth falling open at the vulgarity of his words, Satoru took the chance to drag you beside him. “Relax, you’re always so stiff. Our baby might come out frowning if you keep huffing like that.”

“You’re too close for comfort.”

“My apologies, I’ll try not to be included in the photo when you’re the one who suggested this in the first place,” he muttered playfully, booping your nose before he wrapped an arm around your shoulder. He was close, too close, that his musky perfume filled the close space. You wanted to lean closer to his warmth and sturdiness of his broad shoulders; his mere presence bringing about a sense of tranquillity despite your words. You told yourself it shouldn’t be too bad to lean into him for just a little while, absentmindedly following him as he cheers, “Smile!”

One photo turned into two, and Satoru ended up inserting a few more bills into the slot to take more. He tried out as many filters as he wanted, acting as if you two had been long time friends from how easy it was for him to be around you like that.

You supposed it came from his heavy experience with women. You were so unlike; while he was open to touch and didn’t care too much about space, you craved it deliriously.

It was obvious none of this meant anything to Satoru. You were probably just another woman in his life, with the exception that you had a kid, but you couldn’t mean something more. If anything, he treated you more like an old friend than a lover. He’d said it himself before that you weren’t his type and you didn’t mind, so why did it hurt the longer you mulled about it? Sure, you may not be as attractive or luxurious as his previous lovers, but did you really not even have charismatic pull? Is it because you weren’t his type that he was so casual with you, while you on the other hand, felt like you would lose your mind at every little thing he did?

You watched as Satoru pulled out his wallet and kept the Polaroid of you both grinning at the camera, forming a silly heart shape with your hands per his request. It was silly and platonic – yet the gesture confused you to no end.

“Why’d you do that?”

Satoru’s hand paused. “Am I not allowed to…?”

“We’re not lovers. You can’t just put a photo of us in your wallet.”

As if to prove a point, Satoru pulled out more photos of his wallet and showed it to you. There were several more wallet-sized photos, mostly of his white cat with black shades, another of him and his best friend, Shoko, and the last photo was of him skiing. They were all placed in his wallet along with a small, faded out photograph of what seemed to be his parents from the younger days. You couldn’t understand why he was showing you this, much less how patient he was as he smiled softly at you. “It’s memorabilia. I keep photos of everyone I care about everywhere with me,” he said, pocketing his wallet back before gazing up at the night sky. “I like to think we’re friends, at least. We’re definitely not just boss and employee anymore.”

Then what are we?

There were so many things you wanted to ask. You always knew he was always this overly friendly and nice, but what did make you? What did a friend mean to him? Other than Shoko, who was his lesbian friend who was also the company’s resident doctor, you’d never seen him be platonic with another female before.

The realization made your mood drop.

Maybe you were right. He probably didn’t even see you as a woman, but what did it matter? You didn’t like him. You shouldn’tlike him. Even if he had no intentions of wooing you, Gojo Satoru was far too appealing for his own good. Being around him was dangerous for your heart.

“Wanna ride the ferris wheel? The night city always looks beautiful.”

He was just your boss...and you were just a friend. Things were going to be alright as long as no feelings were involved. You survived seven years of working with him with not a single moment where your heart fluttered when he spoke your name; a baby made between you shouldn’t change anything now. At the end of the day, you were both only doing this out of responsibility. Satoru was trying his best to become a supportive co-parent to you, and that was all it ever would be. Strictly business – purely professional – as it always had been and always will be.

Foolish girl, you could hear a voice whisper at the back of your head, don’t get too lost in his eyes.

“Y/N, are you tired? Do you want to go home now? We can just order dinner to be delivered if you’re exhausted,” Satoru tugged at your sleeve to get your attention, and you chuckled awkwardly, not meaning to have spaced out the whole time. Worry was written all over his face from the way his brows dipped, stunning blue eyes darkening like the night sky you both made memories under.

Don’t look at me like that...

“Are you okay? Do you wanna go home?”

“Yeah,” you chirped far too brightly than you would’ve liked. Right now, it was more of a mission of fake it til you make it. You would just have to keep exerting the same amount of effort into making this work for the baby’s sake. And if that meant pushing aside any budding desire for this to last any longer to focus on your ‘friendship’, then you would do it. Taking Satoru’s hand for the first time since the baby ordeal, you flashed him a genuine smile. “The ferris wheel sounds nice. Let’s do some sightseeing before the night ends.”

Neither of you speak inside the cab. Beautiful the night was as the city shone into awakening illumination beneath you, comforting you with the thought that in the grand scheme of it all, you were small. Insignificant. That somehow everything you worried about wouldn’t matter when there was a much bigger world out there, and you were but a fickle dot in the middle of its entirety. But that was you, and Gojo lived in a much different world than you did. For somewhere in the city, you could recognize several of the sky towers, buildings, and establishments owned by his family. He mattered in the grand scheme; you were a small factor in his world.

Glancing back at the man who’d been silent the whole ride, you smiled upon seeing that he was doing the same. Satoru was practically bouncing in his seat as he snapped several photos of the city, mumbling something about he’d never seen this view before.

He was so innocent yet so out there, igniting within you an urge to take care of him and wanting to be taken care of by him.

You’d already accepted that you may just never have him that way. That small, fleeting crush was like a butterfly – pretty look at, but damn near impossible to catch. You’d already stopped crying yourself to sleep over the new changes brought about in your body, that in a few months’ time, you’d look back into everything and see that everything had changed. The mistakes you made that night were still something you regretted because you wished you could’ve done better, but seeing him right in front of you now, there was only gratefulness blooming within. Grateful that he was right by your side, grateful that at least the father of your child was more than capable of giving them a comfortable life, grateful that he didn’t push you away like you expected.

Acting more on impulse than logic, you leaned over to press your lips on his cheek.“Thank you,” you mumbled, eyes closed as you let your lips stay there for a few more seconds.

His skin was warm underneath your touch, and when you opened your eyes, Satoru was gazing up at you with stars twinkling in the vast galaxy he called his eyes. You smiled at his reaction, watching as he reached a palm out to caress that spot your lips had landed.“For what?”

“For everything,” you crumbled,“You’re not a bad person, Satoru, I know that,” with shuddered breaths, tears sprung at the back of your eyes again. “I’m sorry for being so difficult. I just need time to adjust to…well, all of this.” Your voice cracked at the last sentence and you were crying before you knew it, face hidden behind your palms in fear he’d look at you differently. In his eyes, you were always his stoic secretary who didn’t even bat an eye when people gave you backlash after Satoru hired you despite the lack of a college degree.

This all felt new – to cry, to trust, to rely on someone – and there was a flurry of emotions you couldn’t quite place yet.

Scooping you into his arms, Satoru patted your back as your cries grew louder. “Take all the time you need. We don’t have to rush into anything at all.”

In the harsh world of conglomerates where the laws of business blurred thinner and thinner with each day, it was hard to believe that not rushing into anything would be possible. It was always a flurry of hurried phone calls, frantic preparations for emergency meetings, anxiety over presenting new proposals and hoping that your superiors would sign your documents so you could go about your way. Time was as imperative as money was to them, but Satoru had proved he could be beyond that.

From the moment you met him, he never treated time as if it was something that slipped through his fingertips. He enjoyed every second he had of his life, and perhaps that was why you hated him so much in the first place.

You thought he took everything for granted, when in reality, all he did was bask in the little things life offered.

This much, at least, you trusted him with. If he said there would be no need to rush and you could both take it slow, he meant it. Around him, time felt more like a secret whisper than a treasure you both had to seize to protect. The night drifted off until it was already midnight and the crew was ushering all visitors out. You and Satoru made it home safely and quietly, hands linked together as if it was the most natural thing ever. No rush, you kept telling yourself, and you plopped down on the couch heavily as you let your muscles relax from such a long, eventful day.

You stayed there for a solid minute or so when you felt warm hands take your heels off. Opening your eyes, Satoru kneeled before you, his fingers expertly rubbing and pushing against the sore muscles of your feet. “Wh-what are you doing?”

“Your feet must be tired from all that walking,” he mumbled, looking up briefly to meet your eyes and tease your shoulder back. “Lean back for me. I’ll take care of you.”

Judging by the sentiment behind his smile, you figured it wouldn’t be harmful to enjoy this at least once. You’ve never gotten foot massages before but his hands kneading yours felt heavenly. You knew from experience beforehand that Satoru was quite godly when it came to the skills and magic his fingers brought, though this one was on a different level, and you were sinking deeper into the couch from the bliss. He was right; you were tired, and if having your boss massage you like this every night after dragging you wherever he pleased, then you wouldn’t complain.

The ringing of your phone made you sit up abruptly, surprising Satoru whose head you almost knocked into. “Sorry,” you croaked out sheepishly, “It’s my dad. I need to take this.”

“Do you need me to leave you alone?”

“Uh, no, you’re fine.”

Satoru gestured to your foot as you took the call, mouthing, “Should I continue?”

“Yes, please,” you answered back, palm pressed over the mic before you answered. “Hey, Dad!” Your father greeted you back with much enthusiasm, his energy heard even by Satoru who sent you small smiles and curious glances every now and then. A part of you wanted to ask if he was fine kneeling on the floor like that, but his knees were on the fur carpet anyway that it shouldn’t hurt him. He extended your leg and trailed up your calves, pulling a soft moan from you when he kneaded the flesh and rid it of its knots. His ministrations distracted you until you were nodding absentmindedly to your Dad every now and then, not really paying attention to what he was saying.

Then the call ended, and his last words kept ringing back into your head ominously. Satoru took quick notice of this as he tapped your knee, bringing your attention back to him. “Is something wrong? You look like you’ve seen a ghost.”

“I...” you started, helplessly fumbling around Satoru. “My dad is in Tokyo. He said he wants to have dinner with me.”

“You don’t look particularly happy about that. Do you not want to meet your father?”

“I do but...”

“But?”

“I have to tell him about this,” you shivered, refracting your legs back to the couch until his touch disappeared from your skin. For a moment, you had the urge to crawl back to his heat, but you were restless, agitated. “About us. He’s going to want to meet you and I don’t want to hide the pregnancy from him either,” Satoru remained unmoving as you rambled, and you hid your face behind your arms again as you remembered the rules you asked him to follow. “Listen, I’m sorry if I sound unfair right now, I know I said I didn’t want anyone else knowing—”

Warm lips brushed over your knuckles, large hands peeling your wrists to reveal your face. “Hey, it’s fine. He’s family and you can tell him. It’s not like your Dad would ruin your image or something like you expected to happen.”

“He won’t but...” you frowned, “My dad isn’t going to like this. I can’t guarantee he’ll be civil the whole time, especially towards you.”

“You told him about me?”

“A few years ago, yeah, when I still couldn’t tolerate you.”

“So you can tolerate me now?”

“Only a little bit,” you corrected, pushing his hands away as you opened your phone to check your schedule. It was mostly Satoru’s schedule, truth be told, but you were free for the most part tomorrow. Satoru could just longue back in his office while you clocked out early to meet your dad. “You don’t have to go if you don’t want to. On second thought, he doesn’t have to know at all. I’m only a few weeks in and it’s not like he’ll notice—”

“Y/N,” Satoru interrupted you, rudely snatching his phone from your shaking fingers. You would’ve scolded him had he not sounded so worried. “I did promise I would take responsibility for you, right? I want to meet your dad and introduce myself properly. As a father-to-be, I think I can somewhat understand that he might react strongly to this, but I also need to reassure him you’re in safe hands,” taking your hand in his, Satoru leaned into your palm, the smile he wore way too charming than what your heart could handle. “As long as you’re okay with it, I would like to meet him.”

“I’m sorry if he does something stupid.”

“Don’t be,” he reassured with a chuckle. “I’m sure everything will go well.”

It didn’t go well. Your father wasn’t throwing a fit or causing a scene like you originally feared, but the current situation wasn’t any better either. He looked like he was on the verge of tearing Satoru’s head apart, his grip on the bread knife so tight his knuckles flashed white. Your father was the literal definition of unpredictable and out of nervousness, you held Satoru’s hand under the table for comfort.

In complete opposition of yours, Satoru handled it with class and composure. His head was ducked down in respect, making sure to be curt and precise in counters to your father’s harsh accusations.

“I’m really sorry for everything, Sir.”

“Did you ruin my daughter’s life?”

Satoru finally tilted his head back up to look your father in the eye, both your hands turning cold and sweaty in between the seats. “Pardon?”

“I asked if you ruined my daughter’s life by getting her pregnant.”

“I would never intend for that to happen, Sir,” Satoru straightened up. From your perspective, he looked every bit the man parents would want their children to be with – handsome, elegant, educated, polite, respectful and well-off – but your father was no ordinary parent. He sized Satoru up like a predator hunting his prey even as the latter acted cool about it. “Granted, it was an accident and neither of us are prepared for this, but I promise I’ll take care of her. I take responsibility as the father and you have nothing to worry about.”

Your dad slammed his palms down on the table, the loud smack catching the attention of nearby tables. “How dare you tell me I have nothing to worry about?”

“Dad, please don’t do this.”

“No, he needs to know,” he snapped. Unable to help it, you groaned inwardly and scooted closer to Satoru, knowing where this was leading. “I lost her mother right after she was born; raised her by myself when I was barely out from high school. Rich men like you may never understand the struggles of taking care of a baby all by yourself, but I did everything I could to make sure she grew up well. My daughter had a happy, comfortable life. When she told me she wanted to follow her dreams in Tokyo, I supported her, and then you go take everything away from her because you couldn’t keep your hands to yourself? You dare defile her like that?”

“Dad!” you roared, clutching Satoru’s hand who’d gone limp. “It was equally my responsibility as it is his! I wanted this; we both got carried away but we’re doing our best, so please stop being difficult to us.”

“You wanted this?” he laughed dryly, “A child with this man you kept moaning to me about; the same man who went to clubs every night while he left you all by yourself to work, to clean up his mess from him? You wanted him?”

“Dad,” you gritted your teeth, nails sinking down onto your thigh. Satoru remained silent between you both, although you could feel his burning gaze penetrating through the back of your skull. “It’s both our mistake. But this child...we don’t see it as that. We like to view it as a blessing. It may be true we harbour no affection for one another, but we want to be good parents. That’s all you need to know and I find no reason to explain myself to you. If you have nothing else to say, you can go back home. I’ll pay for your ride,” slamming down a few bills his way, you glared at your father, who shrunk back at the anger radiating off of you. “You’re not welcome here, Dad. Just go back home.”

“I’m just worried for you.”

“You don’t have to. I’m not a little kid anymore.”

“I never said you were,” he sighed, rubbing the sides of his temples. “But he just took all your opportunities away from you! What about your dreams? What about your plan of having your own career once you have enough experience? What about—”

“Are you implying that because I’m pregnant, suddenly I’m not qualified to fulfil my goals?”

“Sir,” Satoru cut you off, releasing your hands as he leaned forwards on the table, becoming more and more like the CEO he was trained to be – all authority and gentle command that won the hearts of multiple investors. “I assure you that I won’t be holding your daughter back from the things she wants to achieve. As her co-parent, I’m perfectly capable of supporting her in the dreams she wishes to achieve. I’ve worked with her for years; I know she can reach for the stars if she wanted.”

Your mind blanked.

“Young man, don’t talk to me as if you know my daughter better than I do,” your father scorned, “I’m not questioning your capability to support her, but what about your credibility? How can you assure me you’ll really be there for her? How can you assure me you won’t leave my daughter stranded in the middle of nowhere? How can you assure me you can protect her from the harsh criticism of society? Money can’t provide nor does it solve anything,” your father copied his gesture by leaning forward, but it was to poke Satoru’s chest. “From what I’ve heard about you, I suppose you understand perfectly well why I don’t trust you.”

“Sir, I do plan on marrying your daughter and to give her the life she deserves,” Satoru confessed, effectively stealing from you the ability to speak as he glimpsed your way. “If she lets me.”

“You’ll marry her? Be faithful to her as your wife and have a family? Are you sure you can do that?”

“Yes, Sir, I’m highly confident I can. I’ll make sure of it.”

“Then that’s all I need to know,” your father leaned back in your seat, arms crossed against his chest and a stern expression on his face. “And if I find out you hurt or make my daughter cry in any way, I’ll beat up that pretty face of yours. I have two more sons that’re willing to do the same, if you don’t watch your actions.”

Satoru beamed at your father’s ‘approval.’ “I’ll face any consequence if I fall short on my duties, Sir, but I assure you, it will never have come to that.”

“So we’ve come to an agreement?”

The two men linked and shook hands across the table, completely disregarding the fact you were right beside him. You were beyond appalled, but mostly hurt that you’d been reduced to this way. And they were unaware of it, too, sickening and satisfied yet tense smiles were masked on their faces as they decided your future.

You stood up and left the restaurant.

You kept walking as fast as you could in the cold night, hands shoved into the coat of your pockets. Thousands of pin needles pricked at your heart and your skin the more you replayed the memory in your head. How stupid were you to think that Satoru would be different? And marriage? Was he serious? It all made you sick to the core to the point you wanted to throw up and disappear, until a heavy set of footsteps echoed behind you and tugged your wrist.

“Y/N, wait!” Satoru panted, hands on his knees as he tried to catch his breath. “What’s wrong with you? You just up and left—”

“Seriously, Satoru, you’re asking me that?” your face fell flat at his cluelessness, “What’s wrong with you? You men are sickening; planning my entire future like that right in front of me as if I don’t have a say in what I want. None of you asked if I’m okay with this. You really went ahead deciding we’ll get married when I told you already, I don’t want to marry you and I never will!”

Satoru brushed a hand over his hair, a hand on his hip. You could tell his patience was being tested – after being verbally harassed by your father and now with you pushing back in the same heat, it was only a matter of time before he lost his cool. Surprisingly enough, however, his voice remained levelled as he sighed. “What did you expect me to do back there? Tell your father that we’re just going to be roommates and raise a child together as if we’re not already family?” he defended, words slow and pronounced with a hint of hurt behind them. “I respect you and I truly do want to be with you, that’s why I wanted us to get married.”

“You respect me?” you laughed incredulously, “Are you hearing yourself right now? No person respects another by deciding what happens to my life without my consent!”

“I’m sorry I didn’t ask, okay? I apologize for it and I acknowledge my mistake that I didn’t give you much of a choice. Me being cornered and pressured isn’t a good excuse, but I wasn’t lying when I said I want to take care of you and—”

“Why?”

“What do you mean why?”

“Why do you want to be with me?” you demanded, “Why do you want to take care of me so badly? How did you even take this so well? You weren’t even that angry when I told you I was pregnant.”

Satoru paled. “Was I supposed to be? Should I have pushed you away and kicked you out my life? Is that what you wanted me to do, or is that what you expected from me, considering you’ve made it extremely clear I’m nothing but your airheaded boss and a man who always wants his dick wet, right?” the sting of his words pricked you both – you with your guilt, and him with his pride crushed. But he didn’t let on, didn’t waver and didn’t match your anger as his chest shook with impatience. “I’m trying to be good to you; I want to be good for you and the baby because despite what you think of me, I’m not the devil the tabloids make me out to be. I sleep around, yeah, but I wouldn’t go so far to turn someone away especially when I know I’m supposed to be there.”

“Satoru, if you’re only doing this out of obligation, you can be a good father without marrying me. Marriage is not a requirement; I don’t care what people say that I got pregnant without getting married. That’s the least of my concern, I just want the baby to grow up healthy but I don’t want to be involved with you.”

With how stunned Satoru looked, one would’ve thought you slapped him right in the face. That mere sight of seeing your boss tear his walls down in front of you almost made you feel bad, but you had to be strong.

You had to be firm with what you stood for.

“I really don’t want to be with you, Satoru. I’m so sorry.”

“What do you want me to do?” his voice cracked, begging and pleading as he stood before you, looking every bit of a man lost in uncharted territory. “I don’t know what you want me to do, Y/N. One moment, you’re telling me you want me to be a good father, and then the next you’re pushing me away. People are so sure that I’m a man who can never settle down because they believe I have commitment issues, but I’m telling you I can commit to you right now,” he held your hand, rubbing some of his warmth at your comparably cold ones. You didn’t fail to notice that he was trembling, but what about what you couldn’t decipher. “Are you really sure I’m the one here who isn’t capable of that? What are you so scared of that you can’t trust me?”

“Because you’re you! Because you’re a fucking asshole who’s been treating me like I’m an overworking machine and always expects me to undo your shit for you! Because you make me sick and I don’t want to be with someone who doesn’t know what love means!” Exploded. You exploded. “I regret everything that happened between us that night. No, in fact, I regret ever meeting you at all.”

Satoru took a step back.

All the light and joy that fit so perfectly with him had now disappeared.

“I’m sorry,” he demurred, “I’m sorry that I’d been so repulsive that you’ve felt miserable for all this time. I’m sorry I haven’t been a decent boss and I’m sorry I’m not good enough for you.”

“Gojo, stop. Stop doing that; stop apologizing!”

“Then tell me what you want me to do,” he barked desperately. “Because I can’t read your mind and I just want to be good for you.”

“What if I don’t want you to? I don’t want you to be good to me, I don’t want you to care about me. Be there for the baby, but don’t involve yourself too much in my personal life. Stop asking me to marry you because you and I would never work out. We’re impossible, okay?”

“How do you know we’ll never work out when we haven’t even tried?” he pushed, “You never even gave me a chance.”

“You’re not worth that chance.”

If someone could receive an award for effortlessly trampling over someone repeatedly, you would’ve been crowned winner a long time ago. You had no idea what came over you as you spat all those hurtful words to Satoru, but did your words bear no truth? The fact that he no longer defended himself meant he also knew that he wasn’t worth it – that he wasn’t someone to be trusted. It wasn’t that you were completely unfair too; of course you considered it. Weeks of living under the same roof as him and you most definitely considered it. Say you did get married and became a real family – what then? It wasn’t a marriage out of love, but rather out of responsibility and obligation.

As much as you loved your child, you couldn’t imagine throwing away your future and living miserable for the rest of your life like that.

A life built on lies wasn’t a life worth living.

“I would never hurt you.”

Your heart cracked. After everything you said, after all your efforts to keep him away from your own safety, after all the hurtful things you’ve done to him, and he was still apologizing? Why did he have to make it so hard to let go? You were tired, so tired that you could no longer refrain your lip from quivering as tears caked your face.

“Gojo, please, don’t—”

“So if me stepping away from your life is what would really make you happy, then I’ll respect it. But there’s one thing I have to ask,” Satoru swiped a thumb under your eye to catch the tear. His smile was forlorn, his touch cold and words melancholic. “Do you want the baby? Do you...want to keep the baby and be a mother? You don’t have to do anything for me, I just want to know if the mother of my child even wants to be one. And please be honest, because everything you say right now are words that I’ll mark seriously.”

The word left your mouth before you could stop it.

“No.”

“No what?”

“I don’t want to be a mother,” you admitted, hands trailing over your belly. It felt like you were betraying your own child, but you hadn’t planned this. “I’m too young, Satoru, I-I’m not ready for this. With you there beside me or not, I really don’t want this.”

“Then,” he cleared his throat, turning his head to the side to catch a moment. You swore you saw his eyes shine under the city lights with tears, but it was gone so soon that you might’ve just fooled yourself with it. Once he deemed himself ready to talk, Satoru took a deep breath. “Do I have your consent that once the baby is born...it’ll be under my care? Would you prefer to reach your own dreams, then? You’ll never have to be a part of the Gojo family if it’s really not what you want, even though I could support you as much as you need me to.”

Your eyes widened at his proposition. “You’ll take care of our baby?”

“Yes, of course.”

“Can I...can I visit them, at least, once in a while?” It was more than just your heart that broke that night. There was no telling whether you’d hurt yourself in the long run with this decision. It was no easy choice to make – to actively pursue your dreams somewhere else more than being a mother. You wanted to do your best, of course you did, but it wasn’t that easy. Gojo didn’t have to tell you for you to understand that once you married him, you’d be expected to run the business with him and be involved in his family and their dramas. Now that wasn’t a life you wanted.

“You’re free to visit them whenever,” he promised, voice fading even lower into the background. “So is this it? We’ll just be living under the same roof until the baby is born and once they’re here...”

“We’ll part ways.”

“We’ll part ways,” he nodded in agreement, sniffling for a brief second before fixing his tie. The Gojo Satoru you got to know for a few weeks had now disappeared. Not even the goofy boss you spent seven years with could be found in the coldness of his eyes, almost as if he’d put up such impenetrable walls around him and nothing could pass through. The sudden shift in aura made your heart clench as he offered his hand to shake. “Okay. Let’s stay professional until then?”

“Yeah, Sir, I can do that,” your hands shook as you enclosed it around his, but now all the warmth had disappeared – from his eyes, his touch, his soul. It hurt, but this was necessary. It was what felt right. “Thank you – for everything.”

“You’re welcome. Anything for you and the baby,” Satoru proclaimed, perplexing you both when he suddenly pulled you in his arms. Just like that, the dam broke, and you were staining his precious suit before you could stop it. His arms rubbed up and down your back the longer he held you there, almost like a final moment to lean on one another before you had to say goodbye eventually. Beneath your palm, his heart beat exuberantly loud, so much so that you might’ve heard the prayers it whispered. “Stop crying now. The baby might feel sad too. We’ll both be alright – we just have to get through this.”

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[fiymywings]

sun + moon summary/liveblog

sun -

ch. 1 - oh bless alma he tried to talk and the head honcho went SHUT UP! I DONT NEED TO TALK TO A HUMAN and he went from :D to 8l

while the vampire is doing his speech on how humans are below vampires he tries to take emma hostage, to which she recalls the self defense "training" from before. alma starts talking to the vampire, saying he'll hear the vampire out and thoroughly listen to which the vampire goes "its just lipservice". an opening is made and emma is able to not only get to safety, but also alma/daste lay a Beat Down on the guy

almas checking up on emma to make sure shes fine, and she asks what he threw (im guessing at the vampire?) and he responds with the book he normally carries in his initial sprite. she gets worried he threw such an important book, but he remarks its fine since it barely got wet. he tells her it took guts to fend for herself like that, and she goes "??? wasnt that what the eye contact was for??? "self defense activate"????" and he says "it was "do whatever it takes to get you out of that spot""

after that, he goes up to the vampire and essentially forgives them for their crimes though it "wasnt a small incident"

ch. 2 -

i believe emma apologizes for what happened to cinis, and as she goes down to meet alma it ends up karmas the one fronting. shes obviously startled, and he gets a bit snappy saying "aren't you the one who's been wanting to talk to me?" she goes through the previous talk with alma and calms herself down + thanks karma for before, Sorry just experienced the heat death of a start for a moment anyway while theyre talking karma says "What a charmless woman you are" with a soft voice and a smile .Im okay.<- dead

they have a chitchat, karma gets emo particularly about his reason for being + i Assume something about emmas insistence on getting to know him, and he swaps alma in

ch. 3 -

they return to the banquet where everyone seems in good spirits and emma asks alma about what he said before, he explains the vampires situation and talks about how he previously said he wanted to save them

once they finish talking about that, he asks about emmas chat with karma. she doesnt mention his past (karma has told her before in his initial that he altered almas memory of what happened to keep him safe), but she does mention he said smth along the lines of "he has an eye on such a troublesome woman" and almas taken aback going "WOMAN?" (note: "onna" is .quite rude to use normally speaking! alma himself never refers to emma as such but karma refers to alma as "That fool" and p much refers to everyone as some form of idiot so it lines up)

GHGHHHHHHH HE HANDS HER ONE OF THE RED FLOWERS GETS CLOSE AND SAYS "I like you!" [INSERT THE CG HERE]

They get back on the topic of karma and he mentions how his thoughts all got leaked to him, emma brings up the concern about him having no privacy and alma states he doesnt really mind. once the cg ends, it shifts attention to the orchestras music and alma invites her to a dance

moon -

ch. 1 my friend just wished me luck on surviving because i got wiped out from sun route cg im gonna try to be comprehensible for the sake of making this liveblog readable

starts off around where ch. 5 of the initial stories ended, they're discussing how to get emma out of there and im very certain daste threatened to just blow the guy up with fireworks and alma had to remind him that emma is there at point blank so thats not viable. the vampires blame the humans, saying theyre the ones at fault, and karma swaps in after detecting the hostility and says smth like "dont make me laugh" to that notion

he gives his "punish the sin, judge the sinner" line and manages to make an opening for emma. in this route shes thrown off the balcony by the vampire and is caught by karma who asks "are you in a hurry to die or something?" before pulling her back up the balcony

naur NOOOO HE SAYS THE "im an existance doomed to disappear" THING HERE NOOOOOOOO :sob: RIGHT AFTER EMMA WAS WORRIED HE GOT INJURED SAVING HER ...

ch. 2

opens at the lobby, once again crowded with vampires (and almas back in front), he checks in on emma and asks if her necks okay to which she replies shes not injured and its more like a decoration/badge

mentioning she needed more training with self defense via karmas recommendation, alma gives an encouraging pat on her shoulder (and overdoes it on the strength) and a few dialogues later mentions that if shes ever going through tough times, hes there for her. while she starts thinking over what karma said before about being fated to disappear, alma brings her over to a flower cart full of the red flowers referenced in the story

i assume they exchange flowers, and the scene cuts to emma thinking about cinis since cinis is the child of the head vampire (and as this was a vampire related incident cinis was very likely to be chewed out for choosing his human companions over vampires), and she spots "alma" leaving the lobby all alone

ch. 3

as expected, its ~karma~ and hes outside in the snow with the red-dyed flowers. he asks why she followed himSORRY I FORGOT I WAS LIVEBLOGGING they talk about what karma had said about being fated to disappear and hes essentially trying to convince emma to stop caring about him because he doesnt really see it as worth it since his existance is to protect alma and disappear once alma doesnt need him anymore (so he says), and while shes losing hope she can reach through to him, she gives it one last try when she rememebrs alma saying they think about her a lot and presents him one of the red flowers, to which he says "What kind of joke is this?" and i think she just talks about how she was thinking about him + thinks over about him saving her and how she didnt actually see him as a bad person

DAMN HE WAS RIGHT I DIDNT SURVIVE

[cg] "Really... you're beyond salvation." 'Huh?'

he Once Again starts going on about how hes fated to disappear once alma doesnt need him all while gently rubbing the bandages on her neck, and she Once Again insists that she wants to know more about karma even if it amounts to nothing, especially after thinking about how lonely karma must be/how complicated his situation is

[cg end] he calls her a fool beyond salvation again and smthsmth how shes untouched by filth/how lovely the reflection in her eyes is (Im Going To Die Right Here) and the red snow starts falilng again

alma/karma crimson snow banquet card summary ch. 1-5 liveblog style (take a lot of this with a grain of salt kaku is Struggling today

ch. 1 - opens with the banquet starting and alma and my boy went HAM on the roast beef. emma is ENAMORED with how much he ate in like 5 minutes of the buffet starting im in love really. emma starts reflecting back on when they were assigned the mission to find the culprit behind the attacks on people. while they discuss it, alma says something along the lines of "when we find the culprit, i'll have a talk with them to find out why they did it", his usual "ill reform them" talk.

HE SUDDENLY GETS CLOSE TO EMMA AND IF IM READING RIGHT STROKES HER HAIR? it was in an attempt to get her to relax but :sob: goodness boy. i think he complimented her clothes as well and mentioned he has a hard time figuring whats good and whats not, and he ended up happy emma was smiling

they get back on the topic of what he mentioned before (reforming them) and the chapter ends as he saIM SORRY. LOST MY TRIAN OF THOUGHT. I LEFT MY PHONE OPEN TO CH. 2 AND IT OPENED WITH .A NOISE .

ch. 2 - ANYWAY

OH. OH MY GOD. CONTEXT DIDNT MAKE IT ANY BETTER. IM ASSUMING IT OPENED ON HIM DRUNK AND LAYING IN BED AND HE HUGGED EMMA FROM BEHIND WHILE GOING "Heeey, Emmaaa~" NEAR HER EAR (EMMAS NAME BEING REPLACED WITH PLAYER NAME OBV)

i was right he did get drunk and he pretty much dragged emma into the guest bedroom with him. mentioning going to bed and emmas trying to get him to at least take his coat off and shower and i believe he gets it confused with a confession

while emmas trying to get him to take stuff seriously, i think hes already fallen asleep and starts talking about food (?), and i think dialogue suggests he pretty much conked out the moment he flopped onto the bed.

he starts talking about a good smellDID HE JUST SNIFF EMMA?????????WHERE AM I. OH MY GOD!HE SNIFFED THE NAPE OF HER NECK!!!IM GONNA FUCKING DIE!!!!! OH MY GOD!!!!KARMA!!!!!!!HELP ME!!!!!!!!!!!

OH THANK FUCK KARMA WA SLIKE "the hell are you Doing ." AND TOLD EMMA TO MIND HER DISTANCE HELP MEEEEEE. emma thanks karma for saving her from that situation (ME TOO. ME TOO!!) and they do the explanation that alma has DID/karma is an alter they did in the event story, emma goes "oh is this a chance for us to talk?"

picking "it's been a while" causes karma to comment that he hasnt fronted near emma in a while, she asks why hes out now since he only fronts if he has something to do, and he very grouchily says "I don't feel the need to answer that. Did I not tell you before to refrain from prying into my business?" and he reminds her they came to the castle to investigate, not have pointless conversations/overindulge. emma says she doesnt think her talk with karma is pointless, surprising him. after a moment karma ends up talking back to emma commenting on the fact she carelessly let herself end up alone in a room with a man and she runs out of the room primarily because she finds it difficult to actually Talk to karma

ch. 3 - after what i think was consdiered an unsuccessful attempt to talk to karma, alma returns (NO LONGER DRUNK.) he apologizes for having emma need to help him

alma ends up playfighting (?) with emma where she asks "whats with the sudden self defense practice" and he tells her she was making a face like something was caught in her throat and some moving around would refresh her. he ends up going a bit too far and nearly topples emma over, where he catches her midfall (and he comments on how light she is only for her to comment "no youre just Really Strong")

ch. 4 - they go back to looking for the culprit of the attacks

they stop to look at paintings, and i believe they ran into a painting of the flowers cinis mentioned in the event story (originally white, they turn red and are part of a "ritual" meant to strengthen a bond between two people)

WHILE THEYRE TALKING ABOUT KARMA ALMA JUST GOES "hey. can i hug you?" WITH A SERIOUS FACE. THIS MAN..

he comments saying he suddenly thought about wanting to take good care of emma hawbhsbdg

ch. 5 - they start talking, more specifically trying to figure out how to talk to karma without driving him away, especially since apparently alma was pretty close to rolling over on top of emma and crushing her. he tells her she shouldve just left him there, since its common for the houndsweepers to be left alone when theyre dead drunk

while they're talking in a hall, cinis finds the both of them and brings them out to the balcony to see the red snowfall. cinis comments on the ritual for "Vow of love". after they both take a moment VAMPIRE ATTACK!!!!cloud of BATS!!!!!!!yeah

[toskarin]

so re: urobu chi in madoka we are just replacing the "man/ghost" with a girl with grey hair, right? I buy that.

I think he has strayed away from these basic conventions a lot as of late, but he also has been working a lot less in general. I'm curious if you have a favorite of gen's work or if you feel you haven't absorbed enough of it to have an opinion (or maybe you just don't like any of it). while it does boil down to the basic framework you describe I feel like on the journey to that he explores some pretty interesting ideas. Just as well I also like the different ways he resolves his "everything sucks" narratives. at least I feel by the end usually there is more there than that basic idea but sometimes it takes too long to get there.

As far as zero is concerned, Nasu approved it basically all the way through its release and worked with gen on it so there is that. And when you consider Gen was basically given free reign there's no real reason for him to stick to the original concepts, I don't think (but I understand the argument for him to do just that). I guess my takeaway is if you find them incompatible (zero and stay) then that's fine because they were made by two completely different people, the same way I don't have Aliens in the same headspace as Aliens. They are different things that just happen to have the same characters.

I spent a lot of time just stating my own opinions rather than asking yours, sorry. Whatever you feel about Gen (I'm not a big fan but he's made some stuff I like), it's hard for me to say he did some interesting things that a lot of authors would be too afraid to do (or perhaps simply wouldn't be allowed to by their publishers).

anyway if you can/want to point me to where you've written more about these topics I'd be curious to see it!

I'm gonna apologize in advance because I'm using your ask to write my most comprehensive (and sympathetic) post on Urobuchi so far lmao

I should definitely open by clarifying that when I drop an opinion like that, I'm exaggerating my actual stance because I think it's funny to do it, so I'm not actually as anti-Urobuchi as I come off, it's just that I'm just not especially a fan (and at the end of the day, no matter what I say on here, I'm a pretty big Madoka fan who thinks Saya no Uta is a fantastic piece of horror and likes Nitroplus vns as a whole)

in general, when I sound overly negative about an author, it's usually because I don't feel the need to write out every time I find a piece of media okay or even good, so playing up some stronger opinions for a punchier line is always gonna result in what looks like a paradigm of blind praise and seething hatred. it can come off especially rough when preexisting connotations attach themselves to my rambles and rants

for example, me complaining about the misogynist tendencies of Urobuchi's writing is more of a ribbing than a hard moral judgment on whether it's got merit. I've got no idea what he's like outside of his work, besides that we like a lot of the same movies and he seems to get along with other people I hold in high regard. that's a big part of why I make a point of tending towards more tongue-in-cheek references to his choking fetish as opposed to anything with real substance

all that being said!

even though my stated opinions are oversimplifications of what I actually believe, I'm a little unfair to him, and I'm fully willing to acknowledge that. I disagree heavily with the way Zero was handled, especially in regards to how it handled preexisting characters, and it's one of those few situations where I wonder whether Nasu was actually right to lend so much creative freedom to a partner on a project he was (by all accounts) so closely involved with

Gen has a fantastic sense for horror and despair, and it's solely because he produces stories so close to what I'd consider amazing that I complain about the things holding them back. an example I'll point out is that I've never gone after the low hanging fruit of gun jokes because, while it is a recurring theme in his writing, I genuinely appreciate his fixation on the specifics of firearms

I haven't kept up with Urobuchi's stuff recently, largely because of time constraints, but I really do hope he's been working his way out of the boxes he worked himself into. if he were a purely mediocre writer who made consistently okay work, I don't think I'd have any opinions on him at all, after all

in the end, I really dislike Zero because of both what it tries to be and what it doesn't try to be. if it had been a more boring production, I'd have much less to say about it. I think that's a pretty good encapsulation of my feelings on him. I'm never bored, regardless of whether I'm having a good time

[death-headed]

"I know I have to set boundaries but how do I know where to set them?"

Fear not. I have the answers. I'm so sorry this post is so long, but here goes:

First of all: you can only control yourself. You can't control other people, or infringe on their right to feel the way they feel. You can, however, ask them to treat you a certain way to keep you safe, and remove them from your life if they won't. "You're allowed to feel angry, but I need you to calm down before you talk to me or else I can't have this discussion with you", for example. You control yourself only. Other people can control themselves only.

Also, boundaries are about behaviors, not feelings. If someone is telling you you "can't" be mad, or sad, or hurt, or upset, that is unfair to you, and of course vice versa. "You can't be mad at me" is an inappropriate thing to try to declare. "You can't talk to me cruelly just because you're mad at me." is 100% reasonable and allowed. Does that make sense?

Second of all:

This is key, for my system anyways. Comfort zone is well within your boundaries, everything's happy and cool. Growth zone is where you start asking yourself "this makes me uncomfortable, but am I benefitting from it?" Are you growing and learning and practicing anything? Danger zone is when you need to say no to that thing or situation and if need be, remove the thing causing it from your life. You are not growing, only being harmed.

The way I personally know the difference between the growth zone and danger zone is that if I can't be present then im in danger. If im panicking, having a flashback, dissociating strongly, unable to listen to the people around me, or experiencing the fight or flight response to an uncontrollable degree, I need to stop or escape the situation. If im feeling nervous or anxious, maybe a little dissociated or flighty, but I can still access my coping and grounding techniques, and still converse/text/communicate mostly comprehensibly with the people I'm with (including nonverbal communication), im either in the growth zone or right on the line. This is when I need to ask myself "am I growing right now?" Am I practicing handling conflict or am i suffering needlessly? Am I learning to manage difficult relationships or am I just allowing someone to hurt me again? Ultimately this takes practice but you will get the hang of it!!

You can also sometimes say "hm, this is a growth opportunity and I wouldn't be in danger if I said yes, but I don't have the energy for it, or I need to save that energy for another thing later, so I'm going to give it a hard no". That's super valid! This is more nuanced than a Tumblr post can fit, and you should do what feels healthy to you.

Danger zone boundaries may sound like "don't talk to me like that" "I can't have this conversation" "we can't talk anymore, do not contact me again" "I can't be in this space, I need to leave" "I can't deal with this situation safely and I won't put myself in it. Ask someone else."

You will probably reflexively say sorry at the end of these, and that's fine, but you don't have to. You have a right to them.

Growth zone boundaries might sound like "can you wait a few minutes to have this discussion so I can prepare myself?" "Can we meet up in a public space?" Etc. What can you change about the situation to face it without sliding into your danger zone? Sometimes this type of compromise can't be made and you have to find another way, but if someone refuses to make any leeway for you on this regularly or always, then they are being immature and unfair and demanding too much of you. They are not respecting you the way you deserve.

Growth zone situations are a good time to ask for help. Maybe a danger zone situation can become a growth zone situation with someone you trust by your side! Having help does not negate the growth, in fact it encourages it.

All of this takes practice, and I guarantee you will find ways to define and understand and set your boundaries that are leagues away from how I do it, and how I've outlined here. That's a good thing! This is just a place to start, and I hope it helps.

The last and most important note: this is HARD, and there's nothing wrong with you if you have trouble with it. We all struggle with it, especially with people close to us! It's not a moral failing to struggle setting boundaries, but you deserve the safety that comes when you do, and the joy and happiness and contentment that comes in relationships where this type of communication is standard and respected.

[voiceless-terror]

Recognition

@aspecarchivesweek Day Five: Something New

Jonathan Sims/Martin Blackwood, Season One

In which Jon and Martin are more alike than they thought.

Jon, in spite of himself, was starting to get used to Martin living in the Archives.

Offering him shelter had been almost instinctual- after listening to his story, who wouldn’t? Terrorized for almost two weeks and no one, no one noticed. There was also the matter of Jon’s guilt; Martin thought he needed to put himself in danger to be thorough, to please Jon, and now he was homeless. Jon owed him this at the very least. No matter how much Elias disapproved of the situation.

And despite the occasional trouser-less wanderings, his presence was...appreciated. Late nights in the Archives were wearing him down: the statements were getting to him, and the unshakeable feeling of being watched when he knew he was alone was putting him on edge. Now he can blame that feeling on Martin, who he’d caught staring on more than one occasion. Jon was not surprised; he hadn’t been looking or feeling his best, highly unprofessional with his three-day stubble and rumpled clothes. Not a good look.

He’d be lying to himself if he didn’t enjoy the cup of tea when Martin joined him in his worst bouts of insomnia. He would sit on the tiny couch in his office, nursing his own mug and chattering away in a low tone that Jon was starting to find soothing instead of irritating. At first Jon clammed up, uncomfortable with the sudden intrusion on his late night routine, but he soon found Martin didn’t expect him to respond or contribute, save the occasional grunt of acknowledgement. Sometimes Jon even craved the company, the familiar rhythms of Martin’s voice had become an unconscious comfort. 

Tonight he was looking particularly exhausted, slumped in his seat with deep purple bags under his eyes. It sent an unwelcome pang through Jon’s chest; Martin should be sleeping, not entertaining him because he chose to stay late. He said as much.

“You don’t have to stay up on my part.”

“Hm?” Martin looked up from his lap, eyes finding Jon’s. “Oh, no. It’s fine. I like the company, to be honest. Unless…?”

“I don’t mind,” Jon assured him. Shockingly, he found he meant it. Still, it didn’t ease his guilt. Martin was always here, never leaving the Archives for more than an hour to get food or other necessities. He considered his next words. “That being said, I hope you know you’re allowed to have a life outside of the institute. I won’t judge if you want to have a...late night, or go out. It’s not my business what you do in your free time.”

Martin squinted his eyes as if he didn’t understand the words Jon spoke. Christ, do I really seem that out of touch? He knew he could be severe and well, a bit of an ass at times. The stress of the job got to him more than he cared to admit. But he didn’t want his assistants to think they should follow his example. He was Head Archivist, it fell on his shoulders to get this place in some semblance of order. 

“I’m not really one for nights out, Jon,” Martin gave that familiar, self-deprecating laugh as he leaned back in his chair, an almost defeated-like set to his shoulders. “Well, besides the occasional drink with Tim and Sasha. And even those are sort of...I don’t know. They have their own thing going, and I feel like-”

“A bit of an outsider,” Jon provided before he could activate his ‘word to mouth’ filter. “I’m sorry, I didn’t mean to imply-”

“No,” Martin cut him off. “You’re right. Feels like I’m intruding.”

“Their banter can be overwhelming for the, ah, uninitiated.” On the few times he’d gone out with them in research, he’d felt more lonely than included. His awkward attempts at interjecting could make a conversation fall flat and he felt the need to accept every drink they handed in him the hopes of ‘loosening up.’ It never worked. They were never mean about it, no- or at least had the decency not to do it in his presence. 

“Tell me about it.” Martin gave Jon a tiny little smirk that sent his heart stuttering in his chest for no particular reason. “I’m used to it, is all. This isn’t much of a change in routine, worms notwithstanding.”

“You, er, don’t have friends you can meet up with? Or maybe a partner?” Christ, why am I prying? What’s gotten into me? Jon felt curious, the man practically lived with him and yet he barely knew him.

The bark of laughter he got in reply was sudden and more than self-deprecating. “A partner? Are you kidding me?” Martin’s tone threw him off-balance; it was jaded, bitter, not like him at all.

“I didn’t mean to pry-”

“No, it’s- to be frank, I don’t think I’m cut out for all that.” Martin toyed with the mug in his hands, gazing into it like it held the answers he needed. “I’ve uh, tried to go on a few dates, meet people, that sort of thing. But they all expect something at the end and it just never feels right, I can’t explain it. Like there’s something missing. ”

Jon paused; the words and their sentiment were not unfamiliar to him. In fact, they resonated quite deeply, if Martin meant what Jon thought he did.

“It’s always been that way- I get a crush, I get to know them, they want to, y’know, and I-I don’t know what's wrong with me, but I can’t-” He cut himself off, sitting up straighter as if suddenly remembering where he was and who he was talking to. “God, I’m sorry, I don’t know why I’m telling you this-”

“It’s fine.” And it was. Martin looked at his hands and Jon recognized the sadness in the set of his shoulders, the lines etched in his face. He never thought the two of them would have much in common but that- that was a feeling Jon knew all too well. “I think I understand what you’re getting at.”

Martin somehow managed to deflate even further, curling up as if trying to disappear. “Yeah, well- I think it’s time to admit that I’m going to be alone for the rest of my life.”

The words hit Jon harder than expected. His fists tightened in his lap; he was sixteen again, wondering why the kiss he stole in a backroom felt more invasive than intimate. He was reading romance novels, understanding the words but not the feelings they were supposed to invoke. He was in college, being called a ‘tease’ or a ‘prude’ when he pulled away at the end of the night. And it was all accompanied by that deep, crushing fear that he’d never be enough. 

No, you’re not that kid anymore. 

And Martin shouldn’t have to be either.

“What’s that look for?”

He was drawn from his thoughts at Martin’s words, looking up from the scratched wood of his desk. “Sorry?”

“You’ve- you’ve got that look on your face, like you’re const- like you’re thinking really hard.”

Jon tried to think of a way to word his query delicately, but ‘delicacy’ had never been his strong suit, according to Georgie. Come to think of it, it was never hers either. “Have you ever considered that maybe- that you’re- you’re of the persuasion, that is-”

Martin shot him a deadpan look, unimpressed. “Yeah, I know I’m gay, Jon.”

“That’s not-” He sighed in frustration, fuming at his inability to communicate. “It’s okay to not feel that way. I never have. It’s normal.”

Martin blinked. “Sorry?”

“Asexuality, that is,” he said, finally managing to get out the words. “I was...in a similar position, I guess you could say. I didn’t feel the way you were ‘supposed’ to feel, like how all the books and TV shows describe it. Zero interest in anything sexual, and I thought...well, I thought something was wrong with me.” Jon felt a lump building in his throat, much to his horror. “But being able to put a name to it, an identity, it just felt right.” Martin’s face was unreadable- had he spoken out of turn? Did he have this all wrong? 

He tried to clarify. “What I’m trying to say is that I know what it’s like, that...feeling you described. But it doesn’t mean you’re not cut out for love. You...you shouldn’t have to feel that way about yourself. You’ll find people who accept you. You’re not doomed to be lonely.” Now you’re just getting sentimental. Jon wasn’t one to dole out advice. He attempted to reign it in, get himself back on solid, familiar ground. “Maybe don’t take me for an example, though. I assure you, my isolation is very much self-imposed.”

Martin didn’t laugh. For a brief, panicky moment Jon thought he might have offended him, assumed the wrong thing, taken him out of context. But Martin met his eyes and Jon saw it- a look of dawning understanding, of comprehension and knowing and as much as Jon wanted to look away he couldn’t, because for the first time in a while he thought he might have said the right thing. 

_____

He watched as Martin puttered about in the break room and took a deep breath, straightening his shoulders. Martin hadn’t said much after their conversation, just thanked him in a choked voice and mumbled some excuse about going off to bed. Jon felt a bit conflicted- he now had time to ruminate on the conversation, pick it apart and wonder if he said anything wrong. He didn’t think he had, but his instincts had been proven wrong before.

Still, the thought of helping one person, sparing them from that crippling self-doubt and inadequacy, made any embarrassment or awkwardness well worth it. So here he was, shuffling his feet and holding a stack of paper, stapled and neat and in some cases, annotated. He cleared his throat and Martin turned away from the sink to face him.

“Oh, g-good morning, Jon.” He wiped his hands on a dish towel, throwing it lightly on the counter. “Did you sleep well?”

He’d gotten two hours tops on the lumpy couch in his office. I need to invest in another cot. But he nodded anyway, walking forward and thrusting the pile out for Martin to take. Martin looked down at it quizzically but took it all the same, his face softening as he flipped through the pages.

“I, um- I printed out some articles that I thought might be of interest,” Jon rambled, feeling more awkward by the second. Was this too forward of me? “I’ve always found it easier to read on paper instead of the screen. For ah, concentration purposes. This- this isn’t required reading, or anything. Just might be helpful for, uh, figuring things out.”

Martin didn’t look up from the pages in his hand, instead zeroing in on them with a more intense stare. When he finally spoke, his voice was tight with sincerity. “Thanks. It uh, it means a lot.”

“Yes,” Jon replied nonsensically, having no response to the emotion in Martin’s words. “You- you don’t need to talk to me about this, if you’d rather not. But I’m available if you’d like to.” He paused. Best to keep this somewhat professional- it was almost nine. “Outside of normal working hours, of course.”

“Of course,” Martin echoed, the ghost of a smile on his lips as he finally met Jon’s eyes. He fought down the urge to smile back, instead muttering an excuse and turning to flee the room. I think I’ve filled my emotional quota for the week. 

They don’t talk about it again, but a few days later a sticky note appears on his desk. Thanks- MB. Underneath the clear script he’d doodled a small flag- black, grey, white, and purple. 

Jon puts it in his right-hand drawer next to an old polaroid of the Admiral, where it stays.

ao3: https://archiveofourown.org/works/28782318

[stillness-in-green]

MVA In Memoriam (2/5)

The Comprehensive Account of the Butchering of My Villain Academia

(Introduction and Part One, Episode 108: My Villain Academia)

Part Two, Episode 109: Revival Party

Chapter 224 – Revival Party

• Mr. Compress’s side comment about how the distance Re-Destro wants them to travel means he must know they have warp capabilities. Also shortens his subsequent line, removing the bit about how their position has been locked onto, leaving only the marveling about the dude on the phone being the kind of person who has access to a satellite camera. Not a major cut, but it did strip out a bit of reiteration on how very Seen the League is. The warp line is another nod to how the MLA’s been doing their research—in particular, it ties in nicely with RD’s observations about the Noumu. He talks, there, about something Dabi said after the High End fight, which means he must also know that Dabi was warped out by an “Ujiko-san.”

• Also Mr. C’s observation that they haven’t broken Machia yet, and his posed question about what to do. Mr. Compress, I’m so sorry that you’re so wordy and lose so many quips and asides because the anime was set on brutally scything out every line of non-essential dialogue it could find.

• Ujiko’s extremely hilarious, “Listening to Villain Radio is my new favorite hobby,” line. Why would you cut this; this line is hysterical.

• The bit where Mr. Compress has the bright idea to use a High End Noumu like the one Dabi used, Ujiko rejects the suggestion out of hand, citing production woes, and Shigaraki says that he wasn’t going to ask for one of them anyway. Aside from being more cut Compress content (or “Comptent,” for short), it helps center the timeline somewhat at a point where the manga is jerking it around all over; it also shows that the League has been keeping up with news from the outside world. It also shows that at least one of them thought about using the Noumu—and since we know Re-Destro did some rationalizing on that scenario too, it’s good to see that it is at least briefly on the table.           Further, Ujiko provides a few rare details about the Noumu creation process. Firstly, that AFO is normally involved, so his absence makes the procedure much more difficult (though not, apparently, impossible). Secondly, that Hood-chan was the only Noumu who’d actually reached the testing stage. This will be important later, for Ujiko’s agonizing about unleashing them early/Mirko having to fight four of them at once.           Also, I just miss Mr. C’s funny little head wilt when Ujiko immediately turns down his “use some Noumu” idea. Ditto Shigaraki’s blasé shrug and little grin. Again, not to harp on the art too much, but man I wish the anime had kept all the fierce little grins and tight, incensed smirks Shigaraki has through the majority of this and the phone call sequence.

• Spinner’s line, “Without knowing squat about what we’re up against?!” A minor cut, as these things go, but it reiterates that there’s a chance RD is bluffing and the League has no way to know one way or the other, and demonstrates that the League can give Shigaraki some pushback on his decisions without having to worry about getting dusted for the temerity.[1]

• Takes one of Spinner’s lines—“Wait. I get it. Wherever you go, Shigaraki, he’ll sniff you out and hunt you down.”—and gives it to Shigaraki instead. Because fuck Spinner’s growing understanding of Shigaraki and the way his mind works, I guess! It’s especially notable that Spinner figures this out when Mr. C had completely the wrong idea about Shigaraki’s intentions—it demonstrates the way Spinner is gradually aligning himself with Shigaraki’s way of thinking, which we’ll see even more clearly during the War Arc. Also, again, it’s good to see the moments where the League weighs in on Shigaraki’s plans.

• The visual of Twice lashing out at Dabi with his razor-edged tape measure over Dabi’s dismissal of Giran, though all the relevant dialogue was there. Possibly this is because, having cut the CRC bit, the audience has no way of knowing that Twice’s tape measure is razor-edged, so why bother raising the question, “Why is Twice trying to attack Dabi with a tape measure..?” Possibly it’s because showing that attack would require animating movement, and MAN ALIVE, did Episode 109 ever want to do everything it could to avoid animating movement.

• Slidin’ Go’s line about how Deika isn’t usually his turf, but today is a big exception. This makes the hearty affirmative with which Trumpet announces himself a response to Shigaraki’s half-phrased observation about the reason behind the city’s emptiness, rather than a response to Slidin’ Go. It works, more or less, and probably even flows more clearly, all things considered. I’m always sad to lose lines from the vanishingly few named/characterized MLA members we have, though. I like, too, that it hints at the machinations that have to have been involved with setting things up for the Revival Party, and the way those plans were carried out with confidence that Re-Destro’s “bait the League into coming for their broker” plan would work despite the total absence of a response from the League in any of the time Giran was missing/his fingers were cropping up on the nightly news reports.

• A few shots of cameras in the city, which foreshadow Skeptic’s watchful eyes and ability to track the League through the city. In retrospect, this isn’t surprising, since the anime went on to cut basically any indication of Skeptic’s entire plan re: the footage of the League attacking, so why bother keeping the cameras? (Oh, right. Skeptic’s whole thing is cameras and information/disinformation. Skeptic for second-most screwed-by-the-anime MLA member.)

Additions

• Showed Toga having stood back up somewhere during Shigaraki’s explanation of their throw-Machia-against-the-MLA plan. A simply appalling choice. In the manga, she stays crouched down by Twice the entire time Shigaraki has his mask pulled off, because Toga cares about reassuring Jin-kun when he’s in a bad way.

• Rephrased Compress’s dialogue somewhat, also giving him a new line about the MLA’s forces in Deika when the League was still in the hills looking down at the city: “The so-called Meta Liberation Army has a force of 110,000 here.” I assume it was because the scene falls in a different episode than the tactical discussion did (in the manga, they’re the same chapter), so the anime was reminding the viewer of the stakes, but it’s potentially awkward because, er, no, the MLA categorically did not bring their entire army to Deika. We’ll find out as much for sure later, with the note that the regiment advisors weren’t in attendance because they were occupied at the bases they command, but even with only the knowledge we have here, Re-Destro’s statement about his numbers is that they’re scattered all over the country—hence the shot of Japan with a bunch of lights scattered across it to represent said numbers.           That said, to be (briefly) charitable, there’s no particular reason for the League to assume that, and they did discuss the possibility that there were going to have to fight 110,000 people. So it makes sense that Mr. C might state as much when recapping for the audience.

Chapter 225 – Interview with a Vampire

• Re-Destro talking about Deika’s geography and why they chose it strategically. The anime dropped so much about the MLA’s planning and information-gathering beforehand; it really made the MLA look ludicrously overconfident. And while they don’t lack for that trait, certainly,[2] this is also an organization that has meticulously grown its membership for generations right under Hero Society’s collective nose; you don’t get to where they are by being unduly foolhardy. Erasing so many scenes demonstrating their caution and forward-planning undercuts the threat they represent to both the League and society at large.           Also too, the descriptor of Deika as a nice, quiet, isolated little town in the mountains gives us some hints about how the MLA has avoided notice for so long, when you consider how the Hero business works: because so many people who get into heroism want to make it big, like celebrities, they don’t want to stick around small-town beats, and so the rural areas are understaffed.[3] That’s presumably why groups like the CRC and the MLA grow their numbers out in the boonies: much less attention from the Powers That Be. You can guess at some of that from how Spinner describes the place—“not too small, not too big”—and what Trumpet says about the percentage of the population that’s MLA, but RD adds that key “isolated” descriptor, and says that it’s a place where they “lay low.” That gives us some potential insight into how many—likely the majority—of the MLA came to their beliefs: by being raised to them, because their hometown was infiltrated by the MLA generations ago and they have literally never known anything else.

• RD’s phrasing, “Counter to point one,” when he makes his second point about the Noumu. He acknowledges that it’s counter-intuitive to his first argument, that he knows it would normally be an argument against that opening point, not in support. It’s just conversational padding, really, but “conversational padding” like that does a lot to distinguish character voice, so that not everyone talks the same way.

• A panel showing a trio of unnamed MLA warriors strategizing about how to divide their forces now that the League has split up. It’s the little cuts like this that gradually remove the agency of unnamed characters, such that they’re left looking like unthinking puppets instead of real people with the ability to register and respond to their circumstances. It also points towards the truth of what the MLA warriors are and one reason they’re so dangerous (for all that the manga itself will neglect this most egregiously later on): they’re trained in regiment tactics and accustomed to working in groups. This contrasts them both with villains, who might group together, but certainly don’t usually fight that way, and heroes, who are so unaccustomed to working in groups that it’s cited as part of the reason to have named super moves.

• Curious’s little pageboy-cut middle school kid line telling Toga to back off when Miss Curious is on the job. This is an early example of how defensive the MLA are of people above them in the hierarchy, an important thing Spinner will pick up on and attempt to use against Trumpet. Again, it’s little moments like this that both add some welcome notes of individuality to the MLA warriors (if only by virtue of Horikoshi and his assistants’ traditional talent for distinctive character design) while also fleshing out who the MLA are as a group, and contrasting them with the League.

• Deleted Toga’s line IDing her “on-the-go suck-suck mask,” but did insert a nice little bit of her expression shifting when she whipped it out. It lost a bit of the self-conscious silliness of her support item name in exchange for a cool little animation beat. I don’t dislike it, particularly, but I am, as previously stated, very leery of edits that make the League more polished in their villainy at the cost of their human foibles.

• Curious’s line about having come prepared to counter Toga’s moves, which was supposed to further reiterate that the MLA has done their research on the League; they didn’t just decide out of the blue to target the most notorious Villains in the country without studying up on them first and planning accordingly!

• Curious’s line about how she’s going to get started with some background info while her people use their meta-abilities to keep Toga and her buddies on the ropes. A marvelously characterful line! It speaks especially to that edge of formality the MLA brass observe that even as she’s ringleading this attack, Miss Curious is still set on going through her interview process step by established step.

Framing Shifts

• Made some of Curious’s lines spoken dialogue instead of internal monologue. That’s probably fine for when she’s waxing enthusiastic about Toga’s lack of hesitation in committing murder or how she’ll use Toga’s story to further the MLA’s agenda. It’s less fine when she’s rattling out the entire name, brand and patent status of her support item for no particular reason when Toga is already halfway through trying to knife her (that’ll be next chapter).

• The anime implied pretty firmly that Curious’s bombers died. And like, yeah, that’s always made more sense than the idea that anyone could survive something like that, but I hate it anyway. For one thing, it makes it even harder to credit the idea that Toga’s still on her feet afterward if Curious’s supposedly not-very-lethal explosions merk all her own people. People in this series survive ludicrous amounts of damage, and these random MLA devotees are no exception! For another, it leans into the narrative that the MLA higher-ups throw away the lives of their minions without the slightest care. It’s a lot harder to make that case when it’s explicit in the manga that Curious’s people survive the blood explosions—the blonde in the tracksuit is unharmed enough to snicker about it, and the noodle chef is even doing well enough to continue attacking! I’ve always been of the opinion that the MLA are, yes, willing to spend the lives of their underlings on attaining goals, if that’s what they think is necessary, but that is not at all the same as gleefully throwing them onto the pyre to watch them burn.

Additions

• Some individual shots of Mr. Compress, Dabi and Twice fending off or fleeing from various MLA types. A nice try on getting the group split up, but it feels kind of budget save-y, when we could have gotten actual animation of those fights instead.

• Inserted a quick shot of a headline about Toga’s first attack as Curious was rambling on about why she’s interested in Toga but not the League in general. Actually a fairly reasonable insertion, given how much text is crammed into her talk bubble in the manga while the dude standing next to her is already getting a knife in the neck.

Chapter 226 – Bloody Love

• A panel of interviewees talking about Toga’s first victim being sociable and popular. It gives a bit of context on what he was like, what people thought of him, but given that we know enough about Toga at this point to know that his popularity was entirely incidental to what she liked about him, it’s not a huge loss.

• The detail of the broadcasted interviews censoring Toga’s name. Considering how Japanese media normally treats minors accused of crimes, this is an eyebrow-raising change—the manga censors it because Japanese media outlets would have done the same. No idea why the anime didn’t, unless it’s another of those places where it would feel too “real,” to have something that so closely mirrors real life treatment of criminals?

• Everything about quirk counseling, and whoo boy, that is a loaded cut. There is exactly one other mention of quirk counseling anywhere in the manga, and, curiously enough, it also comes up in relation to a villain: in the U.A. faculty meeting after the USJ attack, Midnight muses that maybe Shigaraki never received quirk counseling in elementary school. It’s a weird little non sequitur there—exactly what sort of program did she expect could single-handedly make the difference between a well-adjusted adult and a gleefully murderous manchild with aims on killing Japan’s Number 1 Hero? Just over two hundred chapters later, we get a hint: a program designed to fit people “neatly into society’s little boxes.”           Quirk counseling, then, is not about helping children find healthy ways to process their quirks, but rather, about teaching children what is and is not acceptable in terms of quirk use—and as Curious says, Toga’s admiration of blood was never going to be acceptable.[4] This explanation doesn’t just tell us a lot about Toga—that she wasn’t only failed by the hysterical condemnation of her parents, but also by a society that had no interest in helping her if it didn’t see a use for her—but also provides some insight on the viewpoint of the Meta Liberation Army vis-à-vis mandatory state-funded programs that dictate what “normalcy” looks like to impressionable children.           Curious is, of course, not a particularly trustworthy narrator in this, as one might expect of someone who uses language like “society’s little boxes,” but it does track with Midnight’s earlier musing of, “Maybe the anti-social dude never took the program intended to make sure he was a functioning member of society.” That kind of statement—“State-sponsored educational programs are there to program children into becoming unthinking cogs of society, actually.”—is one that it’s all too easy to imagine the people with an eye on broadcast standards taking issue with, even coming as it does from the mouth of a villain.

• Curious’s line, “Let’s turn your death into a legendary tragedy, shall we?” and its accompanying visual of two different papers with imagined headlines. The dialogue doesn’t strike me as crucial—Curious’s fervent belief in Toga’s story is amply demonstrated elsewhere and her intent to turn that story into a legend reiterated in the line immediately following—but it is a shame to lose the headlines. They tell us, in Curious’s own words, exactly the tack she was planning to take in telling Toga’s story to the general public, without the constant namedropping of the Liberation Army that she does when talking about it in person. One headline in particular—The Price of Suppression: A String of Bloody Murders—is an especially useful reference for discussing whether the MLA actually wants, as is popularly claimed, completely unhindered quirk use, even for people like e.g. Muscular who want nothing more than to murder people with their quirks.[5]

• Curious’s initial wait what response to getting Floated, and her people’s focus shifting away from Toga and onto Curious instead. On a surface level, that focus shift helps explain why Toga’s able to zip around the ground and touch nearly twenty people before they even react: because they’re afraid for Curious. It also hurts the ongoing characterization of the MLA rank and file as being fanatically devoted to their higher-ups which, again, is something Spinner is supposed to notice later. It’s the worst kind of plot device if that devotion is completely told to us rather than consistently shown!

• Toga’s internal reflection that she’s seen Ochaco use her quirk, and knows how to use it. It’s obvious from the panel that she knows how to use it, but the manga implies that Toga transforming doesn’t automatically grant her an understanding of peoples’ quirks; it’s only in observation (and possibly love) that she can reach this particular unlock. Leaving out that information leaves open the possibility that she can just do this all the time now, with anybody she transforms into.

• The reaction from the surviving crowd to Curious’s death. See above re: STOP FUCKING ERASING HOW MUCH THE MLA CARES FOR EACH OTHER.

Framing Shifts

• When Toga bolts, Curious in the anime sounded serious, her expression alarmed, like she was actually worried that Toga might escape, even though her dialogue said just the opposite. Maybe you could say that she was afraid Toga would die before she got her statement, but given that she tried to kill the girl herself moments later, I’m skeptical of that claim. Regardless, in the manga, she never loses her smile, and she flashes a Liberation salute as she stands up to give chase. It’s a characterization note, that she’s so wildly confident about this that she never stops being completely enthralled with whatever Toga has to show her.

Chapter 227 – Sleepy

• The last of Toga’s conscious dialogue, about how she’s lost a lot of blood, is fading out, can’t move—but more notably, the way that this state of things makes her feel closer to “them,” that it’s “the same sensation.” And who is “they” here—her victims? The people she loves? More alarmingly, why does the line sound like she’s been this beat-up before, and remembers the sensation? Does that tie into e.g. her comment during the training camp that she doesn’t want to fight too many hero students at once because she doesn’t want to die? Has she actually been subject to this kind of violence before in the past? Does that tie into her still-unexplained ability to erase her presence? It’s an interestingly loaded little line, for being so vague, and illustrative of Toga’s mentality on becoming the people she loves. Which also lets the scene segue nicely into Re-Destro’s observation that, in Toga Himiko’s world, there’s no such thing as “other people.”           On which note, guess what else the anime cut?

• The entire fucking scene where Re-Destro actually reacts to Curious’ death, the motherfuckers. This lost:           1. RD’s talk about the way Toga sees the world and how that led to society casting her out, which he points to as evidence of said society clinging to old ideals even though the nature of humanity itself has changed. It calls back to his methodology with Detnerat, marrying his lines from the commercial to his overarching ideals; it also shows that he understood very well what Curious saw in Toga, and demonstrates that he can express that understanding and empathy even in the face of losing one of his closest allies.           2. Skeptic’s reaction to Curious’s death, which is pretty sparse, but at least present. He says she never should have been on the front lines—an excellent reminder to the people who’re always going on about how the MLA brass thinks themselves so above their followers: Curious was on the front lines, against the wishes of some of her peers!—and calls her a valuable resource.[6] You can theorize about Skeptic not caring for her beyond her usefulness to the cause, or just that Skeptic is a huge autist who processes his emotions differently than most, and isn’t going to stop to do that when there’s still a battle going on, but either way, you need this scene to do it accurately.           3. Speaking of people who process their emotions in unusual ways, as I said above, this scene also shows Re-Destro openly crying over the deaths of Curious and each and every warrior diving into battle with their hopes for the future. They’re not crocodile tears, either. As was the case with Miyashita, there’s no one in this room that Re-Destro would need to perform grief for: Skeptic clearly doesn’t see a use for tears right now, so I don’t see him expecting them from Re-Destro, and the only other person in the room is Giran, a hostage who the MLA—very probably Re-Destro himself—maimed! It’s not like RD’s tears are going to change Giran’s mind about him (indeed, Giran gets a comedic reaction beat at the absurdity of the dude who started all this up here crying about it)! But RD says life is precious and he cries anyway, briefly, before he ruthlessly turns it off.           RD’s valuing of human life—especially his own peoples’ lives—crops up in roundabout ways twice more, both leading the fight with Shigaraki (“It angers me.”) and ending it (“Any more would bring about meaningless death.”). This, though, is when he’s most open about it, to the degree that—as with Machia’s grief—it’s kind of off-putting and strange. Cutting it makes it that much easier for people to get entirely the wrong impression of RD as a character.           4. The delightful scene where Skeptic berates Giran about asking brainless questions and then answers his question anyway. Fuckin’ hell, why cut this?? So much of Skeptic’s character is in this scene! You get moments of his neuroticism later on, but never in so concentrated a burst as this (there’s one other sequence that could compete, but—spoilers—the anime cut that one, too). The exchange also explains the cameras placed throughout the city—which are visually referenced early on—and what the MLA is planning to do with their footage. Without that explanation, the audience has no idea how, exactly, the MLA was planning to use wiping out the League as a springboard for their grand return to the spotlight. That footage is the crucial part of how the rest of the country reacts to Deika in the Endeavor Agency Arc, and the anime never even mentioned it! The audience was just left to assume that all the media came in afterward, not that there was the slightest whiff of footage from the battle itself.           5. Once again brings up Re-Destro’s belief in the power of the heart to move other hearts. We get a bit of that in Curious’s flashback, but here he says it in his own words—as he will also bring it up to Shigaraki. Once again, Shigaraki is going to be challenged about his conviction, which ties back into what Spinner and Ujiko demanded from him earlier in the arc. With so

many people set to be grilling Shigaraki on this front, it tells us again what the arc is for: Shigaraki’s conviction, and him demonstrating it to the people who think he lacks it.

• The panel of Spinner asking how long they’ve been at it and Mr. Compress responding. This line helps manage the pacing, giving the audience an idea how much time is passing as we cut around to different places. It’s also, you know, more cut Spinner dialogue, and shows the beginnings of Shigaraki and Spinner getting split off from the rest by Shigaraki’s sleep-drunk staggering angling him off in a different direction. The rest of the scene is moved to after Toga’s fight with Curious, but not otherwise tampered with.

• The other big reaction to Curious’s death, which is Trumpet using it to rile up the crowd. The group that attacks Shigaraki isn’t just some free-roaming mob—they’re coming at him in a grief-stricken frenzy, which they’ve been goaded into by one of their leaders.           This sequence also introduces the campaign van—a vehicle that will have several more appearances—to events, and hints at Trumpet’s meta-ability. Further, it’s one of the scenes that outright states that the MLA is less an army than a religion, in Mr. Compress’s line about how Trumpet is like a preacher rallying his flock. That understanding—that the MLA may style themselves as an army, but what they really are is a cult—is key to the way the MLA members act, from the very bottom to the very top.

• Trimmed Shigaraki’s flashback down, cutting—among other things—the very first lines Hana speaks, and her namedrop. This moment is the first one Tomura gets back, and the very first thing we find out is that he was doing something he wasn’t supposed to be doing. The anime also failed to identify Shimura Nana’s relation to Tenko/Tomura and Hana—helpful to remind the audience of a plot thread they haven’t heard about since Kamino. It also cut out the silhouette of chubby baby Tenko and Tenko’s first line, asking why Hana’s showing him this, a line which clues us in that Hana was the impetus here, not Shigaraki as he was back then. Still not satisfied, it also cut the phrase, “Daddy said all that stuff,” which is a clear and ominous warning that there was some conflict going on between young Shigaraki and the Father whose dismembered hand he now wears on his face.

• Left the dialogue but cut the silhouette of an airborne Geten with his enormous ice fists coming in hot behind Dabi when he was smarming about it not being his style to take the pacifist route. It’s not crucial, since we see the fists again shortly (it’s the end of the chapter page, whereas the anime rolls right on into the continuation of the scene), but it’s a shame, since framing Dabi from below with this sudden presence behind him is a much more fun, dynamic angle than the dead-boring medium shot the anime used. Also too, it’s good foreshadowing for the fact that Geten can fly, since he certainly didn’t get that kind of air by jumping off the roof of the mini-mart across the street.

Framing Shifts

• The crowd attacking Tomura came at him from the back of the shot, whereas in the manga, they’re surging forth from the front; that is, the anime had Shigaraki between the crowd and the POV of the viewer, whereas the manga has the crowd interposing between the viewer and Shigaraki. It makes a huge difference in the impact! Running up from a nebulous background distance, the crowd looked small and futile. Crossing directly in front of the viewer as they attack Shigaraki makes them look like the crashing human wave that they are. But, you know, coming in from the front would mean they’d have to be animated with more detail, and again, Episode 109, more than any other episode in the arc, clearly didn’t have the budget to spare on such things.

• The moment Shigaraki first uses the spreading Decay is horrifically clear in the manga. It’s full of speed lines, Shigaraki moving so fast he decays a dude mid-word, but the impact itself is spread over two pages. We watch his hand literally cleaving through the leading attacker’s face, and then are encouraged to linger on the oversized panel below, the intricately drawn crowd, full of individual faces, still intact on the left, scattering to dust on the right, all fully lit, with Shigaraki—still drawn with speedlines to emphasize his movement—the focal figure in black at the center.           The anime rendered this moment in two stills—Shigaraki’s hand about to hit the lead attacker’s face, and then the crowd already decaying. There was virtually no movement to it, the crowd was so heavily silhouetted against a glare of daylight that it was difficult to tell what was going on, and the moment stayed on screen for only two seconds before Shigaraki landed and threw up, both actions favored with more animation than one of the signature moments of the entire arc. Hell, it even left the walls on either side of the alley intact, when the manga shows them dissolving into ash as well, decay traveling through the ground in a deadly, destructive radius around Shigaraki’s attack.           The anime ever-so-graciously allowed Spinner his line to explain to the audience what just happened, but I think that’s mostly because it would be genuinely difficult to parse if he didn’t. It also gave him a flashback to what we had literally just seen, except this time it wasn’t silhouetted for some reason, so at least the audience got another chance to look at it, I guess?           “Am I seeing things? Just now, his decay effect spread to people he wasn’t even touching!” Well, I guess we’ll have to take your word for it, Spinner.

Additions

• A quick shot of a camera, there and gone almost too fast to register. I want to compliment the anime for adding a camera back in, since it removed the shot of the cameras earlier, but honestly, given that it cut all the scenes about how and why the MLA was gathering footage, I really don’t know why it even bothered. Also too, the camera was gone so fast it felt more like a marker for a scene change—which it also was, segueing the scene from Toga collapsing (only to cut back to her later staggering down an alley) to Spinner and the rest still trying to hold their own—than it did something the audience was supposed to really notice.

Chapter 228 – Wounded Soul

• Twice in the opening pages left out scattered members of the MLA that were around for the start of the Dabi/Geten fight. Leaving them out raises the question of where all the people attacking went, but it’s also the first demonstration that Geten is a danger to his own allies. We don’t see any of them dying on-panel or anything, but we do see them having to dive frantically out of the way because Geten demonstrates no care to the collateral damage of his attacks.

• Cut a small flashback, presumably from Twice’s perspective, of finding the site where Toga and Curious’s fight concluded. You can see the ground covered in blood, and a body that looks a bit like Curious if you squint (distinguishable by the sleeves of her jacket), as well as a small group of people kneeling on the ground in various poses suggesting mourning and a paying of respects. Yet another shot demonstrating the depths of care these people have for their leaders, that they’ve completely let the battle fall by the wayside in favor of their grief.

• Drops the “those zealots” phrase from Twice’s, “I’ll rip those zealots limb from limb for this!” line. Damn, the anime really was determined to erase everything that even hints at the Liberation Army being something much creepier and more damaging than just an underground militia, huh?

Framing Shifts

• For all my complaints about the material, I generally like the voice acting quite a bit. I don’t love the first exchange between Dabi and Geten, though. It’s not a fault of the voice actors themselves, but rather the delivery. Geten was very cool and level-headed throughout, which is all right to a point, but he’s a gremlin under that troll parka, and this fight is where we hear him as close as we ever will to how he is before the multi-layered humbling he’s subject to over the course of this fight. It’s a bit of a shame to play him totally straight, without any of the snark he’s so clearly capable of—and without the tick upwards in vehemence his talk bubbles indicate in his last lines.           Meanwhile, it’s fine for Dabi to get more heated as the scene goes along, and indeed he does, but he also plays it pretty cool at first. You can tell in the shape of his talk bubbles that he’s completely unruffled during his delivery of that, “Consider this a freebie, just for you: ice melts,” line. The anime had him raising his voice for it, and it just loses a lot of the humor of Dabi’s own snark to have him yelling it instead of just laughingly stating it, voice barely raising enough to give his talk bubbles some straighter lines instead of being all undisturbed curves. (For comparison’s sake, it’s about the same level of angular as Geten’s, “You’d best not think your little campfire can melt my ice!” line, but the anime had Dabi shout his line, while Geten continued at the same unperturbed volume he’d maintained since the beginning.)

• As with Shigaraki’s first mass decay, the shot of Geten’s ice dragon did not make the impact on me in the anime that the manga did. I think it’s mostly the way the ice was colored? The claw’s pretty good, but the head looks blobby and indistinct, more like blue soft-serve than the shifting, sharp-edged, brilliantly bright sculpture-in-motion of the manga.

• Twice’s voice actor did his best to sell the scene of him finding Toga, but I wish they’d kept that tight close-up on his mouth when he says, “Give it up. The girl’s dead.” They animated him leaning closer to the camera, but that doesn’t have the sharpness of that sudden cut to being right there on his lips, like some malevolent thing is using them to speak words so terrible that they can’t even be associated with the rest of his face.

                                                          ---

Come back next time (and hopefully in less time) for Part Three, Episode 110: Sad Man's Parade.

FOOTNOTES

[1] We would, of course, have an even clearer idea of that had the anime not cut the scene of Spinner shouting in Shigaraki’s face.

[2] It seems particularly strange to me that Curious and RD both mention quirk evolution as a thing they know can happen in extreme circumstances, but didn’t predict that backing the League into a life-or-death corner might provoke one or two members to undergo exactly that evolution.

[3] Mount Lady is the obvious example, but you can look to places like the island in Heroes Rising, too: one hero, and when they retired, a group of high school kids had to go sub in for a while until a replacement could be arranged. It’s not like retirements just happen overnight; the Commission had to have known it was coming. Still, they had to scramble to find someone. It doesn’t suggest they had anybody just champing at the bit to take the post, you know?

[4] In Chapter 140, we see a young Tamaki Amajiki in a class called “quirk training.” It’s uncertain how connected this P.E.-like class is to quirk counseling, but Toga wouldn’t have been getting much help there, either, seeing as it’s all about figuring out how to use one’s quirk in a way that’s “useful to society.” I can think of some ways, but nothing that I expect would be very popular or liable to be explained to a grade schooler in a country with as long a history with ritual cleanliness as Japan. To a Shinto mindset, Transformation isn’t just off-putting or unhygienic; it’s spiritually unclean.

[5] The answer there being, no, obviously not, or Curious wouldn’t, in all apparent sincerity, be trying to characterize Toga using her quirk to murder people as an undesirable outcome, a cost society is paying for its current stance on quirk use. Yes, you can gather that much from her calling Toga a tragic girl, and Re-Destro concurring later, but listen, I will take every line I can get that I can use to push back against the wretchedly widespread idea that the kid whose name means Apocrypha is the be-all-end-all source on MLA ideology, somehow more reliable and trustworthy than every other MLA character combined, including Destro himself. I would very much like it if the anime had not deleted a bunch of my talking points while making good and sure to leave all Geten’s most damning lines intact.

[6] Not that an anime-only person would fully understand why some random reporter was all that valuable a resource, since the anime cut the explanation of what Curious actually does for a living.

[aguecheek]

recently realised shakespeare is actually kind of very good & i've seen very few actually good productions of his work. i want to watch more of his work but i have no idea where to start and i'd prefer to avoid films where possible, so are there any recordings on youtube or some google drive or anywhere else online of productions that you know are good, or if not any movie adaptations you think are alright? btw, your blog is pretty cool!!

I completely get the struggle--good shakespeare is unfortunately pretty hard to come by out in the world. I'd love to give some suggestions!! This is gonna be pretty non-comprehensive unfortunately bc most of the best Shakespeare I've seen is...live </3 but I'll give u some places to start, anyway!

So I know you said you'd like to steer clear of movies, and I totally get that bc I honestly do the same, so I'm only gonna rec one:

Baz Luhrman's Romeo + Juliet is genuinely a fantastic adaptation. It's well-acted, well conceived, and it's genuinely just fun to watch all around, and Shakespeare should (above all else, imo) be fun to watch.

Now some non-movies!!

I've no doubt you've encountered it bc it's everywhere, but the Much Ado About Nothing with David Tennant and Catherine Tate is an absolute delight any day of the year.

A lot of Shakespeare companies started offering online programming because of the pandemic, and some of them are still doing it! American Shakespeare Center has a few of their plays available for virtual ticket purchase (I recommend Henry V and Macbeth, I wasn't a huge fan of their All's Well but I'm also not a huge fan of All's Well in general, so take my word or don't) (it says that Macbeth isn't available for some reason but if you poke around on the website the links lead you to you can still purchase it from the calendar I think? Technology is weird, I dunno)

If you're in the UK (or have a VPN that can set ur location to the UK) then the RSC's 2021 Winter's Tale is available until April (so hurry up if u wanna see it lol)

Along that line, RSC has a lot of their stuff recorded and on DVD, so if there's a particular play you're dying to see, they've probably got a version of it, and given that it's the RSC, it's probably at least a comprehensible and well-acted version (everyone's got opinions abt the RSC and I'm no exception, but whatever I think, I've seen them do some damn good stuff so I say go for it) (just make sure, if ur gonna buy a DVD, that it's compatible with ur DVD player, I think their more recent stuff is region 0 but I'm not sure, and it's caused issues for me in the past!!)

If you've ever seen a good Shakespeare play, it's worth checking the company that did it to see if they've got any online programming as well! Look for shows in your area, try to find a company that does classics, maybe look for some outdoor Shakespeare once we hit summer (great thing abt outdoor Shakespeare is that its usually free and you can just leave whenever if you're not enjoying it) and take a chance on a college production or two? They can surprise you

I think that's it for now, I'm sorry I don't have more to offer but unfortunately, I just happened to get lucky with a few really excellent local sources, so I don't have much to offer in terms of what's available online. If anyone has anything to add, please reblog and add on, I'm always looking for more recs, and I'm sure anon is too. Thanks so much for dropping by the blog!!!