#edit: added another part

[quartergremlin]

Baseball time

Part 1/Part 2/Part 3/Part 4

[soosoosoup]

Funk branch au

Au and branch design by @bbc-trolls

[hailsatanacab]

For the prompt ask game!

9. Sleep deprivation and/or 37. Secret Relationship and/or 40. Identity reveal/major secret reveal

(I selected a few so you can chose the one that resonates the most.)

For any DPxDC characters. <3

*emerges from a google docs, covered in blood and panting* i did it... it is done.

thank you for the prompt!! because i love a challenge, or because i can't stop myself, i went and did all of them!! for everyone!! everyone is sleep deprived and everyone is revealing secrets ^^'

Danny/Tim, mentioned Jazz/Jason

(๑•́ ₃ •̀๑) enjoy!! prompt ask game

kid napping

“Red Robin, sound off. Status?”

“All good here, Oracle. Everything okay?”

It’s been a slow night, never a good sign. Pent up energy itches under his skin and he stretches when he stands, preparing for whatever Oracle is going to throw his way. It’s going to be something, he can tell.

“Good.” Relief briefly colours her voice answers, before she becomes serious again, keys clacking away in the background. “There’s been a report from Agent A. It appears that one Timothy Drake has been kidnapped and is being ransomed for five million dollars and a helicopter. I’m tracing the call now.”

“A helicopter, too? Kidnappers these days, used to be they just wanted their money and that would be the end of it… a fucking helicopter, wow.” Red Hood scoffs, and Red Robin can’t help but join in the laughter over the comms.

“Doesn’t exactly sound like these are the brightest tools in the shed now, does it, Hood? Wonder what poor schmuck they’ve got instead.” Nightwing says, slightly out of breath. 

The smile slips off Red Robin’s face and clammy, cold dread shivers down his spine. A stone settles in his stomach. He wets his lips and clears his throat. “Oracle, can you pull up the CCTV on my apartment near WE? Any closer to tracing the call?”

“Still on the trace, they’re using a jammer. Agent A is cooperating so they should phone back soon, which will help.” she reports, falling into silence as he finds the video feed.

“You know who it is?”

“I hope not.”

It’s tense, he taps his feet on the rooftop, fingers tightening over his grapple as he fights the urge to fly off the roof and check for himself. It better not be him. Please, dear God, don’t let it not be him.

“What are you thinking, Red Robin?” Batman growls through the comms. Red Robin can hear the wind under his words, whipping fast as he no doubt makes his way over to his position.

“I had a, uh, a friend coming over tonight. From behind, he… he could be mistaken for Tim Drake.”

The jokes fall silent, the comms growing serious as they pick up on his tone.

“Well, fuck.” 

“Eloquent as always, Hood.”

“Shut up, bat-brat.”

“You were right, Red Robin, it looks like it was your… friend they caught, instead. About two hours before the call came in. I’m following their van now, I should have the destination soon. In the meantime, it looks like they’re heading towards the docks.”

Red Robin throws himself off the building, shooting his grapple as low as he dares to get the fastest swing he can. 

They have Danny. 

Worry gnaws at his gut even as gravity pulls it into his throat with another swing.

Danny is… And Red Robin means this in the nicest way possible, but Danny is fragile. They haven’t talked about it, but RR knows that Danny has health problems. Something plaguing him since he was young, that’s landed him in the hospital more than once. A weak heart, far too slow to be normal, possibly chronic fatigue—he’s always so tired, falling asleep anywhere he can.

Sometimes, he doesn’t even need to put his head down. Once, when they had gone to the corner store to get some popcorn to enjoy their movie (which Danny had explicitly and repeatedly promised he wouldn’t snore through this time), Danny had rested his head on Tim’s shoulder while they were waiting and he’d just… gone. On his feet, asleep, just like that.

He’d laughed, when Tim woke him up. Apologised. Said Tim made him feel safe enough to fall asleep just about anywhere and—

Red Robin grits his teeth and corrects his course as Oracle updates them with more precise coordinates.

Tim had carried him home that night, piggy-back for four blocks, but by the end of it, he wasn’t tired at all. And that’s another thing, Danny’s just so light. It’s concerning.

They never did watch that movie, but it’s a night that Tim can’t help remembering fondly all the same. They’d ended up rewatching some old sitcom that Danny’s seen countless times but Tim’s never really bothered with, Danny drifting off to sleep again and Tim eventually following him, because… sleep is easy with Danny.

It’s the same for him, he thinks. He can’t explain it, but he feels safe enough to sleep with Danny, too.

He needs to be alright.

“So… Is this friend just a friend? Or a friend friend?” 

“A friend, Nightwing. Now hurry up.”

He’s not in the mood to play these games, not now. There’s a reason why none of them know about Danny, and this is one of them. His family, as much as he loves them, are just too damn nosey for their own good.

“You know that doesn’t answer my question at all.”

“Then why don’t you ask something intelligible, rather than continue with your childish antics?” Robin snarks, and for once, Red Robin has to agree with him. Or, rather, he’s grateful for the distraction that it gives him.

Tim has secrets. He’s sure that Danny does, too, and so far—aside from the standard background check he always runs on new friends and friend friends alike—he’s done very well to respect them. He just can’t say that his family would do the same.

They can be overwhelming, to say the least, and Tim has tried his best to protect Danny from that.

Only to fail to protect him in every other way that it counts.

“How long have you guys been ‘friends’?”

“Nightwing, save it, please.”

“What’s his name?”

He ignores him.

Red Robin lands on the building first, thank goodness. He wastes no time in finding a skylight that can be pried open fairly quietly, slipping inside without a second thought.

“Wait for backup, Red Robin, that is an order!” Batman says, when he lets them know he’s in.

“Negative, Batman. I’m getting him back.”

“Red Robin!”

He weaves silently through the desks on the second floor of the warehouse, always moving, always keeping a trained eye on the shadows around him.

When he reaches the stairs, he hears voices.

“Looks like three of them, armed. The-the hostage is tied to a chair in the middle of the room, he…” Red Robin takes a steadying breath. The person has a burlap sack over their head is slumped to the side, from where he is, Red Robin can’t see if his chest is moving. There’s blood on the floor. “He needs medical assistance. Another two on the northside entrance.”

The comms explode in admonitions, everyone pleading with him to stay where he is, to wait for help, but fuck that. With a tap, he switches them off and he can finally, just about make out the words of the kidnappers as he creeps down the first few steps.

“—shouldn’t he have woken up by now?”

“I don’t know, man, you’re the one that hit him! Do you think he’s—”

“No! I didn’t even hit him that hard, I swear!” the man cries, holding his hands up in surrender. “I just couldn’t take any more of his stupid jokes!”

If there was any doubt in Red Robin’s mind that they picked up Danny by mistake, it’s gone now. Yeah. If you get Danny, you get his stupid jokes, too.

He creeps closer. 

There’s some storage crates between him and Danny, if he can get behind there without being seen then that leaves him in a good position for when whoever’s next in takes out the guys at the front. He can’t do anything without them gone first, not without risking them taking shots inside and endangering Danny.

The man that hit Danny circles round behind him and grabs at his hands.

“What are you even doing, Pat? Who gives a shit, leave him alone.”

“I’m just checking! I just gotta see!”

“Fuck’s sake, guys, who cares? We just gotta get our money, that’s it—”

“And our helicopter!”

“And our—”

“Shit, I can’t find a pulse! Shit, Frank, I killed him, I—”

Jason told him once that when the Pits overtook him, he used to see green. Instead of blacking out, he’d be swimming in that putrid Lazarus colour and he’d slip into that rage and bad things would happen.

He’s heard of people seeing red, too, but really, he thinks that’s more of a literary device.

Tim doesn’t see anything aside from his targets.

A barrage of birdarangs take the guns from the guys at the front, the three around Danny startling badly enough that the guy that kil—that’s behind Danny—stumbles, losing his footing.

Only one of them shoots.

Amateurs. 

There’s a round of curses on the comms as the shots come through. Oracle must have turned them back on.

“Fucking hell—Nightwing and I are at the front, Red Robin, don’t worry about them.”

Red Robin’s barely listening.

He spins, kicking the largest guy in the stomach hard enough so that he doubles over, wheezing. Following through the movement, another kick lands on the side of his head and he’s down. 

The second one, Frank, gets his wits about him and raises his gun, spraying wildly. He’s a shit shot, going wide in panic, and Red Robin simply ducks and rushes forward, keeping low. Tackling the guy, he grabs the gun off of him and uses it to smash him across the face, once, twice, three times, before he stops moving.

“Oracle, get police and paramedics on scene, now.” Batman says, the displeasure in his voice evident. “Red Robin, Robin and I are coming in from the top.”

Pat hasn’t even made it up off the floor yet, scrambling backwards, fear plain on his face. 

Red Robin stands, breathing heavily, gun still in hand.

“I’m sorry, I’m sorry, I swear I didn’t mean to do it! Please—please, don’t, please!”

Red Robin doesn’t kill.

Well, no, Red Robin doesn’t normally kill.

No, that’s not quite right, either.

Red Robin has killed. Red Robin will more than likely kill again. Red Robin sees no problem with killing.

The gun is up, pointing towards the guy without any real thought about it.

Footsteps rush behind him, the familiar heavy footfalls of Batman and Robin, so he doesn’t bother turning around. The gun follows the guy as he keeps pulling himself backwards, snot and tears mingling down his face.

“Red Robin,” Batman says, softly.

It’s always weird hearing Batman’s voice like that. It’s not the first time, obviously—Batman can’t use his scary intimidating voice on victims or children, after all—but having it used on him is weird. 

“Breathe.”

“He’s dead. They killed him.”

If hearing Batman’s voice was weird, Red Robin can’t even recognise his own.

Distantly, he realises he’s dissociating. There’s a tightness in his chest, it’s hard to breathe, a growing buzz drowns out any noise in his ears and he can’t think, he can’t—

A heavy hand squeezes his shoulder, jolting him out of his thoughts. Batman reaches around and gently removes the gun from his grip, and Tim feels the instant loss of it. He should have done it, why hadn’t he done it?

Robin takes care of the last man, his crying cut off by a swift kick to the head. Nightwing and Red Hood join them, zip-tying the men on the floor and starting to drag them back to the entrance of the warehouse one by one.

No one says a word.

Shrugging off Batman’s hand, Tim moves towards the chair.

Shaking, he takes a deep breath and removes the sack. The small part of him that was left hoping it wasn’t him, it couldn’t be him, please dear God let it not be him, shatters.

Even dead, he looks peaceful.

Tim’s seen death. He’s no stranger to it, he’s seen what it can do to a person. There’s some blood coagulating over his eyebrows, but otherwise, he looks peaceful. Is that comforting? That he didn’t suffer?

Danny’s head lolls to the side as the sack comes completely away, his hair flopping over his eyes. Tim’s been on at him to get a haircut lately, he thinks it’ll be nice tidied up a bit, just on the sides. It’ll get rid of that permanent bedhead. Help him with job interviews, he’s got to be thinking about that now that he’s in his last year of college.

It’s about the only thing that’ll hold him back, Tim thinks. Danny’s brilliant. Any employer would be a fool to turn him down because of his shaggy hair, but employers are stupid so it makes sense to put your best foot forward and—

Tim falls to his knees.

Fuck.

He’s dead, he’s really—Danny’s skin is horribly pale, cold to the touch. Gone is his bright, cheerful smile. 

“Danny, I’m sorry, I’m so, so sorry, I—” 

He stops himself with a deep, shuddering breath. He can’t break down here, he can’t, he can’t, he can’t.

Instead, he tips forward to rest his head in Danny’s lap, arms curling around himself. They were too late. They got here as fast as they could and they were too late.

 “Danny, I’m so sorry…” he whispers. “I… I love you, I love you, I’m sorry.”

Dimly, he can feel the others standing around them. Someone crouches down beside him, resting a comforting arm over his back, but he doesn’t turn his head to see who it is. He squeezes his grip on Danny’s legs tighter.

“Come on, baby bird. Let’s—”

They’re interrupted by a huge, honking snore as Danny jerks himself awake.

Tim’s head snaps up, staring at Danny with wide eyes.

“You were asleep?” Red Robin springs up, several different emotions rapidly flip flopping through him.

“Wha… What?” Danny heaves a yawn, blinking blearily down at him. “Sorry, I’m just… they were shit kidnappers, man, really boring. Honestly, worst abduction yet.”

“You were asleep? I thought you were dead!”

“Not mutually exlusive, you know.” Danny says through another yawn. He rolls his neck around with an almighty crack and glances at everyone. “Didn’t think I’d warrant the whole Bat brigade, though…”

“The kidnappers thought they had Tim Drake.” Batman supplies, while Red Robin tries to work through the emotional whiplash.

“Ah, makes sense… wait.” Danny sits up suddenly, squinting at Red Robin. “Did you say you loved me?”

“No, of course not, why would I—”

“Tim? Is that—are you—are you Red Robin?”

“Everyone, hold the fuck up!” Red Hood shouts from the other side of the warehouse, having finished securing the perps to a streetlight outside. “Double R is dating Danny fucking Nightingale?”

Well, there goes his identity�� Oh, who’s he kidding, Danny’s smart. There’s no way he could have salvaged that. This was not how he thought the night was going to go.

“Cranberry, is that you?” Danny twists in his chair, somehow delighted to see Red Hood rescuing him, too. “I thought I smelled you lurking about!”

“Shut it, you little shit. Since when were you dating this dweeb?”

“I’m sorry,” Red Robin pleads, hands in the air to try and slow down the onslaught of information and insults, “you two know each other?”

“Cranberry?” Nightwing echoes, looking as lost as Red Robin feels.

“Yeah, Cranberry—The Cranberries—zombie, zombie, zombie-ie-ie. Obviously. Also he’s wearing a big, fuck off red helmet.”

“Yeah, sure, makes sense.”

It’s about the only thing that does.

“And please don’t call my boyfriend a dweeb, Cranberry. Especially when he just said he loves me for the first time.”

“He only said it because he thought you were dead.”

“I am dead, so it counts.”

“Only half, so I’d say that puts you at a solid ‘like’. Tim’s—and savour this, Tim, because I’m only going to say it once—Tim’s intelligent, so I’m sure he’ll come to his senses soon.”

Danny just throws Red Hood such a shit-eating grin. A level of feral that Tim’s only seen before in Damian. 

“That’s what I used to say about Jazz, too.”

Hood scoffs in offence, and to be honest, Tim’s not sure where he should go from here. What the hell is happening, how do they know each other?

“Come on, is anyone going to untie me or am I really meeting your family mafia-style?”

“Do it yourself, Slimer.” Red Hood laughs, crossing his arms.

“Ugh, you suck so much. I’ll fucking slime you, just you wait. Can’t believe Jazz even likes you, I preferred it when she was dating Johnny.”

And then, without Danny doing anything other than muttering obscenities at Red Hood, the ropes fall to the ground. In one swift motion, Danny stands up and stretches himself to his full height of 5’6.

“All of you need to explain, now.” commands Batman, and honestly, Red Robin’s very much on his side of it.

“I can’t believe it… Jason and Timmy are both in secret relationships? That’s… How come no one told me?” Poor Nightwing sounds the most shocked out of all of them. He turns to Damian and clasps onto both of his shoulders. “You’re not secretly dating, are you, D? Please tell me you’re not, please tell me you’re single, please?”

Of course, Robin just clicks his tongue and pushes his hands away. Really, Red Robin doesn’t think that Nightwing’s in any danger of that happening, he’d be surprised if anyone could stand Robin enough to actually date him.

He shakes his head and turns to Danny, who’s staring right back at him, worry clear on his face.

Fuck, he... He's alive. He's really alive.

Tim pulls him into a bone-crushing hug, fingers buried deep in his NASA shirt. Tucking his face into the crook of Danny's shoulder, he laughs wetly with the joy of it. He's alive. He hasn't lost him. He's safe.

“I’m sorry I haven’t told you before now, starshine, but…” Danny breaks the hug and softly pulls away from him to rise on his tiptoes to place a kiss his cheek. The skin burns cold where his lips touch. “I love you, too. Also, you’re gonna wanna sit down. This is going to be a lot.”

[thetwilightroadtonightfall]

ngl I’ll be a bit disappointed if the founders aren’t at least a little problematic. You’re tellin me they run this city? As a family? Legally? No siree, you’re not fooling me with that. I’m convinced they’re also the mafia (on what grounds? vibes). They’re fixing problems. But they’re also causing the problems. You know what I mean

[mrghostrat]

AU Writing suggestion? (Perhaps) 👀👀

I've been reading a lot of your work, and you do an incredible job at everything, especially slow-burn. From your work, I couldn't help but think you would write an incredible story of Aziraphale and Crowley in an arranged marriage AU. (Enemies to lovers???) (Whatever era you'd prefer) It may not be your cup of tea, but I wanted to share the idea in case it ever intrigued you.

It would also be a very creative one at that, considering how you're always able to put Good Omens references in your stories in subtle ways. (Those references are always enjoyable to see) Love your work. Keep it up!

rotating this idea in my mind like a microwave

[cuteniaarts]

@katkastrofa, circa 40-ish hours ago: Hey, what if our newest bunch of OCs adopted a baby from one of the other brothel girls who knew she couldn’t afford to raise one? That would make for some fun shenanigans :D

Me, with a notoriously non existent sleep schedule, instinct of self preservation or concern for my poor wrist: Alright, bet. Watch how fast I can make you fall in love with this hypothetical baby >:)

Daneli as a gentle and loving caretaker-turned-adoptive-mother is something that can be So Personal, actually, and originally I was going to leave it at this quick sketch, but then I got carried away thinking about what this child will grow up to be like raised by this little gang of misfits, so…

Here she is!! A little older and so, so beautiful, I need more of her in my life immediately, she’s way too precious

And, because I wouldn’t be me if I didn’t also add a sapphic element to this absolute cinnamon roll, a small crack ship that I’m only half serious about for when she’s a little older still:

All in all, we may be getting impossibly far from canon, but I for one already cannot get enough of sweet darling Kumisai <3

(I fully drew three pieces from scratch in 9 hours I cannot feel my brain or my hands anymore send help)

[5hrignold]

what do they mean by this

[thecoolerbrother]

i think something moonage daydream was really good at doing was capturing a vibe

[skrunksthatwunk]

ok so. kiwami 2. rooftop scene. the ending. it's a bit of a clusterfuck but i wanna talk about one detail, a problem they bring to your attention by Fucking. Talking About Her.

haruka is watching all of this unfold.

[this post is like 4.5k words long + pretty critical + has spoilers for kiwami and kiwami 2, and really minor/vague ones for a couple others. they're not that bad though, trust me (and i added a warning in the one place it is major)]

ALSO CONTENT WARNING i'm gonna talk about kiryu's passive suicidality a good amount in this one, so stay away from this if you think that might affect you negatively/you'd be better off skipping it. i'll also make a tl;dr (which i will highlight in red) at the very end if you really wanna know what my point is that will exclude those elements <3. i am also going to use a lot of choice-based language in regards to kiryu's contemplation of suicide because i think it's the lens through which the games treat the topic, but i personally don't find it a productive or realistic way to look at suicide or suicidal ideation at all. someone dying by suicide absolutely does not mean they don't care about their loved ones enough to fight on or whatever. i love you, and proceed with caution on this one.

(also i'm using the kiwamis as my point of reference because i uh. don't have a ps2? those are the games that i played, and though the differences are likely slight, i wanna be clear about that. also,, ignore the watermark on these screenshots,, i didn't notice them and i'm not retaking them. we're all gonna have to settle for youtube cutscene comps for now xoxo)

first, we have to talk about the ending of the first game.

[note: i am Really Really Confident kiryu has a conversation earlier in the game about his going to jail in nishiki's stead being him running away and choosing not to resist his two options (go to jail or let nishiki go to jail) and define his own path, fighting his way against fate to make it happen. part of why i'm so confident it exists is because it made such an impression on me at the time. it's pretty important to my interpretation of things but i also can't find it for the life of me, so uh. sorry ✌️ i really tried. this post's takes/analysis will be dependent on this scene existing, so keep that in mind. if anyone knows where to find the scene/screenshots of it, lmk and i'll add a follow-up with it]

kiwami stuff

so as she's dying, yumi tells haruka this:

that she may be dying (painfully, and right as she's getting everything she wanted), but she doesn't regret it, because at least she did something rather than running away from it all. that you shouldn't run away, ever.

shortly thereafter, when the police find kiryu and haruka, this exchange happens between him and date. here's the play by play:

date tells kiryu he can get him out of trouble with this, and that if he doesn't, he'll get life in prison; kiryu declines his help:

kiryu is so devastated (understandably) by the back to back losses of the three people closest to him that he resigns himself to life in prison, and the death-in-effect that would be. he would prefer to waste away rather than struggle through a life without them. prison was monotonous and isolating, but coming back after a decade was overwhelming, and coming back to everything being so warped and twisted, and then losing the corrupted scraps he had anyway, well. he wants to go back to sleep. he doesn't want to be in a world where everything's the same except he's on his own. better to return to safety, to die slowly in a hell he knows well than weather a new one where he has control and agency, and thus one where he has the ability to fail and to lose anything at any time. he explains to date that that loss is why he can accept his death:

date shakes him and asks him if there's really nothing left for him, no reason to keep living at all:

then echoes yumi's advice to haruka:

which makes an impression on kiryu:

date gives him a reason to live in the form of haruka, saying she'll be on her own again if he goes to jail. he hijacks kiryu's tragic protector complex to keep him alive, because she needs him, and because she's someone precious to him:

after the dust has cleared,

kiryu and date also have this exchange, where date tells him to stay away from the cops (and presumably arrest and a return to prison, the aforementioned fate akin to death), and kiryu cites haruka as his reason to stay away, one he holds to with no uncertainty (showing again that he's accepted date's logic, that his reason to keep living even when it's incredibly difficult is to care for the more vulnerable haruka). given the weight of the consequences, to me, it feels like date's telling him not to be alone with his thoughts or something. it's almost frightening:

so, what's our takeaway from kiwami?

kiryu lost everything and hit rock bottom, but he chose to fight, and to live life on his own terms, even when it got difficult. that's the narrative life lesson he had to learn to avoid repeating the events of 1995. he made that choice for haruka's sake. it's seen as growth.

and without him, haruka would've just returned to the orphanage (assuming she could make it back to sunflower at all) with no one who knew or understood what she had been through, no one to mourn with her, and no one to give her the attention, care, and protection she needs. kiryu knows what it's like to be an orphan with a limited parental figure who only checks in every so often (kazama, "aunt" yumi), and what someone will do for attention/affection from that person (via both himself and nishiki swearing up, climbing the ranks, etc. arguably haruka coming to kamurocho by herself to find "mizuki" is similar), and what it's like to lose them anyway (again, kazama, yumi). their situations parallel each others' somewhat, and that binds them further. and after losing everyone (which he blames himself for to some extent, as one can probably assume from this and 2, and something key to his arc in later games), he chooses to protect her. and this time, he won't fail. at least partially because failing would hurt him, too. he'd have nothing left again.

okay. now we get to kiwami 2.

if you forgot, the context is basically:

everybody's fighting on the roof of a building which i'm sure will not be a running theme or anything as the series goes on

there's a bomb that's about to go off and they don't know how to/can't defuse it

ryuji shot the twist villain to death, but took fatal hits to do so

sayama's like hey!! let's get out of here!!! and kiryu and ryuji are like nooo we have to settle this oughh it's punchin time and they stick her on an elevator and send her down so she doesn't have to watch

ryuji loses. sayama returns, they have a cute sibling heart to heart, and ryuji dies in her arms. sad

kiryu is in rough shape as well, and there's like 2 minutes left on the bomb's timer

here's the scene itself:

sayama tells kiryu they have to run, and kiryu says he can't. the gist is "let's run!" "you go without me" "i'm not leaving you!" "i'm in no condition to run" "i'll carry you then!!" sayama: *sees how fucked up kiryu is, realizes he's Going To Die Anyway* "ok, then i'm staying with you!" and then further bickering about that, before they give up and make out (as one does i guess)

date (he's here now) yells this at them from a helicopter:

before someone else in the helicopter tells date this:

we get this shot of haruka calling out to kiryu as the helicopter swerves away:

and kiryu and sayama have this exchange about haruka where they say they let her down, but that she'll understand:

then they hug and the bomb ticks to zero right when the credits hit. in post credits it's revealed that the twist villain defused the bomb when they weren't looking, betraying his co-villain for reasons i truthfully do not remember and am unwilling to look up. it's not about that right now.

so, how does this scene interact with the ending of the previous game?

the short answer is "badly <3" but here's the long answer:

it's about choices.

the thing about fiction is that anything you want to have happen, as a writer, can happen. it may not be effective, internally consistent, or logical, but you can write it regardless. audiences suspend their disbelief for the sake of engaging fully with your fiction, but everyone has a threshold past which they will stop being engaged in a story and either become uninvested or annoyed. writers usually have lines they're unwilling to cross as well. but in almost every story, there's at least a couple of places where they stretch reality a little to make the narrative they want happen. this is not a bad thing at all. that's how stories get told.

now, i'm gonna be real with you. i don't care about how feasible plots are like 95% of the time. it's not something i think about much, nor is it something i prioritize. i am a very character-centric media consumer, so if world building and/or plot are a bit stale or contrived, that doesn't really bother me much so long as i'm invested in the characters involved. some people can't stand plot holes or the ways musicals burst into song or whatever, and that's fine for them. but it's not something i tend to find that all that important.

this is all to say that i have a sorta affection for rgg's flavor of bullshit pulling. and it is a powerful flavor, maybe even an acquired taste, but i can and do rock with it so long as it doesn't damage the characters too much. this is why i'm not making a lengthy post howling into the void about joji kazama or the second joon-gi han or how many secret relatives there are. those things are silly and endearing and a clumsy yet heartfelt part of a series i care about very deeply. i'll joke about it, but i don't consider it much of a flaw. it's more like personality. flaws are texture, and they help a piece's identity. point is i am very, very willing and able to suspend my disbelief for these games in exchange for a good time, particularly via good characters.

(if you want another example of where i draw the line from within rgg, the answer's the YAKUZA 4 SPOILERS INCOMING rubber bullets twist, because i think 1) it's actively horrifically stupid (especially retconning a scene we SAW HAPPEN. WE SAW BLOOD ON EACH IMPACT, AND RUBBER BULLETS DON'T OFTEN BREAK SKIN THAT DEEPLY (THEIR DAMAGE IS MORE PERCUSSIVE THAN PENETRATIVE). THESE EVENTS HAPPEN IN THE SAME GAME YOU DON'T HAVE TO RETCON IT JUST REWRITE IT. OR DON'T SHOW THE HIT AT ALL SO THERE'S MORE PLAUSIBLE DENIABILITY. DON'T DO THIS JUST TO HYPE UP YOUR SHITTY VILLAIN NO ONE CARES ABOUT. and 2) (a bit more importantly) i think it actively removes saejima's primary internal conflict for that game, that being his intense guilt over the 18 murders he thinks he committed, one i was invested and interested in. but this isn't a rubber bullets post.)

characters in this series walk off a lot of life threatening injuries. they survive miraculously, they escape in the nick of time, and they pull through in the end. kiryu still somehow hasn't killed anyone. almost every game in his saga ends with an "is kiryu gonna make it out this time?!?" shortly followed by a "yeah lol. lmao" postcredits reveal. kiryu fucking punches a marble statue into dust in the first game. having a story that asks you to suspend your disbelief so much and so often means that when a decision is made, it's not the writers saying, "well, this would have to happen so we are obligated/forced to write it happening" so much as "we wanted this to happen for some reason(s)," because you already know that they're not guided solely by logic. again, this is true of all writers, it's just amplified in stories like these because they've already given you so many hard mode suspension of disbelief moments (they've broken you in like leather, yeah? or like how obvious internet scams allow for self selection by being so obvious that only the most vulnerable people would fall for them. they curate an audience willing to play along with their bullshit flavor so they can tell a story that's more likely to satisfy that audience. in a good way, in a fun way! mass appeal is overrated). there is not much limit to what this series is willing to try and sell you.

so when ryuji takes lethal damage taking out the big bad, that's a choice. when he doesn't die immediately, that's a choice. when ryuji and kiryu send sayama away in the soon-to-be-forgotten elevator so they can settle this like men or whatever despite the literal actual bomb about to go off, that's a choice. when sayama comes back, that's a choice. when ryuji does die, that's a choice. when kiryu determines that he can't escape in time, that's a choice. when sayama is unwilling to leave him, that's a choice. when she says she'll carry him out and there's an elevator right fucking there and then she's like never mind i guess i won't anymore we're dying together right now kiryu like they're not gonna even try?? wouldn't distancing themselves from the blast give themselves a better shot, something that's super possible given the 2 minutes they have with that elevator??? sayama you met him like a week and a half ago why are you ready to die with him that's not a plot hole i just think that's kinda strange whatever anyway, that's a choice. when kiryu stops arguing with her so they can kiss (next to her brother's corpse), that's a choice. when date shows up, that's a choice. when the helicopter can't save them because the bomb was going to go off too soon, that's a choice. when they put haruka in that helicopter and take her away, let her only impact be reminding kiryu and sayama that they can't help her, that's a choice. when they spend their last moments talking as if they're already dead, then simply waiting, that's a choice.

they're all choices that the writers made for the characters, and we are asked to believe them for the sake of achieving the writers' vision, as with any story. the only problem is that the writers' vision here fucking blows.

i'm not saying it would be realistic for kiryu and sayama (and even ryuji) to make it out alive, but it wouldn't be out of character for the series in the slightest. kiryu is suddenly unable to power through here, and that's a choice. so, what is their vision?

put simply, i think they wanted a romantic last stand for kiryu and sayama, a tragic scene of doomed, devoted lovers. and i think they wanted an edge-of-your-seat fake out death. they wanted spectacle.

here's how some specific choices they made undermine all that shit we talked about earlier from the first game.

once again, kiryu is called by date to live, to pick himself up and keep going, no matter how impossible the odds are. he's even reminded by haruka's presence, his one anchor in keeping himself going. the growth he had in the parallel scene in the previous game is challenged, and he fails.

it's not enough this time. and that's a choice.

it's also one i can't think of a good reason for, and that's the real kicker.

characters can have developmental backslide just like people do, and if they're given good reason for it, it can be just as, if not far more compelling that purely linear growth (i am a chimera ant arc enjoyer, and that's all i'll say. sorry if you haven't seen hunter x hunter. uhh. i am also a zuko avatar enjoyer if that helps). but i can't think of anything that happened in that game that would cause this from a character perspective. if anything, kiryu should be less likely to do this intentionally. he's spent around a year raising haruka, and a year has passed since he lost his loved ones. at the very least, the pain should be more dull, though it is established through an early nightmare sequence that his ass is (justifiably) not over it yet. given that their deaths were the initial motivation for his willingness to rot forever, theoretically, he should be more motivated to stay alive than before now that he's got more investment and stability in his life outside of them, particularly when it comes to haruka, his reason for surviving. and if the ongoing nature of the trauma was the motivator for this, then they should've had it affect him more past that nightmare scene (it really serves more as a recap of the last game than anything else) so it didn't come out of nowhere. so the reminder of the lesson that saved his life and then guided it for at least a year afterwards, one that the whole resolution of the previous game relied on heavily falls flat for... some reason.

i think this is a good time to mention that, generally speaking, you don't write arbitrary choices into characters. sure, people in real life are often sporadic, but when analyzing fictional characters, every choice is filed into a portfolio of characterization that can and should be analyzed. going for pure realism can obfuscate their development, motivations, themes, etc. their choices and reactions may be unorthodox, but they must be internally consistent. this is very related to how i view plot contrivance as well. characters drive the plot, not the other way around. stories are about the ways characters affect their worlds/lives and vice versa, and they're the human face to the themes and ideas the writers are trying to explore and express. maybe my stance on this seems hypocritical. i don't know if it is. but to me, plot issues are usually a matter of engagement and investment, while character issues are a matter of substance.

i hope this doesn't feel patronizing explaining all of this, but i want you guys to know where i'm coming from in my analysis. starting at my base philosophy on writing is the easiest way to do that, i feel. defining the terms of the debate, and all that. anyway

and i mean, look. they survive because "it was defused the whole time we just didn't see it happen", so it's not like narrative tension or realism or whatever was THAT big of a priority overall. if it was gonna be a cop-out anyway, they should'nt have ruined kiryu's development too, yeah?. and sayama fucks off to america after this game anyway, so it's not like the doomed lovers thing had much payoff or meaning after this one (though you could argue that's more an issue with yakuza 3 than yk2, which has some merit to it). which means that they chose to sacrifice kiryu's prior development and internal logic for the sake of cheap tension for their finale that was both kinda illogical in and of itself (the elevator!! the elevator!!!) and a romantic climax that neither required nor really benefitted from this staging. (like. you coulda had them make out and then get saved by date, or kiss on the elevator in a "it's moving, but will we make it in time??" way or whatever. look i'm not saying those are great options either but they're SOMETHING okay. it would remove/reduce the amount of time wasted on characters sitting around with their thumbs up their asses for no reason in this finale).

instead the message of this finale is that, actually, sometimes it is impossible to change your circumstances and fight for your own way out of an awful situation. and what should you do about this unfortunate truth? uh. die! i guess. it's the exact opposite of the encouraging, optimistic message of the last game. zetsubou chou pride my ass.

note: i feel i should mention that when suicidality is brought up within the series (particularly in substories), it is always something someone has to overcome themselves through wanting it badly enough. they simply need the inspiration and the motivation to keep going. it's arguably treated as a moral obligation. frankly, the series is broadly very meritocratic (<- bad) when it comes to this topic (and others, but that's a Whole Other Thing. see akiyama's weird loan shark tests as well). sheer will and resolve is enough to conquer any problem, be it physical or mental/emotional, and it's irresponsible to act/feel otherwise. this is the logic the games operating under, and kiryu is often the mouthpiece for this bootstrap-pulling "tough love" sentiment. so when kiryu "chooses" to die, yet faces no emotional fallout from date, haruka, or anyone else, it feels very out of place. it's not just an odd choice; it's specifically, once again, an odd choice to make in context of the game/series/character it appears in.

kiryu's just like eh, haruka'll watch her only family die right as she gets some sense of tentative stability and lets her guard down after a devastating month the year prior (and a relatively dismal upbringing before that) that we trauma bonded over. sure, she likely came to view me as the one who would stay no matter what, who was too strong to be taken out, who she could always rely on, and so i know that dying would hurt her immensely, but she's smart enough to know it'd happen eventually. her eventual recovery means it's okay for me to do this (somehow, in a way it wasn't in the first game). it's an excuse within the narrative's logic, and one it is uncritical of simply because it's kiryu. he gets a pass.

and i think with the previously mentioned passive suicidality and general series-long mental health issues kiryu displays (i mean. yakuza 5's literally his depression arc), this could be retroactively seen as an interesting choice, like a piece in that particular narrative. i don't even dislike that viewing, especially in terms of fan approach. but (assuming this went down the same in yakuza 2), they likely didn't have that in mind. all they had then was the first game and the movie. and they took the first game's Entire Message and contradicted it for nothing but a scene they wanted to have happen because it'd be suspenseful and/or emotional (without actually doing the work to earn it). and they're not fans trying to analyze his character, they're the ones making choices for him. and they chose to massacre my boy. and if the subject of kiryu's mental health was a priority of theirs, why didn't they explore that? haruka and date's feelings on him not resisting and their words not being enough (whether that blame is justified by the narrative or not (it shouldn't be btw)), the uncomfortable drifting that resigning yourself to death and living afterwards anyway often brings, literally any conversation about it besides the minimal shit we get post credits of date being like "did you know about the bomb not having a fuse?" which like. bad answer either way (which is why they weren't straightforward about it, the cowards). you can't just be like "oh uh. idk he just gave up this time. yeah he was gonna die on purpose for some reason. good thing the bomb was fake lol" and then pack up and go home!! that's stupid!! any merit the idea of kiryu dying by suicide in this scene and in this way could have had from a character-based perspective loses its weight because 1. it didn't happen (for kinda stupid reasons), which makes it fall flat and 2. no one is really affected by the fact that it almost did, including him. they sacrificed his ass and replaced it with nothing, even when there could have been interesting outcomes to it.

so the narrative effectively chose to kill him by making the situation impossible, and this impossibility is ultimately arbitrary, given the series' usual approach to miraculous, illogical escapes. that, or the choice to stay was up to kiryu and sayama, one that 1. doesn't make sense and is actively regressive in context of kiryu's arc in the only other game in the series (as well as his whole saga in retrospect) and 2. one that contradicts how the series sees/treats resignation to death/death by suicide in all other contexts without being addressed, challenged, or condemned in ways it would in all other contexts. because they don't want you to think about it like that. they want you to think he (and the narrative) had no choice, that it made sense to do that. but it didn't. it doesn't.

and look, honestly? if i was bleeding out and had like 2 minutes to live, there's a non zero chance i'd say fuck it and kiss a girl too. i get it. but i am (and this is crucial) not a fucking yakuza character. and i'm certainly not kiryu kazuma.

tl;dr (basically just rephrasing the second to last main paragraph)

there are not sufficient character reasons for kiryu and sayama not trying to escape. additionally, because the narrative regularly facilitates even less likely escapes, it's not so constrained to logic and reality that it couldn't pull this one off. the choice to let their situation be impossible this one time was a cheap and arbitrary way of forcing a scene they thought would be cool and dramatic, and in doing so they chose to cannibalize a key emotional note of the previous finale (namely kiryu's mission to dedicate his life to protecting haruka) for hollow last minute stakes-upping in this one. it is then completely disregarded anyway. god damn.

[lichtecht]

PART 20

of the dfk 2023 audiobook translation

@cnka

Narrator (audiobook): Robert puts another piece of wood on the trunk and swings the axe.

Bökh: „And you never wanted to get in touch?"

The Nichtraucher picks up a piece of wood.

Silence.

Nichtraucher: „Why should I? We didn’t see each other for the past ten years either.“

He rips the piece of wood apart with his bare hands. While holding eye contact with Justus.

Silence.

Justus lowers his head.

Jo: „Uh.. weren’t you-" Martina, quietly: „Jo, leave it. Lets go.“

Martina, louder: „We need to go! We still have something to do.“

The kids leave. Jo and Martina are holding hands as they walk away.

Bökh: „Yeah… Thank you, kids.“

Jo, whispering as they walk away: "What was that just now?!"

Robert picks up the chopped wood and walks back to his wagon. Justus looks after him.

Narrator (audiobook): If the two friends will find back together? Matze isn’t so sure of that.

Matze, sarcastically: „Well, that was a great success!“ Jo: „Yeah, so much for friendship between Internals and Externs.“

Narrator (audiobook): At least Robert granted Herr Bökh access to his wagon. He looks around lost in thought more or less, while Robert washes the dishes.

Dishes clatter. There is silence otherwise.

Justus stares wistfully at Robert while he washes the dishes.

Justus takes his eyes off Robert and starts looking around while Robert continues to ignore him.

Bökh: „I thought you were living in London.“ Nichtraucher: (silence) Bökh: „It's nice here.“ Nichtraucher: (silence)

Justus starts walking around.

Bökh: „I told the kids about our friendship.“ Nichtraucher: „As a cautionary tale?“ Bökh: (chuckles/scoffs) „No. Of course not.“

Narrator (audiobook): Bökh spots the poster of „the Bandits“, the same one hanging in his apartment.

Bökh: „The 'Wild Dog' that we always played in is still there.“

Nichtraucher: (silence)

Bökh: „Should we meet there sometime? For a beer?“

Robert looks up.

He lets out a small huff, almost like an incredulous laugh or a scoff.

He dries his hands on a towel and folds it.

Nichtraucher: (silence) Nichtraucher: „I don’t know what we would have to say to each other.“

Bökh: „Hm. Well. A lot of time has passed.“

Narrator (audiobook): Robert sits down at the table and lights himself a cigarette.

Justus turns as well and starts looking around again.

Nichtraucher: „Why didn’t you come to Marie’s funeral back then?“

Nichtraucher: „You didn’t even get in touch.“

[„You didn't even get in touch“ -> parallels to „And you never wanted to get in touch?“]

Justus is silent. He starts fiddling with his jacket and pulls it off his shoulder. He lets out a deep, shaky sigh and is silent for another few moments.

Bökh: „…I don’t know, you met her and… and suddenly you were gone.“

[Parallels to „suddenly your closest loved ones are gone“]

Bökh: „As if everything -our friendship, the band- as if that had all just been a dream.“

Justus turns around and looks at Robert.

Bökh: „Wir zwei. Wir hatten doch Pläne.“

Bökh: „That really hurt me.“ Nichtraucher: „It hurt you.“

Silence. Just the music.

Bökh: „Yes. Very much back then.“

The Nichtraucher lets out a soft incredulous laugh again, almost like a scoff.

Nichtraucher: „I see.“

Long silence. Justus stares out the window. Finally, he turns and walks to the door.

Bökh: „You know where to find me.“

Justus leaves the wagon. Robert nods to himself silently.

Narrator (audiobook): And with these words, Herr Bökh leaves his friend’s train wagon. If the two will ever see each other again?

[shentm]

outsider still doesn't feel complete to me but i'm leaving it here for now. blade pov, no beta we die like baiheng, check tags for trigger warnings

dreamwidth mirror, which by the way is the more updated and also likely more permanent version of this piece, as this tumblr post always runs the risk of deletion anytime i'm awake past 11pm

The dream catches itself on those at the center of the tragedy, locking on to the minds already half-emptied by mara. It watches, as the nights repeat, as the hunt grows farther from its purpose.

He's covered in it, clothes slick with blood, the moonlight sliding off of it and watching him through the reflection. Every time he shows up, Jing Yuan has to stay awake for hours afterward, scrubbing at the floors to rid his home of the stains and the stench of mara-stricken beasts. It doesn't help that he likes to trail his sword behind, leaving gouges that the blood flows through, pooling in divots and seeping into the cracks between. But it's not like Jing Yuan expected him to be different.

An Outsider, who participated in a horrific ritual, and became tethered to the merging of paths, a creation of a collector who found the occurrence too interesting to resist. Who was given the abundance emanator's blessing, transforming him into something thought of as prey by most of the Xianzhou Alliance. It's strange that he's still sane sometimes, occasionally managing to break the contradictory resonance of intertwined paths where the hunt and the abundance intersect.

In the shared dream he sees the echoes of those he once knew, dead beings recreated in a perfect recollection of the waking world. It's just how he remembers, an everlasting reminder of what they did. He's drawn in when asleep and awake, unable to escape the repetition of memory.

In that intersection of paths he sometimes finds the shadow of the Imbibitor Lunae running away and away, too afraid to face his crimes. He finds the corpse of a dragon protected by its unborn kin, and tears it apart instead of looking back. He fights through the same landscapes again and again, always waking up in front of the same dim lamp. The only reason he can think of for this endless repetition is that someone out there likes these memories, wants to see the moment of the sin done right.

Skin melts against skin, fire burning through hair. The wet noise of a blade squelching as it rips through meat is the only sound that interrupts the guttural screaming of those beasts, displacing the cries with blood down their throats. Their pathetic existences mirror his own. Eyes press against his brain where they grow inside his skull, amplifying the beats of his heart. A constant high pitched whine carries through the sky, staying with him wherever he goes. Physical discomfort keeps him in the dream, afraid of what deeper pain awaits with the dawn of wakefulness.

He sees her too, sometimes, guarding the path before the corpse. She sees him in return, and they always meet in a clash of swords, the moon almost close enough to touch. It watches next to them, the blue light of her own weapon brilliant against the clouded orange sky. There was never any other choice; a recreation can only travel down the path of the original, like wheels in a rut on a dried dirt road. They tell each other that the dream will end. He continues the hunt again.

The dream is an awful thing to endure. He wonders about its purpose when cleaning his blade that Jingliu so kindly returned.

Dan Feng never acknowledges him, never admits to what he did, never even calls him by name. But it's clear that despite the physical differences, he's still the same arrogant coward that lives in the dream. How else would Dan Feng manage to kill him every time with the weapon he forged with his own once-deft hands, buying useless time before his inevitable judgement?

When he wakes up it is only a brief moment of respite from the dream as clear-cutting pain reminds him of his immortality. Sleep comes with the soothing promise of comfort, but also with the knowledge that it will not be restless.

Later he joins the Stellaron Hunters, gets taken in despite being on the brink of insanity. Feels the frenzy slipping away with Kafka's words, feels the understanding leave his mind. Turns him into a docile puppet, waiting for the next command. He names himself Blade. She gives him the first genuine rest he's had in seven hundred years.

His senses are diluted with her influence, not enough to render him completely useless, but enough to clear his mind. It's mostly just his sight that's a problem, and it's easy enough to counter with his other senses. The other one is touch, but he doesn't expect that to really be important. He does most of his hunting with a sword anyways, distanced enough from his prey.

He's never gone back to the Luofu personally. Once or twice through the years he hears news of its whereabouts, and soon has those reminders taken from his mind, rendering his sleep dreamless yet again.

He doesn't go back because he's not done hunting.

But at some point it was bound to happen, the meeting of three tragic sinners and that other guy who was also there.

A mission brings him back to the Luofu, and he doesn't complain because his mind is too empty to think. He tries to think of himself as just a simple vessel to help Elio carry out his plot. A stagehand for the endless show that they try to put on. It's quite nice, being like this, the desperately needed reprieve from the eyes that always try to crawl their way back into his brain. It's not easy to forget once your body has learned.

Kafka says the mission went well. Elio says he can break the tether now. He doesn't remember any of it, except from the brief moment of clarity when Jing Yuan asked him if he was done, and then the consciousness when he wakes up later.

Jing Yuan looks the same now as he did all those years ago, except for the young shadow he keeps at his side. He's still just as radiant as the sun, the center of everything he joins. Of course a comet like himself was never meant to stay long in Jing Yuan's orbit. The sun does not need to change when a dirty snowball cuts through its orbit after centuries of desolation in the universe; the sun burns bright on its own, without a need for a secondary light.

None of them are, were, like that, just a product that reflected their surroundings instead of the magnetic core that shaped their era. Maybe that's why they're all criminals wandering the stellar seas now, shot out from the gravity well and driven by their own definitions of the hunt.

But eventually he feels the searing pain start to fade when he chokes awake on drying blood, glances over at the dissolving bodies next to him. The eyes can no longer see. Kafka helps with her lightning, and soon the only physical links left are those burning wounds inside his brain.

Between puddles of blood and dripping black stone he wakes up, and the night grows deeper but the streetlights start burning. He collaborates, strangely, with Dan Heng (a new trailblazer) to force Jing Yuan back into his bed. He sees the artificial sunrise a few times, occasionally with Kafka, and sometimes just on his own. The sight of a celestial object rising behind the clouds has been one he's not seen for a while, even if it is still a false sun.

It's done, the dream has an end. The hunt is over, its conclusion long since found.

He meets the one who couldn't let go in the waking world, both of them more alive than they should be. Neither of them deserve to be here, yet they sully the Luofu with their presence anyways, carving and gouging out a place where they no longer belong.

She meets him with the same intensity she always carries, unable to be diminished by time or a dream's veil, and he feels alive as they dance the familiar battle once again, for what may be the last time. Unlike the cycles before them, this time it feels like a breaking of bonds, like something being set free.

On the last night of his stay on the Luofu he ends up at Jing Yuan's family home after he manages to separate from the dream, and he's lucky that Jing Yuan still stays here even after seven hundred years. Conveniently, Dan Heng mentions that Yanqing would be dragging the Luofu's heroic trailblazer on some sort of sword-hunting adventure on that day.

"Yingxing," Jing Yuan says when he enters civilly through the window, "please stop dripping blood on the floor."

It's that name that breaks him into the clearest state of mind he's had for centuries. That and the newfound control over his own mind, now that the moon no longer watches him. Jing Yuan still sounds the same, calls him with the same tone of voice. When's the last time anyone's referred to him as Yingxing? When's the last time he's been able to hear that name without his consciousness slipping through the cracks?

"Jing Yuan," he responds, and he's suddenly aware of the winds outside, carrying with them a fine mist of pollen that coats everything in a layer of grit, sticking to the drying blood on his clothes. He's aware of the artificial moonlight that gazes into the room, blue in tone and so much softer than the harsh orange red in his sleep. He can feel the silence of the home, where four others once gathered and where only one stays now.

"That's not my name."

The dream tries to call to him, but its voice is quiet here.

Jing Yuan reclines on the mass of pillows he calls a bed, and when he shifts he can hear the sound of feathers scratching at their confinements. He hears his pulse in his head, reviving nerves once thought to be dead, and he can feel the tingling sensation where it creeps through his limbs.

The air is cold where it hits his skin. It's been so long since he's been able to feel the temperature. He looks at Jing Yuan, and he can see the shine in his eyes, the strands of his hair where it was only a blurred image before. The world is clearer than it's ever been. It's like getting glasses. Do they still have those?

Jing Yuan grounds him in the present, the physicality distracting him from the broken link between his mind and that all-seeing eye disguised as the moon. The moon here on the Luofu is fake, as is the rest of the sky over most of the ship. The mara-stricken here do not scream as they claw at their faces, nor do they tear apart their prey with overwhelming strength.

He can touch and be touched now, acutely aware of the blood on his face, his body, his hands, the stains across the sheets and the fabric where he dares to rip them apart, but it doesn't matter in the moment. Cauterized wounds of foreign eyes that once grew inside his head start to make their presence known again, but they don't try to regrow. Flesh, not his own, knits itself together when he lets go, and the scent of iron permeates the air.

He's never been a particularly selfless lover. He bites down again.

"Ren," Jing Yuan says, quiet with an edge of something else. The false moon silently hangs behind the clouds, diffused into a hazy shower of light. The metallic taste of blood fills his mouth.

Jing Yuan is just as pliant for him now as he was centuries ago, body remembering and opening its vulnerabilities for him so readily. The heat in his head is easily ignored in favor of the heat beneath his hands. It's easy to get lost in the chase to consume and feed, but he reins himself in with the control he thought he'd lost a long time ago.

An Outsider, on equal ground with the Luofu's general, if only for one night. An Outsider, carving his own mark into the Xianzhou's history.

He finds Jing Yuan again after all these centuries, and he's still just as passionate as he's always been, fervent energy and primal fear driving him deeper into the desperate desire to stake a claim of his own.

[nade2308]

So break into my heart

Let me feel the blood rush in

Break into my heart

I need to feel the pain again

Tear it up and bruise it

Wreck it and abuse it

Let it cut beneath the skin

Break into my heart

And make me feel again

Here I am bleeding, living and breathing

Looking for meaning, something to believe in

— Daughtry, "Break into my heart"

@thethistlegirl

Part 1 || Part 2 || Part 3

[koushirouizumi]

{Blog P.S.A} For New Followers

Where to Find Me: MY "ABOUT"+F.A.Q {READ FIRST}: Here (About) + Here (F.A.Q)! {People who don't even glance at these before leaving commnts inquiring about my Thoughts on Things get Ignored} [Trust Me I'll Know] AO3: Hikari {Currently/Mainly creating for Digimon, Adventure-related franchise} [also appears at times: 02, tri.~Kizuna~The Beginning, Frontier; less often: Xros Wars {Pt 2 of original XW is my personal favorite}/Young Hunters; Ghost Game; Tamers; Wonderswan games-verse; everything post-02 mainly being original Japanese version based] Other {+Digi}-Sideblogs: izzyizumi (main Digimon blog) hikari-m (official Digimon {news+art} archiving+general Fandom commentary; Asks or follows may come from here, Depending) taichi-x-koushiro (Archiving for Yagami Taichi/Izumi Koushiro as Ship) IF YOU ARE A NEW FOLLOWER OR LURKER, I'd really appreciate if you can send me an Ask (you could also leave a quick introductory comment here, on my pinned post) and introduce yourself (you do not need to expect a response from me), even a short description like name (Pennames are definitely fine!), preferred pronouns (if any) and/or what brought you to my page and what you're staying for (Especially if you were here for resource{s} posts/reblogging, I've been curious if they've been helping anyone!) The reason I am asking this is because lately there's been a huge uptick of spam blogs following with particular "patterns" to their Likes, Follows, etc. and in order to prevent from being softblocked by accident if you are not actively blogging, it'd be great to know in advance if you're a real person. Aside from AO3 the only other 'active' archives of social media that I have are my much older Livejournal and Dreamwidth accounts, and even they're not quite in use these days. However, if you also have active LJs or DWs and actively blog, feel free to let me know too!

{And, for Clarification to anyone "Wondering"}:

[No, I will not discuss related current events further than this or in Tags. Anyone who attempts to push my boundaries on this will get Blocked]

It’d be very, very cool if people could also learn to read my FAQ page linked on the sidebar before sending Asks or interacting directly with either of my blogs or myself, because I’m seriously TIRED of people ignoring it and my rules for interaction.

I am a {diagnosed since childhood} Autistic, G.N.C {Gender Non-conforming} + THEY/THEM Jewish blogger. I reblog about those topics here for that reason. {Also my Ko-fi is here.}

* PLEASE DO NOT FOLLOW OR INTERACT WITH ANY OF MY POSTS IF YOU BLATANTLY HATE/DISMISS, OR EXPECT ME TO HATE/DISMISS THE ADVENTURE [+02] + TRI + KIZUNA + 2020 CHOSEN, KOUSHIRO (*ANY KOUSHIRO, INCLUDES FOR EXAMPLE: TRI!KOUSHIRO, OWG!KOUSHIRO, 2020!KOUSHIRO, KIZUNA!KOUSHIRO), TAICHI (*ANY TAICHI, INCLUDING 2020!TAICHI, TRI!TAICHI, KIZUNA!TAICHI), DAISUKE MOTOMIYA (or “DAVIS”), SORA TAKENOUCHI (*INCLUDING 02!SORA, TRI!SORA, 2020!SORA, KIZUNA!SORA), HIKARI YAGAMI (*INCLUDING 02!HIKARI, TRI!HIKARI, KIZUNA!HIKARI, 2020!HIKARI), MIMI TACHIKAWA (*INCLUDING 02!MIMI, TRI!MIMI, KIZUNA!MIMI, 2020!MIMI), MIYAKO INOUE (*INCLUDING KIZUNA!MIYAKO), ALL/ANY OTHER DIGIMON GIRLS SUCH AS IZUMI ORIMOTO {FRONTIER}, JURI KATOU {TAMERS}, JUN MOTOMIYA {02}, OR MEIKO MOCHIZUKI. THANK YOU (I WILL PERMABLOCK IF YOU FORCE-INTERACT OR BLOCK EVADE)

* PLEASE DO NOT FOLLOW OR INTERACT IF YOU CAN’T STAND MY SHIPS TO THE POINT YOU CAN’T EVEN BE RESPECTFUL WHEN INTERACTING WITH SOMEONE WHO SHIPS YOUR NOTP. (I WILL PERMABLOCK YOU IF I NOTICE)

** THESE RULES ALSO APPLY TO MY OTHER BLOG.

*** DO NOT INTERACT IF YOU SUPPORT HARASSMENT / BULLYING / ABUSE (I WILL INSTANTLY PERMA-BLOCK YOU) OR IF YOU SUPPORT / PLATFORM PEOPLE WHO DO.

NOTICE: I am much less active on a personal level on this blog nowadays (in the sense of making personal posts or fan-works/posting fic; I still reblog informative posts). I am slightly more active on my other socials, but most of them are private and friends-locked to older groups of mutuals. If you are curious or wanting to interact about Digimon (especially Adventures or about my favorite characters and ships for this fandom) specifically, please feel free to message me about them, but please understand I may not add or speak with anyone that I do not fully trust or know well. (It will help if most of your stances on social-justice issues align with and don’t blatantly conflict with my own. I tend to not add/follow people anywhere whose posts I cannot filter [i.e. there are many popular Western media fandoms / mega-fandoms I’m not in which I blacklist, types of fanworks I don’t personally care for that I blacklist, etc]. I do not do follow-backs so please do not follow or interact here expecting one). It will also help if you read my FAQ first and agree to it before asking.

PLEASE FAMILIARIZE YOURSELF WITH MY FANDOMS LIST (notably more the major fandoms but) BEFORE YOU INTERACT WITH ANY POST ON THIS BLOG. If I check/quick-vet your blog and find nothing but hate{watching} posts/“Critical” posts for my fandoms (ESPECIALLY THIS ONE), unless I’ve reblogged from you first, I MAY HARDBLOCK YOU.

[tamatama-kilo]

"He told himself that at some point, and rather soon, too, he would wake up and find himself with his head on Basil’s shoulders, and he’d ask him if he was alright because he woke up suddenly and he was just wondering if he’d forgotten something. And then Erasmus would tell him everything, everything from that dream of his, everything that he knew wasn’t real (it couldn’t be real; it wasn’t real at all) and the details would fade as he tried to talk about them, as footprints fade from the shore. Then Basil would laugh about it, and so would Erasmus, and that would be that. They’d continue on together (because Basil was still there, he was still with him, of course he was) and they’d find somewhere where they would fall backwards onto a bed and remain together and close and alive long past the sunrise, after which they’d live and do something… yes, something… Erasmus didn’t exactly know what.

As he reached the river’s edge, he knew for certain that everything—Agatha’s death, Basil’s, how far he’d just ran—was all just a dream, and he knew exactly how to wake up.

Because everyone always wakes up from falling before they ever touch the bottom…"

[noriakicatkyoin]

hmmmm kakyoin wip at 12k

[sol-draws-sometimes]

I really do think it’s because everyone can FEEL how much love was put into the art. Not that other animated movies don’t care, but Spiderverse really just PUSHES the art medium. I mean it was one of the few times I saw a movie do anything interesting with 3D animation than just “guys this rendering looks realistic!” Which is cool and I love that we have that, but FINALLY 3D movies are starting to look interesting, and I really do think that Spiderverse is a major factor for why.

And the new movie! I said it somewhere else, but IT’S A LOVE LETTER TO ART. EVERY SINGLE SPIDER-MAN IS SO DIFFERENT (which we saw a little in the 1st movie, but man does it shine in the second one). FROM THE LEONARDO DA VINCI, TO GWEN’S WORLD CHANGING BASED ON EMOTIONS, TO THE PAINTER-ESC STYLE OF PAVTIR’S WORLD, TO THE SPOT CHANGING TO 2D WHEN HE BECOMES A TRUE THREAT. FUCK! MILES IS AN ARTIST HIMSELF! AND ALL THE LITTLE DETAILS. THEY CREATED NEW A PROGAM TO HELP ANIMATE HOBIE’S PAPER AESTHETIC. THE PLAYING WITH THE FRAME RATE, THE LITTLE ACTION WORD THINGYS, BASING PAVITR'S MOVEMENTS ON KALARIPAYATTU, THE EFFORT TO MAKE THE MOVIES FEEL LIKE COMICS, THE TRANS FLAG IN GWENS ROOM, THE BLM PIN ON MILE’S BAG, EARTH 42 MILES HAVING AN ACCENT SINCE HIS DAD DIED. ALL THE LITTLE SPANGLISH THAT MADE MY HISPANIC HEART SING. Even in the art of story-telling, both are MASTERFULLY written movies that expand on and truly explore what it means to be Spiderman (I currently don’t even know where to start to give a more detailed analysis, someone else can reblog/tag about that). The movies ASKS the audience to engage with the story and not only have I seen this in the fandom’s abundance creations of art, but also seeing some many fans analyzing and dissecting the movies.

Speaking off, the movie engages WITH the fandom, from spooderman being in the movie, to the mandatory Toby Maguire Spiderman, to Sun-Spider(originally a spidersona created after the first movie which got turned into a comic) not only being in the background but getting her own line, to them HIRING A 14 YEAR OLD FAN TO ANIMATE THE LEGO SCENES(which makes the line about “you’re one of my best” so sweet, because that could’ve been indirectly meant for them). THEY ALSO INCLUDED SO MANY SPDIER PEOPLE . The fan service didn’t even feel forced because the animators put it in there out of love for Spider-Man, not because they wanted to appeal to us (I mean probably both tbh).

So yah, of course fans are creating art because of this movie. Everything in this series cultivates a fandom that LOVES ART AND LOVES ENGAGING WITH IT.

It truly is a love letter to Art.

The people whose tags/post I screenshotted because I thought it was related to what I was saying

@augustartsometimes @reticent-thrill @singing-not-sleeping-beauty @dooplissss @thegoodwitchynki

The impact Spiderverse has on art and artists is INSANE. Everyone is drawing, everyone is CREATING. From colour studies, to the art style studies, to making sona influenced by the movies' character designs. AI generated images are nowhere to be seen, and I hope they're going to stay buried in the uncreative pits they belong in... the world is in balance.

Seeing all the works are... WOW