#guess what i still can't draw hands

[gods-perfect-idiots]

something something blood-soaked hands cradling your face something something

anyway here's the post btw

[danikatze]

[ID in alt text]

Another wip! It's kind of almost done :)

[sysig]

Hello! I feel like rereading Vargas these days so, I'd like to request some Edgar, Scriabin interaction (maybe one of them being vulnerable), if that's okay?

Day 14 - Stop making your lack of imagination my problem ò///q

[butterflieswhisper]

hiiii ^^ beastlife fishie analysis. spoilers ahead. etc etc

okay so. the main point of this is simple. I don't think the salmon head cursed c!fishie. Explaining that is the harder part I think. also i'm going to refer to the salmon head thing in e5 as "the incident" from here on out because frankly i think it's funny

Let's start with the incident. The big day. etc. What happened? Why did it happen? Obligatory third questioning statement? Well. She was gifted the salmon head for her birthday by kiwi(or like. someone in the kiwibird system. -bird system. the birds). Immediately upon receiving it she relives parts of season one and fishie herself doesn't really acknowledge it. The other players definitely notice but im not caught up enough in any other pov yet to like have thoughts on that I'll come back to that point someday. Fishie seems shaken, sure, but she moves on so quickly, especially considering what happened just there. 37 seconds of standing frozen, unresponsive. she recovers in 5 seconds. And seeing how she reacts later on to realizing the memory situation--if she was aware that happened, she would probably be concerned by it. She puts it on for a brief second at the end of the party and takes it off immediately. She's otherwise normal -- well. as normal as she is otherwise up to that point. Because that is also how she acts with pretty much any salmon head, even just kiwi herself.

I raise: Episode one, about 8:20 in. The slow zoom on kiwi as the static overtakes every other noise. This is the *exact* same behavior displayed when fishie receives the salmon head, albeit without actual concrete old video footage style flashbacks. In episode two (28:55ish) the same thing happens when she looks at the salmon head in moch's house, but this time there is technically a flashback -- kiwis grave. Fishie moves on immediately and doesn't acknowledge her behavior at all, and, seeing as it is fishie, im inclined to believe that means she does not know she is doing it. Fishie (when alone) will discuss all of her problems in immense, and usually misguided detail (bestie i promise kiwi doesn't hate you???) to the audience and/or herself. I mean she's not alone in episode one, and it is technically presession, and i guess getting struck by lightning is a decent distraction from your problems, but in episode two? She is completely alone. There is nobody with her. She went looking for moch and moch is not there. She still doesn't acknowledge the fiveish seconds she is completely frozen. This happens again and again with kiwi and salmon heads.

And then that leads you to e5. The incident. She's. well. she's doing worse. 0:50. "This will distract me if i leave it up." This is the first mention from fishie herself about how fucking weird she's being, and even then she doesn't seem concerned. I think she does not realize she's being so so incredibly weird about it. If the static and freezing is what's referred to as "distraction" then keeping it in her inventory makes it worse actually so it wouldn't really make sense unless the way it is distracting her is NOT the. well. whatever the fuck is wrong with her (affectionate). After she puts the head on there's the static all the time but for a short brief amount of time she's like significantly more normal and i don't really know if that means anything i just think it's really funny.

And then we all know what goes on during the incident i'm not analyzing this video frame by frame. um. i could. but i am not going to right now. And then she has the conversation on the table with kiwi where she like is normal for 5 minutes. Like genuinely the most. i guess stable? fishie's thought process is is like in the moments directly after the incident. She is immediately understanding with the antikiwi situation, they come to an agreement that they're like. okay now. "thank you for everything and im so sorry i couldnt do more" / "it was short, but it was nice" "i knew what i was getting into when i married you" etc etc and then they kind of rush it at the end because people won't stop dying. But then fishie is fishie and takes it in the complete opposite extreme (from. um. whatever was wrong up until now. to "oh kiwibird must secretly hate me because" and then there's no real good reason she's just like that) and it's also an issue. And i think the season two memory thing is also a part of that but this is so long already and so i'm not going to get into it rn. So bringing all of this back to my original point: the salmon head was not the cause of the curse(?) because she's been so weird all the time forever and the salmon head thing was just like. an effect. of whatever went Wrong(tm) in the season transition. like the head was a vessel to Be Worse about it but i feel like it would have worked with any salmon head she got her hands on and that it happened to be kiwico was a coincidence and also that the head wasn't cursed at all there's just something deeply wrong with fishie s3 in general and uh yeah 👍

I'm so sorry this is so disjointed i had a thesis statement and everything. alas

[thedrotter]

a once in a lifetime miracle: oc art!! this is Shiva.

doodles from a month or so, but i cant really draw properly right now. but i wanted to do something meanwhile so i colored these :33

[qqqqqqqqqqq0]

i've been having some trouble falling asleep lately

[katyspersonal]

This is the third time in the row when someone blocked this blog yet didn't block my katyahina main and even likes posts from it 🤔 I mean I might be underestimating how much I spam BB tag with headcanons from this """personal""" blog but so many people only like someone's art as much as they like the person behind it that people who separate and art artist in 2023rd perplex me /pos

[unproduciblesmackdown]

one in a million when i watch smthing in the horror genre and don't end up disappointed to/and/or pissed off about it so like "also yeah i liked it. ooo" is like relative to that an off the charts rave review of media of the millennium. also i did think about mh a lot along the way so would recommend its affect/effect if you like mh's horror too

[franeridan]

still thinking about it btw, the way he says he'd like to mourn suguru's body has me stuck and unmoving

[goblin-enjoyer]

I swear why are half the things i like/fandoms im in made of mostly younger people while the other half are mostly older people? what are the zoggin odds with that?

How it feels being 20 in a fandom with a bunch of 30-40 somethings.

VS how it feels being 20 in a fandom with a bunch of 14-17 somethings.

like am do i just have extremely odd luck with things i like or is this just what being 20 is like?

[sysig]

Looking his very best, as much as he can anyhow (Patreon)

[keeps-ache]

ah yiss. the golden garbage premium pass (free!)

[stromblessed]

Mizu, femininity, and fallen sparrows

In my last post about Mizu and Akemi, I feel like I came across as overly critical of Mizu given that Mizu is a woman who - in her own words - has to live as a man in order to go down the path of revenge.

If she is ever discovered to be female by the wrong person, she will not only be unable to complete her quest, but there's a good chance that she'll be arrested or killed.

So it makes complete sense for Mizu to distance herself as much as possible from any behavior that she feels like would make someone question her sex.

I felt so indignant toward Mizu on my first couple watchthroughs for this moment. Why couldn't Mizu bribe the woman and her child's way into the city too? If Mizu is presenting as a man, couldn't she claim to be the woman's escort?

However, this moment makes things pretty clear. Mizu knows all too well the plight of women in her society. She knows it so well that she cannot risk ever finding herself back in their position again. She helps in what little way she can - without drawing attention to herself.

Mizu is not a hero and she is not one to make of herself a martyr - she will not set herself on fire to keep others warm. There's room to argue that Mizu shouldn't prioritize her quest over people's lives, but given the collateral damage Mizu can live with in almost every episode of season 1, Mizu is simply not operating under that kind of morality at this point. ("You don't know what I've done to reach you," Mizu tells Fowler.)

And while I still feel like Mizu has an obvious and established blind spot when it comes to Akemi because of their differences in station, such that Mizu's judgment of Akemi and actions in episode 5 are the result of prejudice rather than the result of Mizu's caution, I also want to establish that Mizu is just as caged as Akemi is, despite her technically having more freedom while living as a man.

Mizu can hide her mixed race identity some of the time, and she can hide her sex almost all of the time, but being able to operate outside of her society's strict rules for women does not mean she cannot see their plight.

It does not mean she doesn't hurt for them.

Back to Mizu and collateral damage, remember that sparrow?

While Mizu is breaking into Boss Hamata's manse, she gets startled by a bird and kills it on reflex. She then cradles it in her hands - much more tenderly than we've seen Mizu treat almost anything up to this point in the season:

She then puts it in its nest, with its unhatched eggs. Almost like she's trying to make the death look natural. Or like an accident.

You see where I'm going with this.

When Mizu kills Kinuyo, Mizu lingers in the moment, holding the body tenderly:

And btw a lot of stuff about this show hit me hard, but this remains the biggest gut punch of them all for me, Mizu holding that poor girl's body close, GOD

When Mizu arranges the "scene of the crime," Kinuyo's body is delicate, birdlike. And Mizu is so shaken afterward that she gets sloppy. She's horrified at this kill to the point that she can't bring herself to take another innocent life - the boy who rats her out.

MIZU'S ONE MOMENT OF SOFTNESS AND MERCY, COMING ON THE HEELS OF HER NEEDING TO KILL A GIRL TO SPARE HER THE WORST FATE THAT THIS RIGID SOCIETY HAS TO OFFER WOMEN, AND TO SPARE A BROTHEL FULL OF INNOCENT WOMEN WHO ARE THE CASTOFFS OF SOCIETY, NEARLY RESULTS IN ALL OF THEIR DEATHS

No wonder Mizu is as stoic and cold as she is.

And no wonder Mizu has no patience for Akemi whatsoever right before the terrible reveal and the fight breaks out:

Speaking of Akemi - guess who else is compared to a bird!

The plumage is more colorful, a bit flashier. But a bird is a bird.

And, uh

Yeah.

I like to think that Mizu killing the sparrow is not only foreshadowing for what she must do to Kinuyo, but is also a representation of the choice she makes on Akemi's behalf. She decides to cage the bird because she believes the bird is "better off." Better off caged than... dead.

But because Mizu doesn't know Akemi or her situation, she of course doesn't realize that the bird is fated to die if it is caged and sent back home.

Mizu is clearly not happy, or pleased, or satisfied by allowing Akemi to be dragged back to her father:

But softness and mercy haven't gotten Mizu anywhere good, recently.

There is so much tragedy layered into Mizu's character, and it includes the things she has to witness and the choices she makes - or believes she has to make - involving women, when she herself can skirt around a lot of what her society throws at women. Although, I do believe that it comes at the cost of a part of Mizu's soul.

After all, I'm gonna be haunted for the rest of this show by Mizu's very first prayer in episode 1:

"LET" her die. Because as Ringo points out, she doesn't "know how" to die.

Kind of like another bird in this show:

[horsefigureoftheday]

Can you explain the "breyer horses are stylised" thing you said a while back? Not because I don't believe you but because I don't know enough about horses to see it (besides the mane and tail)

All artistic representations of a horse will be somewhat stylized. Humans can't help it, they imagine details, even when referencing photos or live animals. A swayed back gets exaggerated, sickle hocks are overlooked, the face becomes more expressive, because to a human who loves a horse, and who expresses their own emotions with their face, the horse's face just feels more expressive.

Take a look at this horse from Peter Paul Rubens' "Wolf and Fox Hunt" (1616) and how it compares to a photo of a horse

The artist was clearly familiar with horses, and most likely referenced off a live horse. And yet its face is much more expressive than a real horse's face - it's neotenous and borderline anthropomorphic, with its huge sorrowful eyes, and the short muzzle that puts the mouth in closer proximity to its eyes (making its expression more readable).

I think a lot of people see what they want to see when they look at a horse, and they reflect that in their art. Is the horse an independent agent or a tool of its rider? Is the horse an unthinking animal or a soulful creature like yourself? Does the artist admire animals, in spite of painting them in terrible war-like scenarios? Does the artist paint animals in these scenarios because he admires them? Is the horse meant to elevate the status of its rider, by being depicted as a soulful creature that nonetheless submits to its rider? (You can probably guess my own opinion from these questions)

Earlier art saw horses almost an afterthought, depicted from memory while their rider was drawn reverently. All those art pieces of emperors and kings on horseback, where the horse looks like a cartoonish oaf, use the horse as a symbol of power, with no regard for the animal itself. Even when the horse is beautifully rendered, it's nothing more than a vehicle to carry its rider. The artist has depicted the horse as expressionless, beastly, and soulless.

Even when you get into portraits of horses in the 17-/1800s, they are still stylized, though now you're just as likely to see a lithe and graceful companion, as you are a muscled working horse or a faithful old friend. Horse breeding really took off around this time, as did theories of animal minds, so adoration of horses-as-individuals became more widespread. Examples are "Lustre" (1762) by George Stubbs, "Mare and Foal in a Stable" (1854) by John Frederick Herring Senior, and "A Grey Horse in a Field" (1873) by Rosa Bonheur.

All this is to say that horses will always be stylized in art. Humans can't not twist the horse the suit their own tastes, and that's fine. I actually think it's kinda beautiful. The way horses are stylized can give you insight into the artist's opinion of horses. An artist with a neotenic, expressive stylization probably has more respect for horses-as-individuals than an artist who depicts them as inexpressive, powerful, willing beasts of burden.

Breyer horses have an airy painterly quality to them. Even the draft horses seem almost weightless. Compare Breyer's "George" with the self-released resin horse "Gustav," both sculpted by Brigitte Eberl.

George has much longer hooves and smoother curves in his legs - you could draw a near perfect curve from his hind knee to his toe -, giving him a flowing appearance with very little weight behind it. Gustav, on the other hand, has sharp edges and corners. He feels heavy. I'm a big fan of wrinkles and muscle on model horses, but the muscles on George seem like he's been through a rock tumbler. They're smooth and soft-looking, except for the extremely deep crevices between them, which are probably there to better catch paint and enhance the shading (an effect that's especially noticeable on George's thigh). Gustav, on the other hand, has very subtle muscling and virtually no wrinkles (he deserves neck wrinkles, give my boy neck wrinkles!!). He looks like a working horse with a solid layer of fat over his muscles. George's stylization is, for lack of a better word, smooth. Flawless. A bit too perfect for my liking. George is like the platonic ideal of a visually appealing draft horse. A horse like him can't exist.

I think resin horses by master craftsmen are the closest we'll get to depicting horses exactly as they are in life. The stylistic choices are extremely subtle, and seem more like a consequence of the medium than a deliberate goal on the artist's part (e.g., you can't make a realistic mane out of resin, so you have to compromise).

I love both the stylistic trappings that humans fall into when depicting horses and the endless quest for the perfect artistic representation of the horse. Both are beautiful. All horse art is beautiful.

(Obligatory disclaimer that I'm not an art historian or anthropologist, I literally studied bugs at university, so if you think I'm talking out of my ass you are MORE than welcome to add to this post!)

[pretty-sparkle-bomb]

idk im just thinking about something...

The bakusquad had been enjoying a casual walk after class, laughing and joking around, when Kaminari suddenly stopped in his tracks. His face scrunched up in a mixture of confusion and disgust as he pointed down the street.

"Brotha eww, what is that?" he blurted out, drawing the others' attention.

Mina followed his finger, her eyes locking onto a couple who seemed completely oblivious to the world around them, tangled up in a passionate kiss. She stared for a moment, trying to process what she was seeing, before wrinkling her nose in disgust. "Why are they making out in the middle of the street?"

Kirishima averted his gaze quickly, his cheeks flushing. "Stop staring, you guys, that's rude!" but his voice held a hint of curiosity like he was wondering what exactly was going on.

Sero squinted, leaning forward slightly as he tried to get a better look. "Wait a second," he said slowly, a dawning realization creeping into his voice. "Why do they kinda... look familiar?"

It was like a light bulb went off in everyone's heads at once. Mina gasped, her eyes widening in shock. "Ohmygosh, that's—"

"BAKUGO AND Y/N?!" they all yelled in unison, their voices overlapping as they stared in disbelief.

The couple in question didn't seem to notice the commotion they were causing.

Katsuki's hand was tangled in your hair, pulling you closer as if he couldn’t bear the thought of you being even an inch away from him. Your hands rested on his chest, gripping the fabric of his shirt as if anchoring yourself in the intensity of the moment.

Kaminari’s jaw dropped, and he nearly tripped over his own feet. "I did not need to see that," he muttered.

Mina, however, was already pulling out her phone, ready to snap a picture. "Oh, this is too good," she giggled.

Kirishima reached out to stop her. "No way, Mina! You can't just take a picture of them like that!" But there was no hiding the grin tugging at the corners of his mouth.

Sero folded his arms, smirking. "I gotta say, I'm surprised, but... not that surprised? I mean, we all knew something was up with those two."

Mina paused, phone in hand, and nodded. "Yeah, I guess it was kinda obvious. But still, this is Bakugo! Mister 'I don’t have time for your stupid feelings!'" she made a groggy voice.

Kirishima laughed, shaking his head. "Guess he does have time after all."

As the group continued to watch, Bakugo finally seemed to notice them, his sharp eyes catching sight of his gawking friends. His expression instantly shifted from lovey dovey to pissed, his usual scowl making a fierce comeback. He pulled away from you slightly, though he didn’t let go, his hand now resting possessively on your waist.

"Oi, the hell are you extras looking at?!" he barked, his voice carrying down the street. His glare could’ve burned a hole through steel.

You quickly buried your face in his chest, a mix of embarrassment and laughter bubbling up inside you. Katsuki was clearly not having any of this, and his friends knew better than to push their luck when he was in a mood.

But Kaminari couldn’t resist. "Sorry, bro! Just, you know, didn’t expect to see you guys... uh... so cozy in public!"

Bakugo growled, tightening his hold on you. "Mind your own damn business!"

Sero waved his hands in a placating gesture. "Alright, alright, we’ll leave you two alone. Come on, guys, let’s give them some privacy." he snorted, shaking his head.

Mina blew you a cheeky kiss before turning away, her laughter ringing in the air.

As they walked away, you peeked up at Katsuki, a smile tugging at your lips. "Well, that was... something."

He huffed, still glaring at his retreating friends, but when he looked down at you, his expression softened.

"Strawberry lipgloss? That one new?"

[enkvyu]

12:45am — gojo satoru ;

“cute earrings, where’d you get them?” shoko asks.

“hm?” still clinging to sleep, you absentmindedly reach up to caress the metal dangling from your ear. the sharp indents of its gem pricks you back into a memory. “oh, these. i got them from a friend last week.”

“friend? or do you mean boyfriend?”

shoko’s words are throwaway, her wandering eyes and yawn a clear indication yet your face warms despite yourself. shaking your head furiously, you exclaim, “a friend! just a friend."

shoko hums, shifting her cigarette to the other end of her mouth. her gaze flickers somewhere behind you and you almost look too, when her words pull you back. “come to think of it, i don’t think you’ve ever told me what your type was.”

“my type?” your mind blanks. “i’ve probably never told you because i’ve never thought about it myself. i mean, being a jujutsu sorcerer and all, romance is kind of off the table.”

shoko keeps looking at you, pressing you without words. you grimace and sigh.

"i mean, i guess, maybe someone good looking? someone who’s not boring? and now that we're talking about it, someone who is fit and athletic too. they'd have to be smart, but not book-smart, like, street-smart." the more you think of it, the more words seem to spill from your mouth. "and someone who has a good sense of humour, someone who will make me laugh.”

“someone good looking, interesting, sporty, smart and funny? that’s too greedy.”

you giggle. “you’re right, there’s no way there’s anyone that perfect. i guess i’ll have to be single forever.”

“you'll always have me.” shoko says, grinning.

you push her shoulder but don’t deny it.

yaga walks into the classroom, cutting your conversation short. you spin around in your seat to face the front, eyes accidentally meeting gojo’s. he turns around too, and you reason that he was probably looking out the window behind you. you see getou snicker and whisper something in his ear, but gojo seemed to be having none of it, blatantly ignoring him.

seeing his face makes you think. didn’t gojo kind of match your type? someone attractive, interesting, athletic and maybe not academic smart, but he definitely carried an air of confidence when it came to fighting. and it wasn't a secret that he lightened the air wherever he went, intentionally or not.

with a start, you look back at shoko. “and someone calm. someone with manners.”

“well-mannered and calm. what insane preferences.” shoko chuckles. “are there any more?"

yaga slams his hand on the table a few times, reluctantly drawing your attention back to the front.

your previous conversation dies and twiddles away into the background, overtaken by droning lectures and predictable missions. by the end of the day, you can't even remember what you had told shoko early that morning.

when you enter the classroom the next day, you’re surprised to find gojo already there, seated at his table. his sunglasses hangs lower on his nose than usual and most curiously of all, a book is held in his hands. you’re not sure if he’s actually reading or not considering that pages were being turned far too quickly for someone reading “ordinary objects” by amie thomasson.

his eyes flicker to yours as you head in. “good morning.”

“morning. what’s with you?”

gojo clears his throat. “what ever do you mean?”

your frown transitions to a grimace. “why are you talking like that? did you break something of mine? was it my potted plant, gojo i told you to take good care of it!”

“i am taking care of it! it’s not dead yet!” he exclaims before pausing uncharacteristically. he sits back in his chair and turns back to his book. “i mean, it’s fine.”

“you sure?”

“i am.”

you narrow your eyes before looking away, dropping into your seat. “it better be. shoko got me that one.”

“speaking of shoko, is she not coming today?”

“i think she stayed overnight at the morgue.”

“is that so? perhaps i should write notes for her. i wouldn’t want her to miss out on class.”

you turn to him horrified. “so you did kill my plant!”

“i said it’s not dead!” gojo bursts. another pause. he clears his throat, adjusting his glasses. “i simply worry for her.”

you stare at him and watch as he fidgets under your gaze. “are you feeling sick? did you eat something wrong?”

“i’m not sick. what part of me looks sick?"

“well you’re usually not this…” you watch him as you wrack your brain, trying to find a word to describe this situation. “c…”

gojo leans forward. “yes?”

“crazy.”

he falls back in his chair, groaning, book forgotten and placed harshly down on the table.

you tilt your head. “where's getou, you guys didn’t come to class together? don’t tell me you fought.”

gojo peers up and frowns. “no, can i not show up to class early just because i feel like it?”

“it would be extremely out of character, yeah.” you rest your chin on your hand as you watch gojo mutter to himself, his jaw jutted out and his nose scrunched.

he was clearly unhappy, it didn’t take a scholar to know. it might take a genius to figure out why though.

you had time to kill, might as well take up the challenge. maybe he hadn’t had his morning dose of sugar yet, or maybe his favourite anime had delayed it’s upcoming episode. maybe he didn't save properly on the new game he was playing, or maybe he simply didn't sleep well last night. or maybe he had lied to you and he had fought with getou, leading to this strange attitude.

the more you thought about it, the more it made sense. the way he was acting now was like a mockery to getou's usual behaviour.

“are you trying to be like getou?” you try.

gojo whirs around to face you. “what?”

“well, you’re trying to be composed.” he keeps staring at you and you clear your throat. “like more well-mannered. more calm.”

gojo remains silent but you watch as his jaw drops. you think that he might say something but then his mouth closes, only to open again.

gojo speechless, what a sight. but as good of a sight as it was, you were beginning to feel concerned.

“are you sure you’re alright? what did you eat yesterday?”

he doesn’t register your question. “you think getou is well-mannered?”

“yeah?”

“and calm?”

you nod. “more than you, at least.”

“do you think he’s interesting too? sporty? smart? funny?” he pauses. “good-looking?”

the questions throw you off guard and you sit up. “what? where is this coming from?”

“oh my god, you do.”

“no? i mean, i think getou’s great and everything—”

“you think getou’s great?”

“don’t you?”

“you think getou’s hot.” he concludes. “and you think getou’s great.”

"what are you even saying?"

"i don't know. why don't you tell me?"

baffled, you flail for words. “are you jealous of him? that's strange, i didn’t think either of you would ever feel jealous of each other.”

gojo grits his teeth and looks away. with a pout, he says, “me neither.”

the door to the classroom is thrown open and getou steps through, rubbing the back of his neck. he yawns on his way to his chair and it wakes him up, looking between you and gojo as you both watch him enter.

“what did you guys do?” he asks with a sigh.

“nothing!”

“nothing.” gojo says and glares at him.

getou blinks.

“okay.” he says slowly, sliding out his chair and sitting. “what did i do then? why are you both looking at me like that?”

“gojo’s being weird.” you snitch. “are you guys fighting?”

“how should i know? i thought we were doing okay. gojo, if i did something, use your words and tell me.”

"i'll use my words to tell you to suck my dick instead."

"so i did do something. you're so predictable, gojo."

you snicker as gojo huffs and glances away, looking away out the window behind your head. his train of sight cuts right past you but you can’t help but feel slightly flustered as he looks on, almost like he was looking at you, so determined to ignore getou’s pestering.

subconsciously, you drown getou out too, your traitorous mind observing the blue in gojo’s eyes. you had always thought it was just one colour, but looking at it now, it seemed more like a kaleidoscope of blues, the many shades sparkling and dimming as he watched birds flutter outside the window, and you watched their shadows through his eyes.

something shifts, in the air or in the skies you don't know, and gojo meets your eye. startled, you hold the gaze and he holds it too, just long enough for your lungs to run out of air.

you look away hastily and inhale.

gojo glances to the front, oddly fidgety.

getou looks between the two of you. “what the fuck was that?”

“nothing.” gojo says.

getou clearly doesn't buy it but though he tries to get an answer out of you, you don't give him one either. cupping your cheeks, your thoughts mirror his question. what was that? it was embarrassing, that's what it was and your realisation is only heightened as a silence fills all four corners of the classroom.

gojo clears his throat. “for me, i like someone who i'm already comfortable with. someone i already know.”

at his words, you look over at him and find him already staring. he frowns as you don't give him any other reaction.

yaga saves you from addressing his statement, walking into the room as the bell for class rang. "oh? you're all early, even you gojo. where's shoko?"

“she’s staying at the morgue because of the recent mission.”

“i see.” yaga nods. “then let’s start.”

your mind fails to work as you turn over gojo’s words, thinking them through. what did they mean? what was he talking about? did this weird confession have something to do with why he was acting so strange?

slowly, you draw connections between your conversation with gojo and the talk you had with shoko yesterday morning. an epiphany shoots through you and you cover your mouth to hide a gasp.

did that mean…?

someone he knew? acting strange? getting mad when you said you liked getou?

you watch gojo’s side profile, hoping he’d turn around. if what you thought was right, he’d turn.

seconds tick past. yaga’s voice drawls on and yet gojo doesn't even spare you a glance.

no, maybe you were wrong after all.

just as you were about to face yaga again, gojo’s head shifts and his eye flicks over to yours. they widen when he finds you, and you’re sure you’re in a similar shocked state.

oh my god, you think, eyes darting between him and the other boy in the room.

gojo has a crush on getou.

filler imagine based off of that One scene from the manga: "megane tokidoki yankee kun"