#honestly surprising myself by writing such an out there concept | Explore Tumblr Posts and Blogs

blossomwritesthings · 2 years

Text

𝐚 𝐯𝐨𝐢𝐜�� 𝐨𝐟 𝐫𝐞𝐚𝐬𝐨𝐧

pairing: minho x fem!reader (afab)

genre: idol!minho. hurt/comfort. angry/protective!minho. angst. fluff. reader pov. established relationship.

content & warnings: explicit & strong language. mild thematic elements. lotss of angst. reader has long hair/fear of the salon. minho is protective in this one. reader's appt at the salon has a huge mishap. pet names (affectionately). lots of adorableness from minho.

word count: 3.7k

summary: for as long as you can remember, you've always hated going to the salon - always hated others touching your delicate hair. and now, as an adult, you want to change that... want to face your fears. but you've never had good luck, which becomes clearly apparent after your appointment at the salon.

a/n: this one goes out to all my girlies who have issues with their hair. i, myself, have very long hair and am very particular about the way that i take care of it. i hate salons lmao so i thought i'd write a quick, angsty minho hurt/comfort fic surrounding my own experiences/feelings. hope ya'll enjoy~ 🥰

🤎 - ̥۪͙۪˚┊❛ other cool stuff ❜┊˚ ̥۪͙۪◌

. . . ⇢ ˗ˏˋread my rules & guidelines here! ࿐ྂ

. . . ⇢ ˗ˏˋcheck out my skz masterlist! ࿐ྂ

. . . ⇢ ˗ˏˋmy wip list! ࿐ྂ

. . . ⇢ ˗ˏˋ skz fic recs [sfw ver]! ࿐ྂ

. . . ⇢ ˗ˏˋskz fic recs [nsfw ver]! :: 18+, MDNI! ࿐ྂ

. . . ⇢ ˗ˏˋback to navigation! ࿐ྂ

ᴅᴏ ɴᴏᴛ ʀᴇᴘᴏsᴛ ᴛᴏ ᴏᴛʜᴇʀ sɪᴛᴇs (ᴛʜɪs ɪɴᴄʟᴜᴅᴇs ᴛʀᴀɴsʟᴀᴛɪᴏɴs). © ʙʟᴏssᴏᴍᴡʀɪᴛᴇsᴛʜɪɴɢs ⤐ ᴀʟʟ ʀɪɢʜᴛs ʀᴇsᴇʀᴠᴇᴅ

“You’ll text me when you’re done, kitten?” Your boyfriend Minho asked you, as he leaned in and pressed a tentative kiss against your forehead.

“Yeah, of course, baby.” You peered up at him, offering him an easy smile. Trying to play off your anxiety. For your shared day off, the two of you had chosen to run some errands together. Minho needed to pick up some new fitness gear he had purchased from a store near your shared apartment. And you… well, you had an appointment to get your hair cut.

But honestly, you were fucking dreading it. Ever since you were a little girl, you had always held a lot of anxiety around the concept of going to the hair salon. Since, growing up, your mother had forced you to go to get your length trimmed once every three months, and you always threw a fit during such a time. You didn’t like anyone else touching your hair - especially a strange man or woman who applied weird, smelly products to your locks afterward.

Plus, you were very particular about the length of your hair. You didn’t like to have any sort of fringe - your mother had had you try it out when you were in high school, and the continual swipe of your wispy hair had always irritated the sensitive skin on your forehead. You also didn’t like having your hair super short, and instead opted to keep it at a length that reached just a little below your hips.

It was excessive, you knew, from how downright obsessed you were with your hair and who was allowed to touch it. Then, to your surprise, Lee Minho had come into your life, and your qualms about such things somewhat dissipated. At first, you cringed whenever he’d touch your hair - even if he merely ran a few fingers through it. But, over time, with enough space given to you by him, and because he was so understanding and loving about the whole thing, you slowly started to open up to him; you slowly started to allow him such a privilege.

And ever since, you two had never looked back. It seemed like every second he could get, your boyfriend had his hands buried in your hair - whether it was in a purely romantic or sensual way. He just loved your hair… the lusciousness of it, the length, the care that you took every day to keep it clean and healthy. Minho had told you on multiple occasions that he admired your attention to your long locks, how you washed them every few days in a particular way, and how you were always researching new and improved clean-beauty products to use on your hair.

So, it came as a total surprise to him when you suddenly proclaimed that you had booked an appointment at a nearby hair salon. For a moment, he was completely thrown for one… because, his baby, wanting to get her hair touched by some random stranger? After she hadn’t been to a salon since she was a freshman in university? Well, that was just so unlike you…

You didn’t want to tell him, because you knew what he’d say, but in all honesty, you had suddenly felt motivated to go to the salon because you had seen some of your favorite hair influencers on Instagram recently get their hair trimmed. They made it look so easy - sitting there for hours, letting the stylists run their hands through their luscious locks, getting perms done and quirky, bright colours poured onto their scalps.

But you had never been like them. And for once, you wanted to change that. You wanted to face your fears of the salon, walk in there with a proud face and head held high, and get something done - even if it was just a simple trimming of your ends. Which, you kind of desperately needed anyway. And, being the ever-supportive boyfriend that he was, Minho even decided to tag along with you on the day of your appointment since it conveniently aligned with the day off that he had been looking forward to for the past few months.

It was a rarity, that you got to spend all day with your boyfriend since his schedule was always so jam-packed with photoshoots, recordings, and practices. So, you savoured the Wednesday afternoon spent with him, basking in the late-winter sunshine and clutching onto him as you traipsed through the many streets of your local neighborhood.

And for a while, you almost forgot about your appointment altogether.

But then Minho reminded you of it, and when you checked your phone, you read that it was close to three in the afternoon. You had set the appointment for three-thirty. So, in a hustle of anxiety, you yanked Minho along the side streets with you, following the GPS on your phone for directions.

The two of you stopped just outside the shop, and you noticed the bustle of people inside. It was a good sign that it was so popular and busy, right?

At your silence, you had felt a hand find yours, fingers squeezing between fingers gently. “You know, you don’t have to do this if you don’t want to, darling,” Minho had said in a soft tone, tugging on your hand a little bit so that he caught your gaze. His eyes were dancing with a myriad of emotions, the predominant one being concern. Because you didn’t have to say anything to tell him how you felt about it all. Minho might’ve been on the quieter side of things, but that didn’t mean that he didn’t know you like the back of his hand- that he couldn’t read each of your innermost emotions without you ever having to voice them. “No one’s forcing you to get your hair done.”

“I know, babe…” Your voice had trailed off, as you squeezed his hand back and offered him what you hoped was a reassuring smile. “But, I need to do this. To prove to myself that it’s not that bad.”

He nodded, once. Then, he was tucking a few strands of your loose hair behind your ear, delicate pads of his fingers swiping across the warmth of your cheeks. “Alright, well, I’ll be waiting around until you’re done.” He gave your shoulder a tentative squeeze and flashed you a tiny smile before stepping away and letting you walk past.

You trailed up the front steps of the salon, turning back to your boyfriend just as you took hold of the front door’s handle. “Wish me luck.” You said in a breathless voice, heart beating wildly against your ribcage, anxiety constricting your throat just a little bit.

Minho gave you two thumbs up, a bright, reassuring grin spreading across his lips. “You’re gonna do great, kitten… love you.”

“Thanks, and… I love you too.” You swallowed down the restlessness that had been steadily building up inside of you, finally pushing through the salon’s front doors.

Almost immediately, you were overtaken by the strong scents of hairspray, lilac-rose shampoo, and powerful bleach. The noise was also elevated, as patrons and stylists alike chatted about life and talked about different hair techniques.

Yup, nothing had changed since your childhood.

“And… done. You can turn around now, Y/N.” Your stylist Rina said a few hours later. She was fairly nice, but you could tell that was new to the craft - probably fresh out of cosmetology school. She was quite flighty with her movements, doing quick, sharp cuts and washing your scalp pretty roughly.

The entire time she worked on you, you had your eyes screwed shut. Trying to ignore the crawling icy fingers that laced up your spine at the very feeling of this near-stranger working on your hair. But somehow - by some miraculous miracle - you had managed to make it through the entire appointment.

Slowly, you cracked your eyes open.

And your heart immediately dropped into the pit of your stomach.

Because the sight you found there left you too shocked and… and heartbroken to do anything else but just stare in utter disbelief.

The person staring back at you wasn’t you.

It fucking wasn’t.

Not with the short, above-shoulder-length hair,

Not with the thick fringe that spanned across your forehead,

Not with the layers cascading down the sides of your face.

You had asked her for just a trim - you had asked her not to cut off a lot of your length, you had asked her for no fringe. But maybe, you hadn’t. In your anxiety, maybe you hadn’t said such things and decided to leave it up to her.

But no, no, no, this wasn’t right at all and-

“What do you think of it?” Rina asked in an elated, high-pitched voice. She was beaming down at you, admiring her work through the mirror.

And at that moment, you didn’t have the heart to tell her what you felt. The people-pleaser came out from deep inside of you, and you shoved down the rising panic, swallowing the coming tears. “I-It’s great, but… I thought I asked for just a trim and no fringe?”

She waved a nonchalant hand in the air, “Yeah, but I thought you’d look so much better with this style,” she reached forward, combing a hand through your hair and pulling apart your thick layers. “See? The layers and fringe add so much more dimension to your hair… it looks amazing!”

You barely managed to hold in your sobs, deciding on nodding slowly in agreement. “Thanks, I love it…” You said in a quiet voice, but Rina still heard you nonetheless and beamed with pride.

In no time at all, you were up from your seat and paying at the front desk. The woman there admired your new look and praised you for how good it looked.

You wanted to fucking vomit inside your mouth just then, but you held it all in. Just a little bit longer, just a little bit farther, and then you could let go and give in to your despair. Into the grief of losing such a big part of yourself - after all, you had been growing your hair out to such a long length since you were a newbie in university years before, and it was a key factor in your identity.

But just like that, it was gone.

In the blink of an eye,

With just a few snips of a pair of scissors and some quick hands,

Years of care and planning and admiring… gone.

Most of all, you were dreading the thought of meeting up with your boyfriend after the appointment. But, what were you to do? Ignore him for the rest of the day - hide from him?

So, you did what you could only do at the moment, and texted him that you were ready to go. Not two minutes later, he replied with a ‘be there soon.’

You sat down on a nearby bench just outside of the still-bustling salon, basking in the silence. The sky was slowly starting to darken with night, as it was nearing dinnertime. The absence of the weight of your long hair pulled at your heartstrings, and the oddity of your hair hanging in front of your forehead left you in an odd sort of limbo state between miserableness and pain.

“Kitten… is that you?”

The voice came out breathless, meant for only you to hear. And you turned to your right to see Minho stopped in his tracks just beside you, giving you the most peculiar look. It was a mask between surprise and… worry.

“Y-Yeah, hi…” You said meekly, as he came over to you and sat down on the other side of the bench.

Minho studied your new look in quiet for a few beats, inspecting and adjusting to it all. “Wow, baby… I’m- I’m so surprised by the style, I thought you wanted just a trim.”

You turned your face away from his then, not being able to handle the way his eyes softened in the wake of his surprise. “The… the stylist said I needed a change, that this suits me better.”

“But do you like it?”

And you grew silent from his question, telling your boyfriend all he needed to know about your answer. Your entire body froze up, your heart racing in the pit of your chest at such a big change to your entire persona and aesthetic.

“Baby-”

The breakdown started then,

The tears freely flowing down your cheeks,

The emotion warming your cheeks into a rosy-red colour,

Chest pounding with your quick, rapid breaths.

Your entire body shook, as Minho pulled you against him then. He wrapped two arms around you, holding you close to him by the waist, squeezing you tight to ground you down again and bring you back to the present. Your boyfriend gently caressed a hand down the length of your short hair, whispering sweet words of love into your ear.

The two of you stayed like that for a long time, with him holding you, and you crying into his shoulder. But finally, when you had gained some semblance of control over yourself and the tears, you pulled away from his form slightly.

“I-I’m sorry, I don’t know why I’m crying… it’s not that big of a deal, it’s stupid.” You said, your voice a little shaky from all of the emotions jumbling around deep inside your stomach.

Minho tilted your chin up with a gentle finger, meeting your gaze, “First of all, you don’t have to apologize for anything, you did nothing wrong. Second, it is a big deal, darling - your hair is a huge part of your identity, and you having such a thing done to you isn’t stupid.” One of his hands found yous, and he squeezed the skin of your palm gently. “The stylist that did this to you is just downright cruel.”

And just like that, his entire demeanor shifted in front of your eyes. From one of comfort and heartbreak for you, to one of anger and appalment. His face darkened, jaw clenching tightly, pupils dilating in his rage. He was standing up from the bench in one fluid motion, so quick that you almost didn’t catch onto his coat sleeve.

You yanked at it, desperately trying to break through his daze of sudden wrath. “P-Please, Min, let’s just go home… don’t want you to make a big fuss out of it.” You said in a frantic tone, pulling and pulling at his hand. Minho rarely got mad, but when he did - people better watch out. Usually, he only got mad on the rare occasion that the two of you would fight. But sometimes, it was on your part- for something that someone had done to you, and he saw fit to ‘put them back in their place.’

Your boyfriend gave you a dark glare, but you knew that it wasn’t leveled at you. It was leveled at the person that had caused you to cry. He hated seeing you cry. It always took a year off of his life, always killed him inside to see his better half - the love of his life - in such distress. “Oh, I think this deserves a ‘big fuss.’” He said in a low voice before he was grasping for your hand and pulling you from the bench.

And before you knew it, you both were storming through the front doors of the salon, already turning heads with the loud slam of the door.

“Where’s the woman who worked on my girlfriend?” Minho shouted out across the shop, and immediately, everyone froze up from the look that was adamant on his face. Which was pure, unbitten fury. Minho was clutching onto you, an arm wrapped protectively around your waist as he held your shaking form close to his side.

Then, Rina appeared from somewhere near the back of the salon. She walked up to the two of you with hesitant footsteps. “Hello, how can I help you?” She asked, offering a tight smile that bordered on a grimace of pain.

“Were you the one who worked on my girlfriend?”

“Yes, I was-”

“Do you have any fucking idea what you’ve done to her?!” He was full-on shouting this time around, his voice raising so loud that it seemed to vibrate across the room. You could hear a pin drop just then, as all eyes were focused on you and your boyfriend. “Her hair was her identity- she’s been growing it out for eight fucking years now! And then you have the audacity to ruin all of her hard work because you ‘thought she’d look good with a different style.’”

He was downright seething, the anger seeming to pool out of him in waves of dark crimson. You were still quavering beside him, holding onto his elbow shakily, your focus on Rina as she stared on at the two of you with a jaw slacked in shock.

Her bottom lip quivered with unbidden tears, as she was at a loss for words from such an outburst. “I-I’m so sorry, I didn’t mean to-”

“Yeah, I’m sure you fucking didn’t,” Minho said in a deathly-low voice, the deepness of it cascading down the length of your spine and sending an icy chill racing through your veins. “She asked for a simple trim, not- this shit!” He wildly motioned to the new style of your hair, and all of your locks in their chopped glory.

“What can I do to make it up to you?” Rina was soon asking, but she directed the question towards you, guilt bringing her shoulders down low and brow furrowed with distress. “How can I fix this?”

“You can start by giving us a full refund.” Your boyfriend spoke up for you, and honestly, you were grateful for him at that moment. You were still so overwhelmed by all of the changes, and his explosion of rage sent a curveball of surprise your way.

Rina was bowing low then, mumbling another handful of apologies as she neared the front desk. Within no time at all, she had typed up something on the computer and had your info pulled up. “The appointment has been fully refunded. Once again, I am so incredibly sorry.” Rina said, coming away from the desk and giving the two of you another deep bow of apology.

“Thanks.” You managed to get out in a quiet voice, words fluttering with strain on your tongue. You turned to your boyfriend, pulling at his sleeve, “C’mon Min, let’s just go…”

He fully turned to you, assessing all of the damage - noting the shaking in your shoulders and the pink on your cheeks, and the glossiness of your eyes. He nodded in surrender, before turning back to Rina. “And I’ll have you know that we’ll never give this establishment any form of business in the future.”

Minho held you close as you shuffled out of the salon’s front doors. You could feel the stares of stylists and customers alike burning literal holes into your back as you left. It was so anxiety-inducing, you almost broke down again right there on the steps leading outside.

When you guys had walked far enough down the street that the salon was out of view, Minho suddenly stopped the two of you. Your gazes locked, as his eyes roved over your form - testing, and judging your current state.

“You okay?” He asked, his voice returning to the delicate tone that he always used on you. It was sweet and gentle, and the way that he reached up to brush a few dried tears away from your warmed cheeks only made your heart leap even more in the pit of your chest.

“Y-Yeah, I think so, just… a little shaken up, that’s all,” you peered up at him, and this time, when you smiled, the little thing was genuine. “Thank you for doing that back there… I-I never would’ve had the balls to say what I felt in front of all those people, let alone in a salon.”

Minho wrung both arms around your waist, your hips meeting together in the middle of the street. Leaning in slowly, he placed a tentative kiss against your lips. “Of course, kitten… I’ll always be here to be your voice when you can’t find the strength to speak your thoughts.” You smiled against his lips and kissed him back with a tiny giggle bubbling out of you. “By the way, I like the new look- it’s a big change, but it suits you nonetheless.”

You pulled away from him a little bit, carding a few delicate fingers through your freshly-washed, silky hair, “Really? You truly like it?” You stared up at him with big, wide eyes, utterly surprised by his admission.

“Mmhm- but don’t get me wrong, I loved your old style too. But this… this is something new, and I like it just as much.” His arms around your torso squeezed a little tighter, as he nuzzled his nose into the thick of your hair and inhaled deeply, catching the scent of peach-and-lavender shampoo that the stylist had used on you. “And you smell amazing too- so lovely and beautiful.”

Laughing softly, you roped your arms around his neck, yanking his face close to yours and gently kissing him once more, “Thanks, and… I think the new style is growing on me too.”

A bright smile cracked across Minho’s lips at your confession, “Good- I’m glad… my baby girl deserves to feel comfortable and confident in her skin, no matter what hairstyle she has.”

There you guys stood, in that empty, dark side street, late one Wednesday evening, basking in each other’s presence. Holding onto each other for dear life, melting into one another’s grasps and kisses and precious touches.

Maybe you weren’t the best at voicing your opinion in times of distress,

And maybe you still hadn’t gotten over your fear of the salon,

But at the end of the day, none of those things mattered.

What mattered most was that you had Minho always by your side - your continual support, your continual voice of reason, your continual love,

Always there, whenever you need him the most.

Fin.

taglist: want to be added onto my taglist so that you always get notified when i post a new work? well then, comment below on this post/reblog it, and indicate your interest in my taglist and i'll add you... or, you can simply send me a msg and request to be added that way~

447 notes · View notes

anime-grimmy-art · 9 months

Text

It’s this time of the year again, folks. Time to wrap up the art Ive made in the last 12 months in another Year in Review! I’ve noticed that this is my fifth Year in Review in a row, so I’ll be making an extra post looking back on the progress in those last 5 years!

I've got a lot to say about this year, but purely art wise, I've gone all when it comes to comics, damn! I've kinda found a format that is messy, and therefore more time efficient, yet still looks good. I even made 2 animatics and lotsa shorts/reels! All that on top of opening coms twice, and, oh yeah, MAKING A WHOLE ASS 4MIN ANIMATION ON MY OWN.

How is my hand still alive.

2023 has been….interesting, to say the least. The first half year I was working on my thesis project, aka making an animated short all on my own (in the art department), which makes it honestly surprising how much I managed to churn out between animating. Trigun rly did have me in a choke hold.

Summer was a bit more spotty, esp. with me not being able to draw anything during August as I was writing my thesis (and doing commissions). And towards the end of the year, Kingdom Hearts tried to save me, but alas, Genshin Impact has finally sunk its teeth into me and dragged me to the bottom of the rabbit hole. It all started with me watching a story summary and lore videos while I was sick after my thesis and I was too intrigued to not dig deeper and well, first I fell in love with Kaeya and then the ships started dropping in left and right.

I’m not gonna lie, the last few months have been weird. I finished my masters in October, and have been on job hunt since, sadly without success so far. I’m existing in this weird limbo of still not grasping I’m not a student anymore after 18 years in education, not really being able to accept I’m an adult, yet desperately trying to find something so I can make a routine, cos rn Im too scared to build a rhythm as I know I’ll have a so much harder time readjusting again. It’s left me in a weird emotional state, where most of the time I feel fine, but when it counts, there’s just, nothing. No joy at getting my diploma, no anticipation to finally go to a convention again, neither any sadness hearing my grandfather died. It frustrates me that it extends to my art as well, there’s excitement over ideas and concepts, but no motivation to pick up the pencil, which makes me either not finish art at all or making so many shortcuts and just ending up with sth not satisfactory to me since it’s not the idea I sought after.

Tho, not everything is doom and gloom. I DID finish a whole ass short animation and got my masters degree, that IS sth to be proud of. Also, while Im struggling at drawing, I’ve also kinda started integrating my shortcuts into my style and some stuff I’ve thrown together actually turns out real good nowadays. Also, and this might be a bit of a weird one, I’m so fucking happy to know I can still enjoy gay ships. I’ve been a bit uncertain over the last few years because when I was around 16-18, I had a real big yaoi phase, which mostly came from the fact so much stuff came out that tickled my brain in the right way (Free, Haikyuu, etc.). But over the years, my enthusiasm died down, and I even started to resent some ships because it’s all some fandoms produced. I often found myself liking a hetero ship more than the popular gay ship, which really made me not wanna stick around because I did not care for most fanart and you can only go through a tag with art you don’t care about so long before you lose interest. I think in retrospect that it rly had nothing to do with the ships being gay ships but rather cos the fans just shoved it in your face when you didn’t care (and shipping culture nowadays also can get real scary). But I’m so happy to see I can still get obsessed with a ship and it’s all thanks to Haikaveh/Kavetham. It really just needed the right flavour for me to dig in again. And oh my god, I FINALLY like a ship with a SHIT TON of art and fanfictions, no more scrounging the crumbs from the bottom of the barrel.

Anyways, enough lamenting. Here’s to hoping I can bite my tongue and get shit started properly in 2024, and that my brainrots may make me obsessed enough to churn out an obscene amount of fanart again.

#art year in review #anime-grimmy #fanart #sketch #comic #animatic #undertale #trigun #legend of zelda #monster hunter #kingdom hearts #undead unluck #genshin impact

96 notes · View notes

aois-amaterasu-painting · 2 months

Text

Black B- PASS- Special Issue - The GazettE - NINTH Reference book - (part 1 - the 5 members solo interviews)

■ Interviewer: The title "NINTH" is quite simple, which is unexpected for a the GazettE album. Delving deeper, there are various meanings that the number "9" can imply...

RUKI: There might be some underlying meanings (laughs). But for this album, it’s simply just that.

■ Interviewer: Right, I see (laughs). The album doesn't have a unified musical direction, but there are strong emotions throughout. To put it simply, it's a strong feeling of 'We are not dead yet, and we can't afford to die.' Do you think that's a strong sentiment in this album?

RUKI: It's hard to explain in one word... I think a lot of different thoughts come together to form that kind of message. How should I put it. While I'm expressing all of myself, the lyrics overall might have a stronger negative aspect. However, the last track, "UNFINISHED," is relatively more positive.

■ Interviewer: Certainly. The straightforward words in that track were quite surprising.

RUKI: Yes, I wrote it honestly... Not that the other songs aren't honest, but I wanted to make it unembellished.

■ Interviewer: The phrase "You are the light that illuminates the path" was very moving and shocking in its naked honesty.

RUKI: Yes... recently, I haven't used such expressions... indeed.

■ Interviewer: Was there something specific that made you write like this at this time?

RUKI: The timing of making the songs and writing the lyrics was during a very negative period. Usually, I don’t write very positively, but I had a lot of thoughts about myself... I was quite at my limit. So maybe, on the contrary, I found salvation in the songs.

■ Interviewer: Despite everything, you could write these lyrics because you had someone to believe in, and your thoughts turned to continuing your activities towards the future, is that right?

RUKI: Yeah, that's right. But at the time I was writing the lyrics, I was wondering why I was putting myself through such pain… It was that kind of negativity. Revisiting those emotions at this point and reflecting on them again… The peak of it was around "itan" (referring to the series of live performances titled "Boudouku Gudon no Sakura" with the initial concept of Dainippon Itan Geisha). The period right after "DOGMA" ended was the lowest, and it feels like that has continued ever since… It's not as serious as it sounds (laughs). This is just my personal perspective.

■ Interviewer: I see. For example, in "NINTH ODD SMELL," there are specific words scattered throughout that trace the history of the GazettE.

RUKI: The way I wrote the lyrics is similar to "DIM SCENE," which was a song that sang about the album itself. But indeed, "NINTH ODD SMELL" depicts everything from our first album to the present.

■ Interviewer: Writing about the band's history in this way, at this time...

RUKI: It was probably because of "itan." After creating something like "DOGMA," I suggested doing "itan," but I'm usually the type not to touch on the past.

■ Interviewer: Yes, that's true.

RUKI: But I deliberately brought it out... How should I put it... I turned it into a product. I always said I wouldn't do that, but I did. In hindsight, I'm glad we did "itan," and I have no regrets about it, but it changed from the ideal I initially had for myself. The negative feelings about that were overwhelming. To put it bluntly, I did something completely opposite to my 'DOGMA' self, I'm not sure if I can say I was in a state of depression, but I felt like I couldn't see the way forward. I couldn't think of anything that would please the fans more than this, and seeing everyone happy about it made it worse. Even though I should have known better, in retrospect, I had this feeling of "Oh, I've done it."

■ Interviewer: It was indeed a significant event, like breaking a forbidden seal.

RUKI: Yes. That's why I remained in that state until I wrote "Falling." Maybe I overthought it, but it was something I had carefully protected, so I had a lot of thoughts about it. That was the trigger that made me start thinking about various things.

■ Interviewer: Did looking back on the past in "NINTH ODD SMELL" mean you had come to terms with it?

RUKI: No, I had already found closure with "Falling." I intended for "Falling" to be a song where I accept both my past and present self and fall... The lyrics reflect that. Saying I accepted it might not be quite right. The idea that even the parts of myself I dislike exist is a fundamental concept in this album. So, it's not that I dislike the songs or the world of "itan." But there were many parts that I thought shouldn't be, which I had sealed away. This time, I included everything in me… melodies, lyrics, without caring about good or bad. I had the intention to unleash what came to my mind without any restrictions."

■ Interviewer: You removed all boundaries and embraced yourself from any era.

RUKI: So, it's a bit different from the term "returning to the roots," but when I released what was still within me, it took this shape. The lyrics for "NINTH ODD SMELL" flowed quite smoothly, and in a sense, it was the first song for me. After falling with "Falling," "NINTH ODD SMELL" begins.

■ Interviewer: I see. That makes sense why "Falling" was released first.

RUKI: Yes, that's why "Falling" was released first.

■ Interviewer: Ah, that makes perfect sense.

RUKI: Oh, really? I'm glad (laughs). "Falling" is often thought of as a love song. I've also been told it sounds like it's about the fans. But I've already unraveled that before, so the way it sounds is different now.

■ Interviewer: Did you have any anxiety about exposing the emotions inside you without restrictions?

RUKI: Not anymore. Once I decided to reveal myself, my emotions swayed a lot, but I decided to express those swaying emotions as well. So, it was tough (laughs). I expressed what I felt was good, without worrying too much about "DOGMA" or previous works. I just wanted to release everything I had.

■ Interviewer: Did you share those core feelings with the members while making this album?

RUKI: No, I didn't. We generally don't have those kinds of discussions.

■ Interviewer: I see. Regarding the musical aspects, songs like "Uragiru Bero" and "UNFINISHED" might feel fresh to those who have only known the recent the GazettE, while they might evoke nostalgia for those who have followed you from the beginning. Of course, all of them are updated to the current the GazettE's style.

RUKI: Yes. The songs came about naturally. By the way, with "UNFINISHED," I found myself becoming negative while writing it. My mood would drop, and I'd feel like I couldn't finish the lyrics, so I'd take a break and come back to it. I realized how deeply I could get lost in thought.

■ Interviewer: The future-oriented lyrics of "UNFINISHED" seem to have been drawn out by the song itself.

RUKI: That's why that song was created when my mood was more positive. It was one of the earlier songs we made.

■ Interviewer: I see. And the opening track "Falling" and the final track "UNFINISHED" seem to have a direct connection in terms of the lyrical flow.

RUKI: Yes. For me, it's the beginning and the end... or rather, what comes after the end.

■ Interviewer: You fall in "Falling," but it's not the end. In "UNFINISHED," you take someone's hand and walk toward the future.

RUKI: It wasn't made with that much thought. It's just the result of expressing everything I felt. That's why I still can't view it objectively, from a third-party perspective. The lyrics are part of me.

■ Interviewer: So the words here aren't emotions you can yet see from a distance.

RUKI: There are some songs I can see that way, but most of them, no.

■ Interviewer: How long did it take to write the lyrics after "Falling"?

RUKI: About a month, I think. It was faster than usual. During that time, I wrote about what I felt while reflecting on myself, including my emotional fluctuations.

■ Interviewer: As we discussed earlier, by shaping your fluctuating emotions into a piece of work, did you experience any changes within yourself?

RUKI: Hmm... changes... I'm not sure.

■ Interviewer: Did you feel a sense of completion?

RUKI: Yes, perhaps. I pushed myself to my limits, so it was tough, but I felt like I had given everything, almost like I had poured my life into it.

■ Interviewer: But as a vocalist, you'll continue singing these songs moving forward, right?

RUKI: Yes, that's right.

■ Interviewer: How does that feel? Is it like purifying your emotions through singing?

RUKI: Ideally, that's what I'd like it to be. Time plays a part in it too. During this production period, I realized that I can't write about things I don't genuinely feel. I can't lie in my lyrics; they can't be business-like (laughs).

■ Interviewer: (Laughs) You can't write fictional, imaginary stories.

RUKI: It's fine if fans interpret it that way. But when I'm writing, I can't write about things I don't feel. For example, if I'm not thinking about the fans at a particular time, I can't write lyrics that seem like I am, hypothetically speaking. If my feelings change halfway through writing, I scrap it and start over.

■ Interviewer: That's why lyrics that you wrote with the fans in mind probably come across as straightforward and real.

RUKI: I'd like to think so. That's why I avoid giving specific explanations about the lyrics to prevent giving preconceived notions. I didn't like it when artists I liked explained their lyrics in detail. But then, it wouldn't be an interview (laughs).

■ Interviewer: I hope to ask in a way that works well (laughs).

RUKI: I don't intend to write in a twisted way, but it's challenging. For example, even with anger, the intensity of the emotion might differ from just being "annoyed." Especially with "DOGMA," the emotions were intense. Even now, talking about lyrics tends to pull me back into those feelings.

■ Interviewer: I see... it was that deep.

RUKI: It's not a bad thing. During this interview period, I've been feeling that way constantly, but it's not like I'm unwell (laughs). It's probably good to have that side. But with older songs, I can't always recall my feelings from that time. There are songs where I wanted listeners to feel a certain way, such as wistful or sorrowful.

■ Interviewer: So there are lyrics that were written with a specific intention.

RUKI: Some older songs have that. But they are just songs. It's not that I deny them, but when I think about my feelings when I was younger, I feel that I need to acknowledge them, or it becomes painful. There might have been such emotions.

■ Interviewer: Because it's a piece of work.

RUKI: Yes. However, with recent works, listening to them brings back my real feelings from that time vividly. I think that's a good thing for me as a vocalist.

■ Interviewer: To put it simply, the emotions embedded naturally become stronger, making it an even more emotional song.

RUKI: Exactly. I think it's much better than becoming numb (laughs).

■ Interviewer: Rather than just tracing the lyrics.

RUKI: Yes. Although, this can make it a bit dark. Fans who read the interviews get worried. But from an outsider's perspective, band members might think, "Do you really feel that deeply?" I suppose we're more delicate than expected.

■ Interviewer: Also, the charm of print media is that it can convey those real backgrounds and feelings in detail, enhancing what you feel when listening to the work. In the band interviews, the word "natural" was mentioned, but for lyrics, it's not just about that...

RUKI: It's about human touch, I guess.

■ Interviewer: I think so too. The arrangement of the songs gives the impression that the live performance could be completed as it is.

RUKI: From the selection stage, we progressed by filling gaps. We considered what was missing or what we wanted, so it has been in this form from the beginning. So, I think that's why.

■ Interviewer: Did you foresee starting with "Falling" after the SE and ending with "UNFINISHED"?

RUKI: Yes, that's what we aimed for. Also, I think that just listening to "UNFINISHED," the cover art might not quite match (laughs). By the way, "UNFINISHED" was completed around dawn.

■ Interviewer: The environment might also influence the style of the song. Since this song ends with a fade-out, it should conclude in a new form during live performances. I hope it will grow like "TOMORROW NEVER DIES."

RUKI: We didn't intend for "TOMORROW NEVER DIES" to be like that at the time, but it was completed quickly. It might naturally evolve or eventually fade away and stop being performed. However, songs that are born so quickly often have long lifespans.

■ Interviewer: It's not about creating a song to be a touching piece for live performances.

RUKI: Also, I can't create songs with that intention. It would feel like a farce to me. The same goes for live performances. For example, we stopped playing "Miseinen" because it felt like I had to cry every time, even if that wasn't the case. Similarly, we don't play "Wakaremichi" even though we could. For instance, during our 10th-anniversary live, we didn't play it because we said we wouldn't until we disbanded. We're stubborn that way.

■ Interviewer: Is it largely because these are some of the band's earliest songs?

RUKI: No, I don't have any resistance to the songs themselves. I had no issue performing "Sentimental na onigokko." It's not that I dislike them. I just feel they’re a bit youthful. So, I didn't intend to release "Itan" as a standalone video work.

■ Interviewer: I see. Listening to what you've said, it feels meaningful that the live footage of "Boudouku Gudon no Sakura" is included in the "NINTH" LIMITED EDITION BOX.

RUKI: It connects in a way and can be seen in a different light. Including it shows a change in me. It doesn’t fit the world of "NINTH" at all, and I used to be adamant about not including unrelated content, no matter how well it might sell.

■ Interviewer: This is a big change.

RUKI: Yeah... it's not that serious of a topic, though.

■ Interviewer: No, it's natural to have non-negotiable aspects as an artist, especially in a band like the GazettE that has moved forward in its own way.

RUKI: For me, it's not about scolding myself but allowing myself to be seen that way. It's about accepting even the uncool parts of myself. That's why I haven't watched the "Itan" footage even once.

■ Interviewer: Really, you haven't?

RUKI: Usually, the MC parts are edited out, but this time they're included. I barely watched the opening part shown at the "BURST INTO A BLAZE 3" event. I left it untouched, letting it be.

■ Interviewer: It's surprising that you didn't watch the footage even once before it became a product.

RUKI: If I had watched it, I would have easily cut the MC parts (laughs). When we decided to include it in "NINTH," we were already planning to leave the MC uncut, so I thought it was better not to watch. It's not that I hate including the MC parts; I just dislike the act of watching myself in that footage. The visuals and singing are fine, so it's just a matter of mindset.

■ Interviewer: Thinking about it that way, it feels like it has become something even more special.

RUKI: Yes. Now, it has a lot of meaning.

■ Interviewer: The lyrics also reflect your genuine emotions without any disguise, and your time with "Dainippon Itan Geisha" played a part in that...

RUKI: That's also part of me. In the past, I didn't acknowledge that. I used to separate it, like, "That was then, and this is now." I didn't deny my past, but I considered it a separate entity. However, when I reflect on my feelings from when I was younger, I realize it would be painful not to acknowledge them. So, I may have had such emotions. But I hear that vocalists often have such feelings to some extent. Some people are even uncomfortable with their own lyrics. Believing that the present is the best and affirming myself, I've moved forward. While creating the ninth album as RUKI, I decided to expose all my ugly and weak parts. For this ninth work, I wanted to express whatever feelings I had, no matter what they were.

■ Interviewer: I see. There are many aspects that become clear only through such discussions.

RUKI: Yes, although there are parts that you probably don’t need to know.

■ Interviewer: However, knowing the author's thoughts can change the perceived intensity and the depicted scenery.

RUKI: Well, I’m usually in good spirits (laughs). When I talk about these things, the members often say, "What!?" But it's a personal thing.

■ Interviewer: I'm glad to know that this work carries such profound feelings.

RUKI: It’s heavy though (laughs).

■ Interviewer: But it's much better than someone who doesn’t think about anything at all.

RUKI: I used to think I was a person who didn’t think about anything. I was more of a positive thinker. So, it was shocking. I had never fallen this deep before.

■ Interviewer: If you hadn’t done a live under the name "Dainippon Itan Geisha," things might have turned out differently.

RUKI: Most likely, it would still be somewhat "DOGMA"-like. Not that I would have wanted to continue with the sound of "DOGMA" indefinitely. We did it so thoroughly that I was exhausted. If I wanted to make music like that, we already have the "DOGMA" songs. Of course, doing "Itan" didn’t directly lead to the melodies in "NINTH."

■ Interviewer: Right. The direction of your mindset would have been different.

RUKI: Exactly. So, it's somewhat mysterious that we ended up with this kind of album now.

■ Interviewer: Around the time of the release of your previous work "DOGMA," the GazettE had many opportunities to look back on the journey you've taken, such as the "Redefinition Tour," the 13th Anniversary live, and the 15th Anniversary live. What was your mindset before starting the album's production?

Uruha: Really, in these past few years, we've had many projects that involved looking back. Besides what you just mentioned, we also made a ballad best-of album ("TRACES VOL.2," released on March 8, 2017). Reflecting on so much made me realize that I've always been immature as a musician and that I'm still incomplete. Especially when I think about my mindset as a guitarist in the early days, it's at a level where I don't even want to remember it (laughs). The past few years of reflecting have been a period for me to realize that I need to improve more."

■ Interviewer: Your dedication remains unchanged. Amidst such thoughts, you began creating "NINTH," right?

Uruha: Yes. But at that time, we didn't have a clear theme or concept for the album. It was the same with "DOGMA" – RUKI just presented the visual image. This time, it was a picture of a soldier’s face melting, but I couldn't visualize how that would connect musically. In other words, there was no theme or direction when we started making the songs. Having just come out of a period of intense reflection on the past, I personally approached the songwriting process with the question, "Who am I?" in mind. When you keep pushing forward without looking back, sometimes you end up with something that doesn't feel like yourself. I thought that wasn’t good, and if I got too immersed in my current mode, I might overlook my own immaturity. So this time, I wanted to create songs that reflected my core. In that sense, the period of looking back was beneficial.

■ Interviewer: You took a good look at yourself. Listening to the songs you wrote this time, "THE MORTAL" and "BABYLON'S TABOO," it's clear that you like powerful and emotional music.

Uruha: That's definitely true. However, I brought those two songs in fairly late in the production process. So, they weren't born out of the initial inspiration but were created while looking at the trends of the other songs that were already finished. Especially "BABYLON'S TABOO," which was made towards the very end."

■ Interviewer: I see. Let’s start with talking about "THE MORTAL." This song is impressive for its method of utilizing the contrast between heaviness and a sense of floating, as well as its chorus that combines strength and sadness.

Uruha: "While we didn’t have a clear vision of what we wanted the album "NINTH" to be, we all agreed through the production process that an emotional sound is cool. This is important not only in live performances but also in our overall expression. Having that kind of emotional intensity can be a weapon when performing at festivals and such. Bands that lack this intensity don't seem cool to me. It's quite challenging to bring out this intensity, but we wanted to cherish that aspect. We didn’t explicitly decide to go in that direction during meetings, but when we watched live footage together, comments like 'This staging is intense and great' or 'It's emotional' came up often, and that became a sort of positive feedback loop. With that in mind, I created "THE MORTAL" very consciously following that trend."

■ Interviewer: I think many listeners perceive the GazettE as an emotional band. This time, you were especially conscious of that, right?

Uruha: "Yes. There are many bands outside of the visual kei field that have this emotional aspect. Since there are so many, it means there are many listeners who appreciate that style. Also, the emotional quality of visual kei has its own unique appeal, and I feel it's necessary for the GazettE to aim for that. After "DOGMA," I thought that the next thing we should seek is that kind of emotional quality."

■ Interviewer: Indeed, as you gain more experience, your ability to express "wabi-sabi" (aesthetic of beauty in imperfection) increases. When you are young, even if you want to be emotional, it's hard to express it well.

Uruha: "It’s hard to express. For example, there's a certain coolness in being subtle rather than expressing something strongly. If that's not cool, even emphasized expressions become superficial. Although I understood this, I couldn't achieve it well in the past. Either I couldn't be subtle enough, or I became too subdued and boring (laughs). Recently, I feel the urge to refine that contrast even more."

■ Interviewer: It's inspiring to see that with ambition, one can continue to evolve even after 10 or 15 years.

Uruha: "Yes. Now, more than ever, I feel like I've truly found joy. In the early days of the GazettE, it wasn’t as fun as it is now. Back then, I was just playing guitar with all my might, and the only fun part was being in a band. Now, expressing myself through the guitar is enjoyable, and when I can enjoy that, I can enjoy anything."

■ Interviewer: Over a long period, you understand many things. Additionally, the GazettE itself continues to evolve and change, leading to many discoveries.

Uruha: "Through the activities of the GazettE, many doors within myself have opened. The GazettE never stays in one place. The members enjoy discovering new things by challenging themselves, which is why not being satisfied is important. Also, looking back at the GazettE’s history helped me identify my flaws. My uncool aspects (laughs). By examining my roots, I see where I’ve carried that tackiness to my current self (laughs). If I don’t understand that, I can’t get rid of it."

■ Interviewer: But, the parts you feel are negative might be attractive to others.

Uruha: "That could be true. However, I think I should meet my own standards. Instead of using the word 'personality' as an excuse, I want to confront it properly."

■ Interviewer: That sounds like you. We got a bit sidetracked, but could you talk about the other song, "BABYLON'S TABOO"?

Uruha: "In GazettE's live shows, there's always a ballad block. This song was made as a transition piece to return to the intense zone from that ballad block. So, I thought it would be good to have a song that is continuous and elusive, like a one-chord song. "BABYLON'S TABOO" was created because I wanted a complex song that requires various skills to express."

■ Interviewer: Indeed, it turned out to be just that. It also has a subtle ethnic flavor, and it's nice that it's not too obvious.

Uruha: "That’s because the underlying concept wasn’t to bring out that world view. With this kind of musical style, it’s common to use Middle Eastern scales or incorporate sitars, but that’s not where I wanted to go. When I shaped what was inside me, it turned into this kind of song."

■ Interviewer: The continuous guitar riff and congas create a subtle native music feel. The fact that the congas aren’t overly emphasized is also great.

Uruha: "That's hindsight though. Initially, the conga was produced at the same level as the drums, but during the mixing stage, I thought it would be cooler to emphasize the sound of the drum toms. I decided to prioritize downgrading the sequences, thinking they were secondary. This time, I wanted to focus more on the band. Instead of emphasizing the sequence's impression in terms of development, I wanted to showcase the band's pulling power and didn't aim to strengthen the sequence's impact."

■ Interviewer: This work has a stronger band feel, but it’s characterized by songs with a solid worldview, not just driven by momentum or groove.

Uruha: "This time, we were extremely strict in our song selection. It took a while to finalize the selection. We kept creating songs, thinking there must be more, and we meticulously selected the ones we truly believed were the best."

■ Interviewer: The songs are compact and dense, matching the recent trends in the music scene.

Uruha: "It wasn’t intentional; it just happened naturally. Even if the structure is elaborate, we didn’t want long songs. Also, the overall BPM (tempo) feels fast, resulting in many songs around three and a half minutes long."

■ Interviewer: The fact that it happened naturally indicates a sensitivity to the times. Let's talk about the guitar next. What was important for you in terms of the guitar in this production?

Uruha: "We started the production with "Falling." First, we recorded "Falling" and decided to release it digitally. We spent a long time on the pre-production for "Falling," knowing it would set the tone for the album. There was significant debate about the direction we should take. Each member had their own ideas and desires, and when we combined them, it turned out to be too distorted. It was quite challenging to figure out the band’s sound. We used various references to guide us."

■ Interviewer: What direction did you initially want to take?

Uruha: "I originally preferred analog and had always used amps. However, while making "DIVISION" and "DOGMA," I realized that my personal aesthetics and desires as a guitarist didn’t always align with the band's sound. If it didn’t fit the band, it was meaningless. So, I considered what would suit the band and found that the things I had dismissed were actually the right answer. Basically, instead of using amps, I started using simulators to create the sound. Although I had resisted this method, when I tried it with an open mind, it fit well. Initially, I couldn't accept it, so I gradually adopted it. I started with cabinet (amp speaker box) simulators, then tried other things, and my world changed significantly. Things that were difficult before became easier. During live shows, I used to bring my own mics, set up two mics on the cabinet to capture the guitar sound. Despite my efforts, the guitar sound wasn’t heard well from the audience, and it didn’t blend well with the band. I realized I was only thinking I was doing something great without achieving the desired result. The more complex the setup, the less the guitar sound stood out. That led me to go digital."

■ Interviewer: Really? Does that mean the guitar on "NINTH" is mostly line recording?

Uruha: "Yes, not 'mostly,' but entirely line recording."

■ Interviewer: That's... surprising! The guitar on this work has a perfect distance from the ear, not too close nor too far. I thought you had found the ideal microphone arrangement for the cabinet.

Uruha: "That’s not the case. I experimented a lot to get here. Simply switching to digital line recording was really lackluster at first. It was lackluster for a long time. During "DOGMA," I couldn’t decide whether to bring out the amp's qualities or the cabinet simulator feel. But through research, I learned how to overcome the weaknesses of simulation. Now there are various simulators, but you can’t just use them as they are. For instance, I use only the Tube Screamer effect from Line6’s POD, and pair it with a different amp simulator."

■ Interviewer: That’s quite technical (laughs).

Uruha: "Hahaha (laughs). Using multiple simulators required a flexible mindset. For example, the POD has a unique sound; the Tube Screamer effect from POD is different from the real thing. However, that distinctive clinginess is only possible with POD. So, instead of seeing it as a Tube Screamer simulation, I started using it as a drive effect. I believe that if the sound matches my vision, the process doesn’t matter much. During this work, I realized that it's essential to cherish the initial vision for a song. It’s not about what equipment you use but the sound you create."

■ Interviewer: I agree. I think being able to use digital equipment so proficiently comes from all the analog trial and error you went through to get here.

Uruha: "I feel that too. You can’t understand the sound of a real amp unless you’ve actually used one. Even when using digital equipment, in the end, we still seek a sense of authenticity. My current goal is to reach a point where you can’t tell if it’s a simulator or a real amp."

■ Interviewer: The guitar sound on "NINTH" gets very close to that.

Uruha: "I think we got pretty close, but I still feel there's a long way to go. If you don’t feel the paper cone of the speaker vibrating, then it’s not the goal. Mixing and mastering diluted that raw feeling, but the recorded sound was more vivid. So, through this recording process, I learned that it’s necessary to exaggerate certain aspects more."

■ Interviewer: Your dedication to research hasn't changed at all. How about your guitar playing?

Uruha: "The song that was really fun to play was 'BABYLON'S TABOO.' It was full of emotion, and there were times when I played without thinking about anything other than emotion, and I think we recorded a good take. The difficult ones were RUKI’s songs. His riffs are designed by someone who doesn’t play guitar, making them very challenging. They don’t hit the sweet spots that guitarists usually enjoy; they’re quite demanding (laughs). Also, it’s not like he says, ‘I did this casually, make it sound good based on that.’ He wants it just as it is (laughs). So I’d be like, ‘Wait, this part is single notes? I’d use power chords for all of it.’ There’d be weird bends or sudden picking harmonics (laughs). And I’d think, ‘Do I have to do this every time?’ (laughs). RUKI’s songs have a lot of riffs like that, so it took quite a bit of effort to internalize them."

■ Interviewer: So, it's impressive that you don’t say "impossible" to that. In the song written by RUKI, the rough guitar intro of "GUSH" is really cool, isn’t it?

Uruha: "Yeah, that coolness comes from RUKI's strong commitment. I did it quickly on my own and handed it over, but he said the sound quality was different. He wanted it to be more noisy. So I was like, 'Huh, even more?' (laughs). That meant it wasn't just a matter of guitar gain levels anymore; it ended up being crushed with a crusher (an effect that gives strong distortion), like 'There's no choice but to destroy it completely' (laughs). That's how we shaped it."

■ Interviewer: Quite extreme (laughs). The beginning goes punkish, but you're playing mechanical riffs in the interlude, right?

Uruha: "I actually put a lot of effort into those riffs. It had an industrial feel, conveyed only with the image of a whammy (an effect that smoothly changes the pitch of the guitar). RUKI's demo had the guitar going 'wooooon wooooon' only, and he wanted it to sound really good. So I was like, 'Huh?' (laughs). Even with the whammy, the sound just gets lame (laughs). So, after a lot of trial and error, we finally used a ring modulator that produces whammy and octave effects. It's quite simple in terms of what we did, but I think it turned into a riff with a strong impact."

■ Interviewer: That riff has a nuance like a synthesizer, which seems to leverage your use of synths in albums like "DIVISION."

Uruha: "That could be true. Also, when creating sounds for the GazettE's SE, there were many scenes where I destructively broke the sound or made explosive noises. I learned a lot from that, it has expanded my repertoire. Another thing is that stopping recording live amps and doing it through a line allows you to revert when you go too far. That sense of security enables us to boldly try things."

■ Interviewer: From those aspects, one can feel that you've really mastered digital equipment. Another thing, on this album, you handled the mixing for "THE MORTAL," "BABYLON'S TABOO," and also "99.999," right?

Uruha: "Yeah, I started mixing myself because I wanted to figure out how to properly showcase the guitar. If I didn't put myself in the position of an engineer, I couldn't argue or suggest anything to them. There were a lot of things about the mix that I wasn't satisfied with before. Like, I'd think the guitar sound was thin and wanted it thicker, but then they'd say, 'The original recording height...' It was frustrating, you know? I thought, 'I've put in a reasonable amount of effort and used good equipment, so it shouldn't sound thin.' But I lacked knowledge, and it wasn't just about using good equipment. I wanted that assurance, so I decided to mix it myself. However, I've been doing this for quite some time, so it wasn't like I started anew for this album."

■ Interviewer: I see. However, you need knowledge to do mixing work. How did you go about acquiring that?

Uruha: "I'm self-taught. I didn't learn from anyone; I researched and learned on my own. Also, mixing work is somewhat related to creating guitar sounds, so it's similar in feeling. There's a desire to improve the band's sound. So, rather than a major decision, it feels like an extension of creating guitar sounds."

■ Interviewer: You can tell you're a genuine music lover. So, what do you focus on and value when mixing your own tracks?

Uruha: "During this work, I realized that when I mix my own songs, I need to cherish the initial feeling of 'I want this song to be like this' that I had when I first created it. I absolutely hate it when it changes midway and I end up thinking, 'Wait, what kind of song did I want to make again?' I wanted to protect that initial impulse, at least for my own songs. Ultimately, when making a piece of work, the skill of an engineer can greatly influence and change it, sometimes against my wishes. So, I focused on preserving the original feeling when I made the song."

■ Interviewer: I think that's something listeners will really appreciate.

Uruha: "It's the same with live performances—when the PA gets involved, the members' intentions don't always get conveyed accurately. Even if we want to balance things well, sometimes the audience hears it in a skewed way because the PA is working to make their job easier. It’s better if the band can shape the sound themselves. If we understand the difficulty of achieving a good balance live, that's just part of the process. I wanted to know more about these aspects."

■ Interviewer: It seems like your mixes will keep improving. Now, "NINTH" has become an album showcasing new charms of the GazettE. Along with the album release, we’re also looking forward to the tour starting in July.

Uruha: "The album 'NINTH' is a work designed for the tour, packed with things we want to do live. As I mentioned before, it's about bringing out that emotional aspect. I have a clear vision for this kind of live performance, so I think we can start the tour on a strong note. With 'DOGMA,' the goal was to present the image of 'DOGMA' on tour, focusing on what the GazettE would do rather than on myself. This time, I can concentrate on what I want to do individually and what I want to show as a guitarist. I'm really looking forward to delivering that kind of live performance."

■ Interviewer: Around the release of your previous album "DOGMA," the GazettE had many opportunities to reflect on its journey with the "Redefinition tour," the 13th-anniversary live, and the 15th-anniversary live. Did this influence how you felt before starting the new album?

Aoi: "It was quite natural. Looking back at the past, I didn't have a moment where I thought, 'Yes, I'm definitely this kind of guitarist.' Even during the 'redefinition' phase, it wasn't so much about how I was back then but more about the songs and the youthfulness of the band. In that context, I was always working as my current self at the time, so there's no consistent style."

■ Interviewer: So, it's more about providing what the songs and the band need rather than asserting your own style?

Aoi: "Especially recently, yes. Although the other members are like that too, in the past, I was more intense (laughs). I had a strong attachment to staging, certain things were absolutely non-negotiable. Nowadays, we focus more on how to present ourselves as a band rather than as individuals. So, both in staging and playing, I've become more flexible. However, this doesn't mean I can't do what I want. I enjoy various approaches and playing styles. Playing heavy riffs is fun, and so is using crunch tones to bring out the chords. There’s nothing I don’t want to do style-wise. So, I really enjoy playing guitar in the GazettE. Long-time fans might think Aoi has become more subdued lately, but I feel more naturally part of the band now."

■ Interviewer: In long-lasting bands, members often find the right position for themselves. With this mindset, what were your thoughts going into the creation of "NINTH"?

Aoi: "When I listened to the submitted songs, I thought there was a lot of variety again. There were heavy songs, and delicate ones like the seventh track, 'その声は脆く' (Sonokoe wa Moroku). I wasn't confused by the variety; I felt ready to handle any song. I’ve always been something of a jack-of-all-trades, even outside of music (laughs)."

■ Interviewer: Really? I don't see it that way.

Aoi: "Is that so? I feel I can't dive deep into things. Uruha, for example, dives headfirst into things and steadily improves, but I'm not like that."

■ Interviewer: I don't think being versatile is the same as being a jack of all trades. You have your own style, and you're the type who can apply it in various situations, right?

Aoi: "True, I have a core, but everything else is quite broad and shallow (laughs). As a trade-off, though, I can adapt to almost anything. Lately, all the members have become capable of playing guitar, so during the demo stage, the phrases are often already solidified. Still, I make sure to assert myself with the guitar phrases. If I think the demo's guitar phrase is good, I'll reproduce it, but when I change it, I change it completely. Band cohesion is my top priority, but if I feel it's better to expand the demo phrase or the scene, I'll suggest a broader approach. That’s been my stance recently, and it hasn’t changed this time either."

■ Interviewer: That seems like a good approach. When creating songs for the album, what did you focus on?

Aoi: "This time, we didn’t have a specific concept for the album when we started. With "DOGMA," we had a strong concept from the beginning, aiming to create a work that would become like a scripture. But this time, we didn’t have that. RUKI probably had a vague idea of the album, but it wasn’t solidified enough to put into words. So, at first, we just started making songs individually, and various worldviews emerged. When RUKI mentioned a direction for the songs, it wasn’t a motif like in "DOGMA." It was more like, ‘Let’s proceed with this musical style.’ So, we started creating with just that direction in mind (laughs)."

■ Interviewer: Perhaps RUKI wanted to clarify the overall vision of the album by listening to the submitted songs.

Aoi: "Maybe so. That's why this time it didn't feel like a selection meeting in the traditional sense. It was more about building upon the musical direction Ruki had mentioned and choosing the best among what each of us had written. So, it felt like an audition in a way."

■ Interviewer: So, regarding the song Utsusemi, was it chosen from various songs you made, not something you created with a fixed decision?

Aoi: "Yes. I made many songs and proposed them at each selection meeting, but there wasn’t a direct response like, ‘This song is good.’ RUKI created songs with a vision of wanting this one at the end of the album or this one in the middle. He couldn’t see which songs would connect well. As a result, the songs kept piling up without deciding whether to adopt them or not (laughs)."

■ Interviewer: But in the end, you could choose the best from a rich pool of candidate songs. What was your thought process in writing Utsusemi?

Aoi: "This song was one of those created without a clear answer to the need for a mid-album track. I wrote Utsusemi long before I had a clear vision of "NINTH." I was still exploring how to approach it, so personally, I think the songs I made after Utsusemi are more complete, reflecting the atmosphere of "NINTH." But suddenly, RUKI started saying he thought that song I had brought in at the beginning would fit well, and that's how this song got included. That's all good, but when it came to making 'NINTH,' I had thought to avoid making songs of this type. There’s this perception of ‘this is Aoi's position’ (laughs). Even in interviews, it becomes a topic, and I wanted to avoid that. I always create various types of songs, but they often don’t fit and aren’t adopted. In the end, it turned out to be a song like this again this time (laughs)."

■ Interviewer: That’s because your emotional sense is a significant element of the GazettE. Whether Utsusemi is included or not greatly affects the impression of "NINTH."

Aoi: "I hope so. But honestly, I want people to understand that I don't intend to create songs of this position. This time, I came up with the melody myself, but until now, it was Ruki's melodies, so it was like a collaboration with Ruki. It always ends up in that position, like, 'Huh? Again?' (laughs). I want people to know that I also create intense songs, not just songs like Utsusemi. Please make this sentence bold (laughs)."

■ Interviewer: (laughs). Even if it wasn’t your initial intention, “Utsusemi” is an emotional and melodious mid-tempo tune, a truly great song. It also introduces new elements, such as the use of synth riffs.

Aoi: "For this song, RUKI wanted the chorus to feel soft, so I completely reworked the chorus to match the melody. But apart from that, the demo was almost in its final form. The synth riff was in my head from the moment I created the song. The intro and first verse have the synth and guitar in unison. That’s about which phrases to emphasize. I felt that nothing extra was needed and thought there weren't many examples of synth and guitar unison. So, I made them unison, and for the second verse, I harmonized the guitar and synth."

■ Interviewer: The expansive feel in the second verse is exquisite. The guitar solo flows beautifully and is a highlight.

Aoi: "Really? I feel like I could have done more with the solo if I had more time. I was satisfied when I recorded it, but listening to it now, I think it’s a bit rough."

■ Interviewer: I don’t think it’s rough at all.

Aoi: "No, it’s rough. Maybe I feel that way because it’s my own work. It’s not that it’s bad, but I think I could have polished it a bit more."

■ Interviewer: Including the sexy sound with the octaver, it’s a great solo. Speaking of guitars, let’s talk about the guitars on “NINTH.” Did you have any themes for the guitars this time?

Aoi: "We recorded 'Falling' at the end of last year, ahead of the other songs, which served as a pre-production recording for the album. Initially, I played with a sound in mind for the next step, but that expectation was shattered. In a good way… We understood what the band desired in terms of sound."

■ Interviewer: What kind of sound were you aiming for?

Aoi: "DOGMA had a very modern finish. Personally, I’m not very good with modern guitar sounds, so I wanted to bring it back to my own style. But the band was in a modern sound mode. Making a modern sound is easy, but I didn’t want to do the same thing again. So, I thought I’d propose a sound I had in mind. Although it didn’t make it in time for 'Falling,' I started crafting the sound I envisioned using my equipment. It took shape, but I felt it was a bit forced. Not that I disliked the sound, but in the process of adjusting it with various methods and EQ, I realized it would be better to use equipment that naturally produced that sound."

■ Interviewer: Does that mean you used simulators for direct recording?

Aoi: "No, I used a pretty standard setup in an analog way, playing through a cab (speaker box) and miking it. Uruha, on the other hand, created his sound entirely digitally using simulations. I was concerned about the atmosphere and asked him not to stray too far from it. When one person uses digital and the other uses analog, if we don’t consider each other’s sounds, the balance of the two guitars’ atmospheres can become odd."

■ Interviewer: That’s true. So, did you two align your approaches? The result sounds very natural, as if both guitars were recorded in the same manner.

Aoi: "Maybe, but when we made the ballad best (TRACES VOL.2), Uruha packaged the sound he wanted to create entirely through simulation. The difference in atmosphere was very noticeable. So, I wanted to consolidate the band’s overall atmosphere a bit more if he continued using simulators. Even though we used different methods, we discussed wanting to consolidate the band's ambiance a bit more… That's what I talked about. I think Uruha put a lot of effort into his sound creation this time as well."

■ Interviewer: He mentioned that. Still, I’m a bit surprised. The balance seems well-achieved.

Aoi: "When the digital player moves towards analog and the analog player towards digital, it comes together well (laughs). Neither the two guitarists nor the band consciously tried to match the sounds this time. Each of us thought about our own sound, considering how the band would ultimately be heard. Being analog, I lacked the closeness in sound that digital provides. Analog has a sense of space, while digital’s closeness is hard to replicate. Knowing Uruha’s sound would stick to the ears, I aimed for a sound as close to the ear as possible. I insisted on analog because I believe it offers a different power compared to purely digital processing. I wanted to package the feel of air vibrating from the cab. But I didn’t want the digital closeness to overpower the phrases either. That was a conflict, but Uruha left space for both guitars to be heard, which allowed us to blend them well."

■ Interviewer: The proximity of the guitars is perfect. You can clearly hear the nuances of the guitar.

Aoi: "This album feels very raw. 'DOGMA' made the sounds of both of us quite similar, and the album had a lot of mechanical processing to synchronize unison riffs. That was suitable for the world view of 'DOGMA,' but when it came time to create something true to ourselves this time, I thought this kind of roughness was good. After all, it's something humans do, and each person values different aspects of the sound. Packaging that again at this timing is significant for the band. If we erased our individualities, the work would become boring. I believe a band creates something unexpectedly great by clashing individualities."

■ Interviewer: I agree. The advancement of equipment has created an environment where different approaches can be utilized effectively. In the past, you would have been forced to align our methods.

Aoi: "That's right. If one of us had said they wanted to go digital, we would have ended up both going digital for the sake of research. But this time, we didn't do that at all, and I was able to work on my sound independently for the first time in a while. Previously, there was always someone in the studio because we were bringing the two guitars together. But this time, everyone was gone (laughs). REITA, for instance, would say, 'I'm done recording my bass, so I'll take off,' and he’d leave (laughs). He would record his bass from the morning and leave around the best time in the afternoon. I would start when it got dark, just when I wanted to go home (laughs). And I’d be alone (laughs). Recording guitars that way and still managing to bring them together nicely in the end is only possible in this day and age. It would have been impossible in the past, I think."

■ Interviewer: I agree. So, what equipment did you use for the recording of "NINTH"?

Aoi: "I used my signature model from ESP for the guitar. That guitar has a bit of a sharp sound, or you could say it has an edgy tone. It's not typically the sound the members of the GazettE prefer, but it fit well this time. 'NINTH' really captures the current sound of the five of us, which I think is great. By the way, for the 11th track 'ABHOR GOD,' I used the same Dragonfly guitar as Uruha. Although the amps were different, the tonal range of the two guitars matched. If you listen to 'ABHOR GOD' compared to the other tracks knowing that, you'll notice how unified the guitar tones are."

■Interviewer: That’s definitely something to check out. What kind of amps did you use?

Aoi: "When we were recording 'Falling', I talked with the engineer about wanting that kind of sound, so we decided to use the 5150. Marshall amps have a strong high end, so we thought the 5150, with its rich mids, would be better. We rented one to try it out and it sounded great, so we decided to use it. Then, the engineer ended up buying a 5150 (laughs). He said, 'There was a cheap used one available, so I bought it.' We ended up with about three 5150s: an older model, a current one, and a slightly modified one. I liked the early model 5150 the best for its rawness. I don't dislike the modern sound of the current model; it fits better for ballads and vocal songs. But for aggressive tracks, I used the old 5150. So, I mainly used my guitar, and just a few compact effects."

■ Interviewer: You managed to cover a wide range of styles and approaches with simple equipment. How was the guitar playing aspect?

Aoi: "Since many of the songs were written by others, it was overall quite challenging (laughs). Especially the riff work. It's difficult when non-guitarists create riffs. Also, when recording the riffs, I did a lot of punching in (recording in sections), which made playing them through difficult (laughs). The sound would cut off at the punching points, and I’d have to figure out whether the resonance from the previous sound was needed or not. Those things made the riffs challenging."

■ Interviewer: You reproduced the demo riffs faithfully without changing them to suit your style?

Aoi: "I recreated the main riffs. But as I mentioned earlier, it's important to incorporate my own color into the music. So, I first consider what the composer intended with the riff. Does this phrase need to be there or not? I didn't want to remove something they were particular about, which would go against their intent. I carefully thought about these aspects while shaping the phrases. Some parts stayed as in the demo, while others changed. For delicate songs like 'Sonokoe wa Moroku', I wanted to showcase my style. I was particular about those songs, as well as 'Utsusemi. I remember paying close attention to the details."

■ Interviewer: Songs like 'Sonokoe wa Moroku, 'Utsusemi', and 'UNFINISHED' have a precise approach and the guitar's gain (distortion) is just right.

Aoi: "I was very particular about that. Heavy songs are simpler (laughs). It's like, if that song is like this, then this song should be like this too (laughs). But those three songs were seriously meticulous. I hope readers of this interview keep that in mind while listening."

■ Interviewer: You can enjoy not only the solid and heavy guitar sound but also the light guitar charm and the pleasant resonance of the chords. How do you feel now that 'NINTH' is complete?

Aoi: "I really feel relieved that we finished it (laughs). The schedule was cutting it really close, especially in the latter half of the production."

■ Interviewer: Really? But I thought you reduced the number of live performances last year to focus on making the album...

Aoi: "Well, we did start early and made proper progress, but our dear RUKI is the type who, if he has time, wants to obsess over every detail (laughs). So no matter how much time we have, it always ends up being right up to the deadline. But that’s because of his strong sense of responsibility towards the band, so I can’t really tell him to hurry up. It’s like, ‘I’ll wait for you, really’ (laughs)."

■ Interviewer: I see (laughs). What was your impression when you listened to the finished album, considering all that thrill?

Aoi: "I listened to the album in full for the first time during mastering, and as expected, I passed out (laughs). We worked from the day before until midday the next day, and went straight into mastering, so I blacked out (laughs). The next day, I listened to it carefully and, compared to 'DOGMA,' there are some rough parts, but I felt that added to its humanity. It really captured our current, real selves, and I enjoyed listening to it a lot. The excitement I felt was greater than with our last few works. And you know, 'NINTH' is like, 'We're satisfied with it, now what do you all think?' kind of album. It's not like 'Listen to this great album!' It's more like 'This is us, what do you think?' kind of vibe. We've been doing the GazettE for 16 years now, and I think that's just fine."

■ Interviewer: I'm sure the listeners will feel that excitement too. I'm also looking forward to the tour with 'NINTH'.

Aoi: "'DOGMA' was artistic, with a vibe of 'This is our worldview, please listen!' But 'NINTH' shows our real, down-to-earth selves, so I think the live atmosphere will be quite different. The last tour had a strong theatrical element, but I think this tour will be full of live energy. That's the feeling I get, but because we're the GazettE (laughs), you never know until you open the lid. Maybe we won't know until the second day after the first day of the tour (laughs). It was exactly like that with 'DOGMA' (laughs). So, I don’t know what the tour will be like, but I have a good feeling we’ll put on great shows, so I hope everyone looks forward to it."

■ Interviewer: First, I’d like to ask about your approach to the songs on "NINTH." You add accents depending on the style of the song, but do you generally take a position that supports the bottom without standing out too much?

Reita: "Yes, that’s right. I’ve been that kind of bassist for about ten years now. I do move around at key points, but I think that’s what the bass should do. If it were a one-guitar setup, it might have been different. Plus, our vocalist uses a lot of words, and often includes choruses during interludes, I generally play to let other parts shine more. I want to be in the best shape for the song, and if I play with the feeling of wanting to hear my own phrases, I feel like the band wouldn't last long (laughs)."

■ Interviewer: I see (laughs). From the demo stage, do the other members incorporate the bass line with your style in mind?

Reita: "Sometimes it works out that way, and sometimes they tell me that they want me to move more in certain parts that were initially placeholders. I interpret it in my own way, thinking maybe I should support the bottom here or move around a bit there if there’s space. 'Falling' wasn’t moving in the original song either. It’s not that I particularly want to move the bass line, but I don’t mind moving either (laughs). It’s just about finding a balance where the bass stands out in a good way. Of course, I support the parts where the guitar comes in intricately, and I think I’m doing a good job of finding that balance on my own."

■ Interviewer: In songs like 'Uragiru Bero,' we can hear your driving, standout phrasing.

Reita: "Recently, we’ve been doing a lot of unison playing, but 'Uragiru Bero' incorporates the visual kei sensibility that we’re familiar with. The melody line has a bit of an old-fashioned feel, and RUKI wanted that kind of bass vibe too, so I understood what he meant."

■ Interviewer: It's like blending the nostalgic visual kei elements of yesteryears with the current sense of the GazettE.

Reita: "Yeah. I think those who feel this as nostalgic are probably our generation. Teenagers today probably wouldn't find it nostalgic; they might even feel it's an atmosphere they've never experienced."

■ Interviewer: Are there other songs where you've changed your approach?

Reita: "For example, 'THE MORTAL' and 'BABYLON'S TABOO' had different playing styles, using only the thumb to strike. I'm quietly doing various things, but stealing the listener's ears with the bass isn't my thing."

■ Interviewer: Oh really?

Reita: "Yeah. After all, it's all about the song itself... I'm not looking to have a bass battle (laughs)."

■ Interviewer: However, when REITA was a kid, he was excited by bassists who dazzled with flashy phrasing, right?

Reita: "Yeah, that's right. I wanted to copy them... So I think maybe I'm not the type who kids would idolize now (laughs). But, for example, the cool bands abroad that I like these days, their bass lines hardly move. They often create a mass of unison with guitars, and that's what I feel is 'good sound.' If I were playing something completely different from the guitar in an independent manner, it wouldn't resonate as a cohesive sound, and to me, that wouldn't feel like 'good sound.' So, I try to focus on phrases that contribute to what I perceive as 'good sound.' But the challenging part with the GazettE is that even in unison songs, everyone starts arranging things in the chorus, so creating sound becomes difficult. If it were just unison, feeling the bass would be enough, but when you want to hear the phrases, you start to feel the need for a bit more midrange, and that's the difficulty."

■ Interviewer: Tuning has also become lower.

Reita: "Yeah, that's right. So, sometimes I feel there's a contradiction between the sound I want to produce and the phrases I'm playing."

■ Interviewer: Also, the straightforward 8-beat rush in "UNFINISHED" must resonate with your roots.

Reita: "Yes. But I'm sure 'UNFINISHED,' for example, might feel surprisingly placed here now. I've become part of such a band without even realizing it, but in my mind, it's neither surprising nor anything else—it's right at the heart of our roots."

■ Interviewer: I can picture you vividly playing it live.

Reita: "Yes, so the bass phrase moves only in the last chorus, but originally it moved in the first and second choruses as well. But I imagined how it would look on DVD. It might become a song we play as an encore in five years. Like when we used to play 'Shunsetsu no koro.' In such moments, I want to play while looking around rather than being engrossed in playing during the chorus, so I kept the movement only in the last part."

■ Interviewer: Wow, I didn't expect you to think that far ahead!

Reita: "It was more of a feeling that I wanted to strum a bit more. I hope it becomes a song that holds that kind of position."

■ Interviewer: I wanted to ask if 'UNFINISHED' could become a second 'TOMORROW NEVER DIES' for you.

Reita: "Ah, yes, well (laughs). Who knows."

■ Interviewer: It seems quite challenging to surpass a song that has embedded itself so deeply in your heart and undergone rapid growth.

Reita: "Yes, but we have to surpass them, right? There's a song that made me think, 'I can't win with just what I've built up, I have to compete with what I've stacked up. So, we might have to overwrite the old songs for that. But that depends on the tour. It’s about how much we can nurture it during the tour."

■ Interviewer: Also, 'UNFINISHED' feels like it goes by quickly. It leaves you wanting to hear more.

Reita: "Really? Well, the same goes for live performances; it’s better to end just when people want to see a bit more. You don’t want them looking at the clock. Like with movies, if you start checking how much time is left, that movie becomes a failure for me (laughs). 'UNFINISHED' wasn’t intended to stand out or be in a special position; it’s just one of the 12 tracks we naturally created. It was surprising that people focused on this song so much. It made me realize how dark our band had become (laughs)."

■ Interviewer: Hahaha. Fans who've known the GazettE for a long time would understand that you excel in such songs. You carry the pride of visual kei, but there’s no pressure, right?

Reita: "There wasn’t any. But I do feel relieved that I finally got to do this kind of song, though. Well, in the past, there might have been times when we could have done it but deliberately chose not to. If this kind of song is in every album, the impression might get diluted, you know?"

■ Interviewer: So, when you finally draw your sword, does it feel satisfying?

Reita: "Is it satisfying? Well, I won't know until we do it live… (laughs). If it becomes a song that makes everyone emotional when played at the end of an encore in a few years, that would be great. It's not easy to surpass old songs like 'Shunsetsu no koro' or 'Miseinen.' There's a part of me that wants to perform classic songs like my favorite artists do."

■ Interviewer: But, there is also the example of "TOMORROW NEVER DIES" rising up that high.

Reita: "Yes, that's right. So, in the long run, as I mentioned earlier, if it becomes a song positioned for the last encore someday, by then, I think I can relax and perform it. So, for a while, I'll probably play it cool (laughs)."

■ Interviewer: By the way, there was talk about everyone being in their natural element, so did the songwriting process itself happen quickly?

Reita: "No, at the first song selection meeting, we played the songs and everyone listened and went 'Hmm…' and then fell silent… and then there was 'Should we go home today?' kind of feeling."

■ Interviewer: Scary! I wouldn't want to be there (laughs).

Reita: "We didn't even discuss things like 'Should we do it this way?' Maybe everyone was just troubled. So, it didn't come together clearly from the beginning."

■ Interviewer: So, none of the songs from the initial selection remain?

Reita: "No, there's not a single one. The second time, we brought out 'Falling,' and the other songs came even later. My memory is a bit vague, but 'Falling' is the standard that came out after much deliberation."

■ Interviewer: Considering the history of the GazettE, it was a luxury to let people listen to the opening track of the album for free.

Reita: "That's right. Speaking of luxury, we were able to record just this one song in advance, and we spent many days in the studio for pre-production, trying out different sounds and doing a preliminary recording before the actual recording. We experimented with various sounds by changing the pattern of the bass cabinet and line recording, and playing with different basses. So, making the sound for this album wasn't really that hard."

■ Interviewer: Ah, it was because of that timing.

Reita: "Yes. I think it was possible because we spent plenty of time on 'Falling'."

■ Interviewer: As a result, this method proved effective overall. So, recording the bass went smoothly?

Reita: "I can't say definitively… I was the judge myself, so I listened very carefully. I was looking at the waveforms on the screen, and if the volume dropped even slightly due to rough picking, I would redo it. So, it took more time than usual, but the convenience of re-amping outweighed it. If this were in the past, I would have played repeatedly to tweak the knobs for sound creation, and by the time we were ready to record, my fingers would have been a bit swollen. Eliminating these issues allows for a calm judgment of the sound. Also, recording in two different patterns allows flexibility during mixing if we want to make changes."

■ Interviewer: Isn't it difficult to judge by yourself?

Reita: "Well, basically, I've always been the one to judge. In the end, I would let everyone listen and there would be exchanges like 'Wouldn't it be better to do it this way?' But we didn't have a producer telling us what to do. Since I did it alone, I could listen to just the bass part or only the bass and drums as much as I wanted, so I could be thorough. However, compared to before, it feels less like making an album. For example, after playing in the studio and saying 'It's done!' and calling everyone to the lobby to listen together—that kind of thing isn't there anymore."

■ Interviewer: Certainly, those are the charms of being in a band.

Reita: "Also, from this time, we changed engineers, and it was different from the way we had done it for about seven years, which I think was a good change."

■ Interviewer: It was two external people and Uruha, right?

Reita: "Yes. We couldn't have finished in time otherwise (laughs)."

■ Interviewer: So, the work progressed simultaneously?

Reita: "Yes, really. For the mix, it used to be two songs a day. But on the first day, we had to do four songs a day… But somehow it went quite smoothly."

■Interviewer: You found out you can do it if you try.

Reita: "Yes. And if it goes well, we might have the current engineer handle the live sound as a PA. After all, it's better to have someone who understands the sound we want to produce."

■ Interviewer: Someone who stayed up with you all night and accompanied you extensively (laughs). Almost like being of one mind.

Reita: "Yes (laughs). It feels like we have a similar sense… For example, if I say 'this low part,' it's hard to convey in terms of frequency. But if I say 'the growling part'... When I say those things, our understanding aligns quite well. 'Ah, around here?' 'Yes, exactly,' that kind of quick communication.

■ Interviewer: It seems like you had good chemistry with this engineer.

Reita: "Yes. So with 'Uragiru Bero,' the initial mix didn’t quite capture the bass well, but when the engineer took it back and said, 'I'll tweak it a bit,' the next version he brought back didn’t need any further adjustments. It reaffirmed that our senses were indeed similar."

■ Interviewer: These nuances that can’t be conveyed through frequencies are important. How did you manage that in a process primarily involving data exchange?

Reita: "We used LINE to the fullest (laughs). Among the members, we would communicate in abstract terms like ‘a bit more spread out,’ and I would even send handwritten tab sheets via photo. We didn’t use technical jargon, but everyone could understand it, so I guess we’re in sync with each other."

■ Interviewer: Do you use your smartphone for LINE messages?

Reita: "I use both my smartphone and my computer, but mostly my smartphone."

■ Interviewer: On a side note, isn't it challenging to handle such exchanges on a smartphone?

Reita: "Honestly, I’d love to uninstall LINE (laughs). I actually resent the widespread use of smartphones. You can always be reached by anyone, which I really dislike. There are times when you don’t want to be disturbed and need your own time. On a fundamental level, when the phone rings, it makes me really anxious. But we couldn't avoid using it given the time constraints (laughs)."

■ Interviewer: Right (laughs). But it's really painful to type out lengthy replies on a smartphone when bombarded with questions on LINE.

Reita: "I get that. And then, while typing, you get another message, so you have to start over. It’s annoying. I really wanted us to meet in person. We used to gather every week on a specific day, but this time, due to our tight schedules, we had to handle our tasks individually. However, it was worth it because we didn’t have to compromise, and we achieved a lot."

■ Interviewer: Did your previous experiences help in the video production this time as well?

Reita: "Yes. This time, RUKI and I primarily took the lead in making the 'Falling' MV and the promotional video. The promotional video involved a lot of text and effects, while the MV focused on cutting scenes, so it didn’t require as much skill. However, there were so many scenes that we couldn't fit everything in. It’s better to have too much material than too little, so it was a good problem to have."

■ Interviewer: There have been times when there wasn’t enough material, right?

Reita: "Yeah, it was tough when there wasn’t enough. But this time, we had so much material that we had to decide what to cut, and it was hard because we didn't want to cut anything. As a result, the scenes featuring the members might be a bit fewer, which could leave fans wanting more (laughs). However, I think the quality is the best in the history of the GazettE."

■ Interviewer: Yes. And I couldn’t believe you actually blew up a car.

Reita: "In this day and age, it’s great that we could do something like that."

■ Interviewer: When the staff first mentioned that you were going to destroy a car, I thought, "Are you really that kind of American band?" But after watching the video, I understood.

Reita: "Oh, yes, yes. It’s not like we’re making 'Fast and Furious' or anything (laughs)."

■ Interviewer: I’m glad the nuance came across (laughs).

Reita: "RUKI was also working on it simultaneously. He handled most of the editing, and I helped with the parts he couldn't finish, adjusting colors and fixing the shakiness. We worked on the video for about five days. We even stayed up all night for the final member check. We'll probably be making new videos again soon... but for now, I just want to enjoy the completion of the album."

■ Interviewer: Haha. Regarding the tour setlist, do you plan to follow the flow of this album?

Reita: That’s one way to do it, but since there are slightly fewer songs on this album compared to "DOGMA," we’ll include some older songs. I think they’ll blend in seamlessly. Whether we include songs from "DOGMA" or even older tracks, it shouldn’t feel out of place. This will make selecting the setlist quite challenging. With "DOGMA," it was easier because it was clear which songs fit. This time, with the inclusive nature of "NINTH," it’s a lot more difficult.

■ Interviewer: In a band interview, there was a discussion about whether the audience will participate in the chorus for 'ABHOR GOD.'

Reita: "It might be difficult, but I definitely want them to join in (laughs)."

■ Interviewer: Yes (laughs). Personally, 'BREAK ME' came to mind. With its hand claps and chorus, it seemed like an arena rock number meant for audience participation. But it disappeared from the setlist surprisingly quickly. I imagine the live reaction wasn’t what you expected?

Reita: "Yeah, that was tough. Honestly, I thought 'BREAK ME' would be a killer tune. But when we played it, it was like, "Oh…?" (laughs). It disappeared almost immediately. We even tried to hype it up by releasing black balloons during the second performance, but that backfired. It made us realize we weren’t that kind of band (laughs). So we quickly dropped it. But I still really like "BREAK ME." Some fans do too. It might look different now if we performed it, but it probably won’t happen (laughs).

■ Interviewer: You never know how a song will go over live until you try it.

Reita: "Yeah. I was disappointed too. We gave up on it before it could fully develop. There’s a bit of regret, but we’re determined not to let that happen with the new songs.

■ Interviewer: With such a wide range of content, I’m excited to see how each song will unfold live.

Reita: "Yes. 'NINTH' feels like it could be our first album. It shows that the GazettE hasn't discarded anything."

■ Interviewer: Despite not intentionally changing, some people might say they prefer your early or mid-period work.

Reita: "Yes, I understand that feeling. We don’t feel like we’ve changed, but we get comments about how the old stuff was better or how people prefer our early or mid-period work. I understand that sentiment because I’ve felt that way about other bands. But we believe the latest work is the coolest, and we present it as such. If we were to make our first album now, it would likely be this lineup of songs.

■ Interviewer: I see.

Reita: "If this album had a stronger metal smell, people might think we changed after 'DOGMA.' But we make sure not to go in that direction."

■ Interviewer: You’re not a band that wants to stick to just one thing.

Reita: "Exactly. We don't want to be pigeonholed into one genre. As long as our live shows are enjoyable, that's what matters. We wouldn’t release CDs if we didn’t perform live. The album is meant to make our live shows fun. You could even say it’s an excuse to tour (laughs)."

■ Interviewer: After the whirlwind days, are you finally able to take a breather now?

Kai: "Well, I always think that taking a breather at this point is one of my bad habits. Now that the album production is over, I'm thinking if there's anything we've missed for the next step. Usually, I'd relax a bit while imagining the tour, casually considering my practice routines, but now I'm trying to organize everything, checking if the band is missing anything."

■ Interviewer: So you're intentionally keeping the tension high.

Kai: "Yes, I'm organizing the finer details. Not that everyone in the band needs to worry about it; it’s enough if one person thinks about it. There are always a lot of last-minute issues before a tour, so I'm trying to prevent that by planning ahead. It’s just that I'm being extra cautious without any deeper meaning (laughs). I'm trying to delegate tasks early on and have meetings about the stage setup that we usually push back."

■ Interviewer: I see. Regarding the drumming on "NINTH," it seems you had to play with a lot of precision while adapting to the wide variety of songs.

Kai: "Yes. Well, it's nothing new (laughs). Our previous albums also had a variety of songs because we like a diverse balance, so it's natural for different styles to emerge. For each song, I just approach it in a way that fits, and it's not like I opened up a lot of new possibilities. In the band interview, we mentioned how we did the recording and pre-production for 'ABHOR GOD' simultaneously. Basically, while I was creating the phrases, the members were listening and saying things like, 'How about this?' and then we recorded it on the spot. It was like, 'This has a live feel to it,' so we did it at that level. It was a recording where we built on what we had accumulated."

■ Interviewer: It's rare for the GazettE to handle irregular situations like that, but you managed well.

Kai: "If I could have my way, I'd prefer to spend time in the studio as usual, creating phrases instinctively, then thinking them over, communicating with the members, and making adjustments. So, I felt a bit less cautious this time (laughs). Naturally, I wished we could have taken more time."

■ Interviewer: On the other hand, it might have resulted in boldness that you wouldn't usually have.

Kai: "Yes, that might have brought some momentum. We ended up doing what we wanted. Normally, around this time, I’d be a bit tired of listening to the recordings. But now, I still have a pure listener's perspective and am engaging with 'NINTH' as a regular listener. Since the drum parts weren't meticulously crafted through detailed discussions, it feels fresh."

■ Interviewer: So all parts were created simultaneously.

Kai: "Yes. For example, with the tom rolls after the chorus in 'ABHOR GOD,' I thought about whether to make the phrases more structured for live performance or to let it flow more naturally, not too structured. I could only communicate with the members on the spot, and we decided on the latter, making it less structured. The other option was to use only toms, but we included a lot of snare too. But that made the snare parts feel too structured, so we decided against it. I ended up saying, 'I'll just play it roughly,' and when I did, they said, 'That works.'"

■ Interviewer: Although it was necessary, hearing such playstyles now is fresh and exciting for listeners.

Kai: "Yes, though other parts were similar. It wasn’t as rushed, but it was certainly tight. Instead of detailed listening, we quickly judged whether something was good or not. It was judged by the composers, usually, they might ask for specific rolls at certain points, but this time it was more abstract like, 'No, that's not quite right.'"

■ Interviewer: Honestly, it sounds tough (laughs).

Kai: "Well, yes (laughs). And when I tried a different approach, they'd say, 'Yeah, that's fine,' and that would be it."

■ Interviewer: Even though you were working under tight time constraints, there must have been a sense of mutual understanding and trust, like knowing what each other meant without needing to explain everything.

Kai: "Probably (laughs). That was the case with "Utsusemi" that Aoi composed. It required a lot of live drumming nuances that can't be captured by programming. Listening to Aoi, I understood he wanted those ghost notes, volume dynamics, and so on. It wasn't the phrase itself that was an issue but the way it was played. We communicated using programmed data, but it was clear we needed live recording. This level of understanding is a result of our 16 years together."

■ Interviewer: It was a method that worked precisely because of your long experience together.

Kai: "I think so. I wouldn't want to do it this way every time (laughs). But there were good aspects to it."

■ Interviewer: Though the recording process changed significantly, you still recorded the drums traditionally, right?

Kai: "Yes. For me, recording drums at home wouldn’t work."

■ Interviewer: For parts like those in 'UNFINISHED' and the straightforward beats in 'Utsusemi' did you feel more liberated as a drummer?

Kai: "When I first listened to 'UNFINISHED,' I didn't have any issues with the play or the phrases. I felt the same about 'Utsusemi' at first, but the B-melody’s groove was surprisingly tricky. It might seem easy to others, but for me, it was challenging. Musically, I tend to lean towards dotted eighth-note feels, but this time, it was more triplet-based. This created a mental block for me, as I naturally gravitate towards that dotted feel. Trying to swing it slightly made the song sound completely different."

■ Interviewer: Ah, I see.

Kai: "It didn’t fit at all. With the atmospheric arpeggio, my part felt oddly cheerful and out of place (laughs). This kind of difficulty is common with Uruha and Aoi’s songs. But with RUKI’s songs, I don't encounter that as much. It might be due to the different musical roots we've listened to or the fundamental differences in how we perceive rhythm."

■ Interviewer: With Uruha’s compositions, like "THE MORTAL" or "BABYLON'S TABOO."

Kai: "For 'BABYLON'S TABOO,' he brought a drum loop rhythm and said, 'This is the kind of drum feel I want.' The sound was unusual, quite percussive. It was a loop with sounds like roto-toms and a dry kick, not quite live. So, I had to think about how to replicate that feel in live play. Even the cymbals in the loop were very electronic. So, I started by communicating with Uruha. If he wanted a very electronic feel, I thought we might even consider using only pads."

■ Interviewer: I see, that's the approach you took.

Kai: "When we play 'BABYLON'S TABOO' live, I thought it might be better to use a drum pad on the side instead of a traditional drum set, but after talking it over, that wasn’t the image we wanted. So, I interpreted it as needing to rework the drums to fit that atmosphere. The main sound would be live drums, but there were parts where that wouldn't work. For example, after the chorus, Uruha wanted the toms to come through, but the phrase required more than just two arms. So, I decided to keep the live drums for the hi-hat, kick, and snare, but use programming for the toms after the chorus. How to handle this in a live setting is something we'll have to figure out, but it evolved from a very programmed sound to its current form."

■ Interviewer: I see. "BABYLON'S TABOO" has a seductive, ritualistic mood.

Kai: "When we were selecting songs, we specifically asked Uruha to compose a song with this feel. We thought this was Uruha's forte, and we asked him for a song that doesn’t fully climax. That’s how this song was created."

■ Interviewer: A song that intentionally doesn’t fully climax—interesting.

Kai: "Yes. Everyone understood that keyword, so I created my phrases to align with that. Similar to 'ABHOR GOD,' the idea was to bring out a nostalgic feel. I'm not sure if this is the right word, but I aimed for something beyond what words can describe."

■ Interviewer: While you show a low, grounded groove, "Uragiru Bero" features a fast beat, reminiscent of your early indie days.

Kai: "That's right. When I listen to music by younger bands, including those overseas, I often find them really skillful and impressive in terms of how many tricks they have up their sleeves. In that context, I don't have a wide variety of drum patterns, and as I said earlier, I don't deliberately try to expand my repertoire. But the GazettE has done various types of songs over the years, and I’ve adapted to them. My stance has always been to do whatever I can, and 'Uragiru Bero' is one of those tracks. If we were to do something like bossa nova or blues, then I’d think about expanding my repertoire (laughs)."

■ Interviewer: That’s hard to imagine (laughs).

Kai: "Haha! My goal is always to match the composer’s image as closely as possible, and if I can, surpass their expectations. I wish we had more time, but even if we did, I don't think the songs would have changed significantly. In the latter half of the recording, we worked on some tracks without vocals, but we have absolute trust in each other. Even if I couldn’t imagine the vocals, I knew they’d be great, so it was something to look forward to."

■ Interviewer: So, have you been listening to the finished product a lot?

Kai: "Recently, I've been listening to it constantly."

■ Interviewer: Since the final version took longer to come together, does it feel fresher than usual?

Kai: "Usually, by this time, I’m a bit tired of listening to the tracks repeatedly. I’d be listening with a more critical ear, thinking about how to perform certain parts live. But now, I’m still approaching 'NINTH' as a pure listener."

■ Interviewer: It’s your first original album since "DOGMA." Did the experience of making "TRACES VOL.2," which involved a lot of work from the members themselves, influence this album?

Kai: "Well, let’s see... not really. The recording process for that was very unique, so it didn’t affect me much. However, Uruha did all the engineering for 'TRACES VOL.2,' and that experience led him to want to handle some engineering himself this time (he engineered '99.999,' 'THE MORTAL,' and 'BABYLON'S TABOO')."

■ Interviewer: So, did revisiting your older songs from the "Dainippon Itangeisha" era during live performances provide any inspiration?

Kai: "It’s less about the specific songs and more about the phrases. It’s like, ‘Oh, we used to do stuff like this,’ so there might be some influence in that sense. I didn’t set out to reflect anything specific from those songs in the new album, but organizing live events like 'Boudouku Gudon no Sakura' and 'BURST INTO A BLAZE 3' brought back nostalgic tracks that we performed live… so that process might have influenced some of the phrases."

■ Interviewer: It must have been somewhat stimulating to revisit those early impulses that you might not be able to capture now.

Kai: "Yeah, when we play them now, the way we perceive the sounds is different. There are phrases where I think, ‘Oh, this is nice,’ and it’s hard to explain, but there’s a sense of timing unique to that period."

■ Interviewer: Timing, you say.

Kai: "Yes. The spacing between phrases, the way we handled the ‘ma’ (space), I found it to be quite good upon revisiting. It's probably at an unconscious level rather than something deliberate."

■ Interviewer: Those live performances were special, and I’m sure they left an impression. Many fans likely saw those songs as sealed away.

Kai: "As a band, we’ve always looked back to some extent. Not in a negative way, but we believe that the present is built on past experiences, so it’s impossible not to reflect on the past. Whether we show it straightforwardly or in a different mode varies, but we do reflect on it. But I was a bit surprised when Ruki suggested ''Boudouku Gudon no Sakura"."

■ Interviewer: That period was considered separate, right?

Kai: "Yes… exactly. It was an idea that went beyond what we understood up to that point. It was like, 'We're going that far?' I was surprised, but when we actually did it, it didn't seem so strange. So, in various ways, we've been reflecting on our past. At the same time, we have a fundamental desire to look forward and create new things. The GazettE is a band that can't neglect its past. There are some artists who can completely cut off their past and say, 'This is what I want to do now,' and I think that's a valid approach. They might have said something in the past but now say it doesn't matter anymore, but I don’t think that’s possible for the GazettE."

■ Interviewer: That’s partly because the GazettE is a band that has grown from the indie scene and carries the sentiments of the fans who have walked with you all this time.

Kai: "Of course, that's a big part of it. We pride ourselves on being a live band, so each song is directly connected to our live performances. While we fundamentally want to keep looking forward and creating new things, we are a band that can't neglect our past. It's not just about us; it's a space that only exists because there are people who empathize with us and appreciate us. Essentially, we're not just a recording band. That's why we have an inseparable relationship with our fans."

■ Interviewer: The creation process for this album has evolved, but it seems that the GazettE still retains its old-school mindset. RUKI often describes it as having a “gritty” quality.

"Exactly. We've really remained unchanged since the old days. This time, the album is simply our ninth one, hence the title 'NINTH.' For the GazettE, that simplicity is actually quite surprising, I think (laughs)."

■ Interviewer: Indeed (laughs).

Kai: "For us, it’s a very natural progression."

■ Interviewer: In terms of essence, it feels similar to when you made 'BEAUTIFUL DEFORMITY,' where you returned to the GazettE's roots.

Kai: "Ah… that one didn't have a grand concept either, and the content wasn't biased; it had various songs. It was a quintessential GazettE album at that time. Certainly, it's a similar work. For albums with a more defined direction or concept, there’s 'DIVISION' and 'DOGMA'... and also 'DIM.' Well, 'DIM' ended up being what it was. That atmosphere... (laughs). It’s not negative, but it strongly reflected our state at the time. 'DOGMA' was deliberately made with a specific concept, and 'DIVISION' was a conceptual album aimed at blending styles with a digital taste. Looking back, those albums are rather unique."

■ Interviewer: The conceptual nature of 'DOGMA' and 'DIVISION' often makes them seem like the main essence of the GazettE.

Kai: "Yes. But if you take a step back, you should realize that the GazettE does many different things. Actually, there's another core principle that we stick to."

■ Interviewer: I think 'NINTH' is an album that reaffirms that.

Kai: "Yes. But I totally understand the sentiment. Even I was searching for a concept for this album at first, before 'Falling' was created. When we were making the promotional videos, I was looking for something that would define the next album. So when 'NINTH' became the official title, it felt very right to me."

■ Interviewer: Yes, I also searched for various interpretations of the album title.

Kai: "Right (laughs). Looking back now, 'BEAUTIFUL DEFORMITY' definitely happened because of 'DIVISION,' and 'NINTH' is happening because of 'DOGMA'… Each experience we've had creates its own unique color, so it naturally reflects the essence of that time. For instance, if we had released something like 'BEAUTIFUL DEFORMITY' right after 'DIVISION,' following 'DOGMA,' I think this 'NINTH' would have been a completely different album. That’s very GazettE-like, not disregarding the past. After releasing 'DOGMA,' we wanted to release a ballad best-of album. Normally, people might think, 'A ballad best-of album? That’s impossible.' But because it came after 'DOGMA,' it made sense. 'Oh, I kind of want to listen to that,' you know (laughs)."

■ Interviewer: Your body must have been craving it (laughs).

Kai: "Exactly. The reason 'NINTH' took this shape is because it came after such a conceptual project."

■ Interviewer: The GazettE is a band that does what they like freely at any given moment.

Kai: "Yes, that’s the main principle. Basically, no one wants to do things they don’t like. I think all artists share that at a fundamental level."

■ Interviewer: Releasing 'NINTH' now and looking back at the flow of everything so far, it feels like the essence of this band has become clearer than ever.

Kai: "In that sense, this album should be very easy for fans to embrace. I hope they listen to it without any preconceived notions."

■ Interviewer: Moreover, I think people who have only had a vague impression of the GazettE until now might also take this opportunity to get to know them through this work.

Kai: "Yes, I think so too. When you look at the artwork of this album, you can feel the atmosphere and imagine various things. While it retains that GazettE-like essence, I hope people can listen to 'NINTH' with a fresh perspective, free from preconceived notions, and feel it as the latest album from the GazettE."

#the gazette #ninth #interview translations #ninth reference book #babylon

46 notes · View notes

greenerteacups · 8 months

Note

Hi! Just wanted to say the latest chapter is lovely & amazing & sweet & had me smiling the whole time! I absolutely love your characterisation of everyone, especially Draco, so it was so so lovely to return to this world & to his thoughts!! with his best friend and crush at malfoy manor no less! All the yearning is already off to a great start hehe I am so excited for the rest of book 5!

Wanted to ask you how has it been for you to write this new book and volume? Has your writing process changed since when you’d first begun taking on a long form project like this?

& also are there any moments or surprises in this book that you’re especially excited about?

sending so much love & gratitude for you and your incredible works 💓

Thank you so much! This is really encouraging, I so appreciate it.

Inasmuch as I can use this metaphor without having kids myself, I sort of see each of the books as a different child. The first one flew out in basically a few weeks of very intensive writing, and it was a total dream — plot, pacing, symbolism, major beats, all fell into place basically without effort. The character stuff was the hardest, as I've written about before, but even then, the glorious part of writing beginnings is it's the most energy you'll ever have for a project, so the lows were pretty soft lows. Book 2, in contrast, I had to drag kicking and screaming by its ankle from under the bottommost mattress of my brain. It's one of my least favorite books (tone problem; COS has killer plot/setting/ingredients for a YA novel, but it's stuck in the doldrums of Harry Potter's well-documented Early-Installment Weirdness, before Cedric Diggory slams the gas and upshifts the whole series into its correct age bracket). More specifically, once I'd gone through and picked out everything in the book that happened because of Lucius, I didn't have a plot — hey alexa how do you rewrite Chamber of Secrets when We Got No Fucking Chamber Of Secrets — and oh by the way, even if you want to do a moody tone/political setup book, remember that your protagonists are still twelve, so if you go too dark or too intense, you'll risk torpedoing your readers' suspension of disbelief. Good luck, Charlie.

Book 3 felt the most like its own novel, if that makes sense? It's the last truly feel-good book of the series; it's a great stand-alone mystery novel with relatively low stakes. Plus you get a bunch of the big series icons: patronuses, dementors, werewolves, Hogsmeade, the Marauders' Map, and time turners arithmancy. It just felt like a good old-fashioned motherfucking romp of a mystery/adventure story, before any of the complex character work and major stakes of the late books come in.

Book 4 was the most fun I've had writing anything maybe ever. I don't even know what it was. Maybe the tournament arc, honestly? Love me a tournament arc. But in any case, I opened every new chapter feeling a tingle of excitement for what I was gonna get to do. Oh, and the romance started, finally, Jesus God (if it feels like a slow burn reading, just imagine what it felt like writing it, when everything takes ten times as long, and you have to figure out how to word the fucker.)

Book 5, in contrast, has felt much less like that tingle of "here we go!" and more like "oh, man, this is gonna be cool." Because this is the arc of the story that composed the original idea for Lionheart, literally years ago, and to be honest, I didn't think I'd get this far! If you'd asked me "do you know that it's going to take you 500,000 words of backstory before you can start writing that concept you're thinking about, and you're going to do it anyway?" I would have said: "absolutely not, strange mind-reader!" But like... I'm here! Finally! And it's... real now? Like, this isn't just a bunch of clips of scenes in my head anymore! That's rad!

That being said, it's definitely been slower than Book 4, because I kept switching back to my outline document to make sure that certain things were set up properly, and that I hadn't lost any of the plot threads or forgotten a minor beat that was vitally important for the story three chapters later. And I had a minor crisis about three months ago when I ripped out about 8 chapters in the first third of the book — basically everything from September to December — because I'd done a readthrough to check pacing (big mistake! never edit while drafting, that's satan talking) and realized I had a missing storyline. Like, there was a whole layer of the story that was just. Missing. Not there. And the existing text really couldn't fit another thread, so instead of taking weeks to pore through and try to sift out what I could save, I needed to factory reset and start over. And I didn't want to! I vividly remember sitting there with my head in my hands, trying not to weep, because I'd decimated 90,000 words of work in a single edit. But it had to be done. Because the story wasn't going to work. And now (hopefully) it will.

And of course, there's still that sense of excitement and exhilaration from before. Always. But whereas Book 4 felt like a delicious chocolate pudding, Book 5 is a medium-rare steak.

(Book 6, so far, is four shots of espresso and a whiskey chaser. FWIW.)

#greenteacup asks #lionheart #lionheart spoilers #dramione

72 notes · View notes

ancientgreekyuri · 10 months

Text

Today marks three years of Dianthus existing! I made my first concept sketches for her on 11/20/23 💖 this also means it's been three years of Diathesterius! I sometimes use the date I uploaded Dia to toyhouse, the 21st, as the anniversary date just in case I'm late... but I managed to finish colouring this <3 I had actually wanted to do something for this earlier in the month, I even made some very elaborate plans for it... but it ended up not happening! Which is okay 💞 but I still wanted to draw a little wedding piece... so I did! I'll make something fancier when I have more time later on... 💝 I used my own handwriting here for authenticity, but at some point... I'd like to be able to rewrite in Greek for More authenticity <3 Uncropped version (and long rambling post) under the cut 💕 I get a little Vulnerable so don't read it if you're gonna be mean or else I'll like Get You or something

I've made posts in the past talking about why Theseus and Asterius mean so much to me, but I don't think I've made one on why Dianthus herself means so much to me.. so for her own third year anniversary, I'll do that here! before I begin...! the fruit in dia's hair here are from the strawberry tree, arbutus unedo. I associate the tree and its fruit with Theseus but... it's honestly been so long, I don't remember exactly why! Just that, for some reason, I imagine thathis childhood home had a tree of these fruit blossoming just outside his mother's room, and thus he has fond memories of it. Lady Dianthus... she who loves all things pink, actively hates celery, and still has a job at the library despite being so fogetful and clumsy... she who met Theseus and immediately became obsessed because it was the first interesting thing to happen to her- not a parent or someone she's close to, but herself! her first time feeling as if she had a true purpose. She who didn't understand Theseus' obsession with Asterius until meeting he Minotaur, and promptly decided "he's not scary? he's not scary at all! he's just a cow!" I've made sona and the likes before Dia of course, but she was the first in a long time who was truly meant to resemble me in all ways (except for the setting, of course...). I made her design simple so I would easily be able to redraw her, and gave her one of my favourite palettes pink and green and cream and gold. At first I really didn't expect to get that attached to her... I went months without drawing her after her initial creation. but the more I drew her the more I realized how much fun I was having with her...! It's funny looking back on it... originally I had a much more comedic idea for her story, and di not intend to ship her with Theseus in any serious way. It was going to be a completely one-sided love (with Dianthus taking the role of "crazed fangirl" - which she still is, in a way). I'm sure it isn't a surprise but it didn't take me long at all to start drawing ship art of them, creating artworks and writing of Theseus and Asterius was a self indulgent joy for me, so why not selfship art too? I ended up invested, of course. Using Dia I put a lot of my own feelings into a story; a sense of otherness, her loneliness, feeling lost and out of place. I had removed it later on because I felt uneasy with how vulnerable it was, but at one put I had placed one of the most traumatic events of my life into Dia's story- sometimes I think about adding it back, because I know giving her an oppurtunity to open up about it with her beloveds would be something beneficial to Me irl(!). But that's besides the point here... she's a stubborn girl, sweet but arrogant is my usual go-to descriptor for her; that's how I think of myself too, just based on what I've been told (I have a hard time thinking of myself as nice, though others always say so to me...). That may be part of why I tend to look for those features in (fictional!) lovers... something feels good to me about being able to butt heads due to this shared traits, but still coming together and making amends despite it. I do think it's a little funny that the sonas I've gotten the most attached to so far- Dianthus, and now Nerine- have some sort of theme of death with them. Dianthus is literally a ghost, and Nerine is metaphorically one (and maybe liteally, if I ever make up my mind...). Maybe that's just fitting for me, though... hmm... I'm not sure what else I want to say here... I think of Dianthus as "Me but in Hades Game / Ancient Greek context." Of course some events that happen in her life didn't happen to me, or, sometimes, I dramatize it (Dia's mother leaving her and her father to become the wife of a god was inspired by the fact that for the first few yers of my life, my parents were separated... but they always had a positive relationship with one another! Unlike Dia's parents), but she's become a big par

t of me all the same. Just as I am happy and hoping to spend many more years with Theseus and Asterius, I hope to spend many more years with her as well. i think that's all I'll write for now <3 if you read this thank you for being curious enough about me to be interested in all this 😭

btw, here's the first ever post of her... (yes thats my priv </3 i briefly unlocked it to search for this... don't try and follow me over there though it's crazy over there)

#🖼️ manuscripts #🌺👑🐂 love in idleness #@ this site. let me post!!! let me post this!!!!!

92 notes · View notes

st4rbe0m · 2 months

Text

SUMMARY ▸ 20 years ago, a gruesome murder shook the town hard. A type of murder that should've never happen, much less in their quaint town. A lovely family killed in cold blood by an unforgiving axe wielding maniac - a mother, a father and a little girl. It's been 20 years down the road, hasn't it? Then why are these 10 teenagers stuck in a loop of the same day, being haunted by a little girl who died 20 years ago?

PAIRING ▸ Park Jongseong (Jay) x fem!reader ; additional pairings between characters as well , multi chapter story

TAG LIST ▸ open!! send an ask to be added

WC ▸ 3.1K

A/N ▸ new chapter anyone who reblogs one million hugs and kisses btw. looped moonstruck while writing this chapter. ALSO beach episode coming next chapter 😈

WOULD YOU LIKE TO CONTINUE THE BODY SEARCH ?

▊ yes -> CHAPTER 5

▊ no -> CHAPTER 3

BODY SEARCH MASTERLIST

“Yang Jungwon, you’re so dead.”

This was the last sentence that Nishimura Riki uttered before he was brutally mauled to death by a stray sports cart being pushed by the bloodied hands of a deadly little girl.

10 hours before this, under the protective shade of the umbrella of their cafe table, were sat Uchinaga Aeri, Ning Yizhuo, and Y/N Y/L/N, each digging into their chosen sorbets and ice creams. It was Giselle’s idea, who insisted that building a friendship within these dire times was not a bad idea. Friendship was a strange concept to Y/N - simply because she had never been able to experience it fully. As fleeting it was in her childhood, it became non-existent in her teenage years. Honestly, if she thought about it - the last, true friend she had might be Jay himself, and that was when they were about 11 years old. Before middle school pulled them apart like magnet poles. And that was what she was in the midst of explaining to NingNing and Giselle, who felt pangs of guilt growing stronger in their heart as they heard her story.

“It’s not that I even did anything bad, you know. I suppose that’s what made the whole situation disheartening for me. It was just one day that I had missed the school swim meet, and then a week after that because of a very nasty cold I had caught. But I guess my best friend at that time, Lee Naeun, decided it was the end of the road for us. Because when I returned to school after my break, everyone avoided me like the plague. Turns out, Naeun had told everyone the reason why I had skipped the meet because I loathed everyone, and that I’d told her everyday that I wished the very worst on our classmates. It didn’t help that I was already a very shy person. And she took advantage of that, I suppose. She knew I’d never be able to defend myself.”

Looking up from where she’d kept her head bent down, staring woefully into her sorbet while recounting her sob story, she met the eyes of both NingNing and Giselle, expecting the look of pity she’d been expecting. The sad, sad story of the school freak. Instead, she was surprised to see both wearing the same look of sadness, with Giselle even having a little mist in her eyes. Shocked by this slightly unexpected reaction, she opened her mouth again but this time the both spoke, clamoring with apologies. “I had no idea, Y/N. I’m so, so sorry. Even if there was no way of me knowing, I shouldn’t have believed the baseless gossip of the school as class president”, NingNing apologized shamefully. Giselle too, was heavy with regrets, and she clasped Y/N’s hand tightly as she spoke her own sorry’s. The heartfelt sorrows, as well as the loving and gentle touches and looks the two gave Y/N made her feel an ache in her - like something missing was suddenly returning to her. Something that she’d craved more than anything coming back to fix the pieces of her broken heart, the glue she needed. And it made her feel absolutely elated, to the point where small giggles began leaving her mouth, growing into full fledged laughter, which broke the trance NingNing and Giselle were under. Seeing her reaction, the pair began laughing themselves, and for a moment they could pretend to be normal teenagers again. Teenagers who weren’t playing death’s game every night.

“Jungwon, let me be frank dude. What’s your deal?”asked Riki, nonchalant about how loaded his question was as he stuffed fries into his mouth, ignorant of Sunoo’s widening eyes or the stern glare Jay gave him. After seeing how his girlfriend had abandoned him at lunch to have a girls hangout, Heesung decided to ask the boys to join him for one of his own - for the power of friendship and stuff. Totally not because he missed his girlfriend.

Jungwon, however, didn’t seem perturbed by the question at all, sporting a smile instead. “Well, you know how people peak in highschool, and some people become rich and own mansions and cars? Let’s just say, the guys who’ve made such a mark of my reputation won’t be laughing when they’re washing my sports cars.”

His confident, albeit cocky and slightly goofy response had Jake choking on his milkshake and Sunghoon giving an amused smile as he continued to munch on his chicken tenders. “Leave Jungwon, let’s talk about something more important. Like how these three genuinely ordered off the kids’ menu. When Jay mentioned it, I thought he was kidding.”, said Sunoo with a sip of his own root beer, gesturing on the Dumb, Dumber and Dumbest - Jay, Sunghoon and Jake, the same order they were sitting in at the diner booth. “What’s wrong with the kids menu? Better food at half price, it’s a fucking steal”, said a pouty Jake as he made a deal out of eating his cheese fries. “Honestly, I didn’t think Sunghoon would be as bad as you guys. I always thought he was a serious guy.” This had the other two speaking up together, both ready with several examples of Sunghoon’s rather stupid moments. “Hey, hey, he didn’t ask for a testimony!”. “So are you back to school for good, then?”. Another loaded question, that had Sunghoon furrowing his brows. “Yeah, I am”, he said after a moment’s pause, looking directly into the eyes of his two best friends, who returned grateful smiles of their own. “Let’s leave the sentimental stuff and talk about what’s more important, like Lee Heesung, how did you, a loser, manage to pull Giselle?”, asked a teasing Jake, and thus began another round of bickering.

“I’m serious, I don’t like Jay!”, laughed NingNing, when she saw the unconvinced faces of Y/N and Giselle. “B-but you’ve attended all the practices! And you’ve been close to him for a while now, haven’t you?” spluttered a perturbed Giselle, who fancied herself quite the cupid. “Well, I have been attending practices and gotten close to him. Just not for the reason you all thought it to be.” “Then what? Is it someone else on the team you’re interested in?”, asked Y/N. When NingNing gave no reply, Y/N and Giselle broke into huge grins as they nudged the other girl who was smarting reddened ears and a docile smile. “You guys have to promise me this stays a girls’ secret, alright? No telling Heesung, okay Gi?”, said NingNing in a rather hushed tone. Moving their heads closer to hear NingNing better, and Giselle promising to keep the secret safe even from her boyfriend, NingNing hesitated for a bit before the name tumbled out of her mouth. “Park Sunghoon. I was attending their practice matches to see if he’d show. And I got close to Jay to ask him about how Sunghoon was doing. It’s not everyday your crush starts barely attending school and starts ignoring everyone. But I’m glad he’s back now.” said a shy NingNing, immediately covering her face to hide her furiously blushing cheeks. “Ayye, I’m sure you’re glad. Now if that little weirdo comes after you, you always have your Ice Prince to save you, don’t you?”, Giselle’s joke making Y/N laugh out loud and leaving NingNing in a mess, smacking Giselle’s arm in embarrassment.

“Jay, come off it. Everyone sees the heart eyes you manage to make even in a life or death situation at Y/N.”, Heesung countered to the flustered Jay, who’s strawberry red ears weren’t helping his case at all. “Wait, dude what about Ning?” asked Jake, the name making Sunghoon pop his head out and ask, “Jay has a thing with NingNing?”. Sighing, with a self-important smirk, Heesung leaned back into the peachy orange seats of the diner to just say, “Oh you kids, just starting out with love, so unaware of your own feelings”, which just resulted with Jay chucking the crumpled plastic wrapper of a straw at his face.

“Wait! This is brilliant Y/N!”, said an excited Giselle who turned to Y/N with hopeful eyes. “What?” “Well, now you and Jay can get together freely without any complications!”. This just made Y/N bite down a bit harshly into her sorbet accidentally, and rubbing her upper lip, she feigned ignorance as she asked, “What do you mean?”. “Oh come on, there’s no way you both don’t have something going on! He protects you and follows you around like a guard dog. It’s always ‘Y/N did this’ ‘Y/N be careful’ and ‘Y/N stay in my arms and be safe with me forever’”, which made Y/N smack Giselle over the table this time, looking to NingNing for any support, who just looked at the exchange with amusement and knowing. “Ning, don’t tell me you think this too?”, asked Y/N. “Well..” “Oh, you guys!”

“Yeah, we knew each other as kids. Best friends in kindergarten, if that’s anything?”, said Jay who had been pressured by the rest of the group to spill his history. “Then I drifted apart from her, kinda. With basketball and whatnot”, Jay shamefully mumbled the last part, regretfully leaving behind his childhood friend obviously. “Well, she grew into her lonesome after that, didn’t she?”, asked Sunoo. “Yeah, but she shouldn’t have had to. I should’ve done something”, huffed out Jay, as he slumped in his seat. “Despite”, added Jungwon, “she’s been kind. She’s been kind to me when I’ve been picked on. I’ve seen her help the aging old librarian during lunch and offer him some of her leftover lunch.” Hearing about Y/N made Jay break into an unknowing grin, and the rest of the boys noticed this almost immediately, smiling knowingly within themselves.

“Back when we were 11, our families went to an amusement water park. He sort of saved my life that day.” After cracking open to the girls about her crush on Jay, Y/N was in the midst of explaining when she realized she liked him. “Wait, so you’ve liked him that long?”, asked NingNing, surprised by the length of this ongoing infatuation. “Well, yes. There was this slide and there was a negligent lifeguard there. Honestly, I don’t remember much of it. I remember the guard almost hurt me in the water, and Jay had managed to find me and bring me away from the guard to my family.” “That’s really strange, why would a lifeguard hurt you?”, asked Giselle. “Yeah, honestly I don’t remember much. I don’t even know if he was a worker there or just some dangerous man who had slipped in unnoticed into the waterpark.” “Wait, so that means you guys are childhood sweethearts! Ah, how exciting!”, squealed a delighted NingNing, and as the topic of crushed changed courses to school to the future to just simple discussions, the next 3 hours were spent in merriment. Not only the girls, but even the boys could feel the time fly away like feathers with the way they all bonded.

That was 10 hours ago. 10 hours after the smiling and teasing and jokes, standing in the empty broadcast room of their deserted school was Yang Jungwon, shuffling between CDs the music department had kept, all of them being either hymns or instructions. Finally, he managed to pull out a CD, the cover art faded away into almost nothing, but based on what it was, it seemed to be some sort of rock and roll music. Plugging it into the CD player and cranking up the speakers with no time to spare, Jungwon spoke into the mic, feedback whining as he yelled into the mic, “Are we freaking ready, gang? Let’s rock it”. He was sure his friends were laughing or groaning at his corniness, but he wouldn’t have had it any other way. Because it was the first time he was using the word friends in a sentence referring to himself.

Riki and Y/N are in the sports room, and they’d made a sort of obstacle course out of the sports carts and the equipment. On the other side of the room were Sunghoon and NingNing, holding tennis racquets, ready to play offense. The group’s incentive for this night was the ground floor, and stationed in all the important rooms were members of their little crew - ready with every nuisance they could come up with to distract the little girl. The cherry on top, was what Giselle had provided them just before they began.

“I remember the AV club’s president, my cousin, had mentioned something about walkie-talkies being somewhere in the school. So I, the great Uchinaga Giselle, have taken the liberty to find them and provide them to you all”, she said, as she dumped some possibly decade old walkie-talkies on the table, hands reaching out to grab one each, thanking Giselle or praising her for her quick thinking.

Jungwon’s music choice was obnoxious, is what Riki thought when he saw the girl appear, her white fangs glinting in the light of the room. And immediately, the team sprung into action. Y/N, Sunghoon and Riki ready to combat the girl while NingNing frantically searched the room for any missing body parts. Though the girl seemed to possess immaculate speed and inhumane strength, the group managed to stall her long enough for NingNing to find a severed leg, and run like the wind away from the room, screaming into the walkie talkie of her discovery. And as the girl rammed the sports cart into Riki’s head last after stringing Y/N’s body, split in half by the ropes, and Sunghoon’s lifeless body laid out unceremoniously on the basketball court, they were glad about one thing - she was going down just as planned.

“Ground floor, complete” Jay was putting X marks on all the rooms covered. Till now, the gang had uncovered the left forearm and the right foreleg. The rest of the parts were going to be concealed better no doubt. But they had a good feeling about this one. “Jungwon, I’m begging you man. Play better music. Just because we’re killing that insane ghost doesn’t mean you have to kill us with bad music”, groaned Jake. “Oh, I’m sorry, but would you rather listen to Christmas hymns? Because that’s what the school has” “It’s better than the nonsense you’re playing. The singer honestly sounds like a divorced alcoholic countryman.”, said Sunoo.

The group parted ways, deciding to go their separate ways for a bit, Giselle and Heesung giggling as they went off to the park, and Jungwon, Jake and Riki in a heated discussion about their favorite shows and movies. Moving away from the table was Y/N as well, until a hand around her wrist stopped her. Turning around to see who it was, her pupils widened as she stared right into the chocolate brown of the one and only Jay. “Stick with me tonight, alright? I don’t want to see you strung up like a puppet again.” His tone may have been lighthearted, but the worry in the crease of his brow gave away his seriousness. “Sure Jay, thank you.”, said a beaming Y/N, absolutely over the moon with the way this was going. Sensing the end of her luck with him, she was ready to pull away, when she found that Jay was still clutching her hand, and was striding forward confidently, his hands dipping as his fingers folded themselves around the gaps of your own. Holding her hand in possibly the smoothest way possible, and throwing a charming smile her way that had a million butterflies erupt immediately in her gut, he asked, “Drop you to class?”. And only a fool would give up this offer. Shy smiles and intertwined fingers, the two went up to the class, both opting for the longer route unknowingly.

“So, Y/N”, said Jay casually. “So, Jay”. The hand holding was still going unaddressed between the two, but it was better that way. Some things were left better off on their own, to linger in the air that seemed charged around both of them. Brushing a strand of her hair that had seemed to fall on to her forehead, looking at his face it was obvious he was struggling to say something. “You can say what you’re planning to say Jay”, said a teasing Y/N. Sombrely, he looked at Y/N, only hoping that the hand he was holding on to that made his arm feel like lead in nervous jitters, would stay when he was done. “I’m sorry.” “For what?”, asked Y/N simply, tilting her head slightly in confusion. “For not being a good friend. For leaving you behind. For not keeping in touch.” It seemed like the boy was not going to run out of reasons to apologize any time soon, and Y/N with a surge of boldness simply placed a finger of her free hand against the plush of his lips which were mid-movement, amused as she peered at his face. “Jay. It’s absolutely alright. My circumstances were not your fault at all, and I could have made an effort to reach out as well.” “But-” “No buts. I don’t blame you. And honestly, this whole game? It’s just made me more over the whole thing before.”. Smiling softly, she added another reassurance, just a little leap of faith. “Jay, you’ll always be the boy who saved me at the amusement park, alright? My knight in shining armor rather.” And with that simple statement, she dropped the finger on his lips and tugged the slightly stunned Jay along, both of them making their way down the hall with burning cheeks and fighting grins.

40 notes · View notes

femslashfeb · 8 months

Text

HELLO ALL

TLDR

No reblogging from the blog this year - posting prompts tomorrow the 31st

For the past few years I've very much struggled with reblogging everyone's activity in the tag. So this year I will not be doing so.

(OR maybe I will? I just don't want to commit)

Even if I knew how to make a bot that reblogs - a lot of people still use the unique tag to tag outside challenges. So I've always had to hand submit. However it became too stressful for me and for the past few years I ended up avoiding it until later weeks or even months.

If you noticed I didn't finish reblogging last year so- I've just given up on that.

Honestly I've struggled a lot with depression for the last 7 years or so. It's been harder and harder to find my way back to tumblr. It doesn't help that my phone can barely handle the amount of apps it already has.

My main account @puff-pink hardly ever updates because of my big sad. And I don't know if I'll ever get back on the horse in the same way I did before.

Some of you know me as an artist, and tho I still churn out subpar art for my day-job I've struggled a lot to make art for myself during my depression. Partially because one year I overworked my hand - and still deal in continual wrist aches. Even the weeks I don't pick up a drawing tool.

I intended this challenge for myself and maybe the small fandoms I was in at the time. But it took off among writers and creators of all types across all fandoms.

One year I even tried to tally the most popular fandoms but there were honestly too many to keep track of- and I stopped after the first three pages of submissions.

I don't claim to have invented the concept of FemSlash February. Before I started the prompts I swear I had heard the phrase somewhere. Tho not sure where. Perhaps it had been amongst my friends on Skype. Back when I had online friends and Skype(I'm still not sold on Discord🤷‍♀️).

However that January I thought it would be fun to partake in a challenge of some kind. But scouring tumblr and the general internet. I could only find half hearted efforts on fanfiction sites from years past.

I'm so proud of all my Sapphic creators on here that have partaken every year. Even if I've never shown favoritism or awarded anyone. I do notice those that actually complete the challenge AND those that keep coming back each year(looking at you H20 writer(I don't remember your username but there's a mermaid writer that's a writing machine)). I truly am proud of you especially in my shriveled state of creativity. Thank you for your efforts. For your hype. And for your love of women of all kinds across all the universes.

Each year I'm surprised to find even more categories I never thought to include. From mood boards, to doll photography, to ofc the classic art and writing. May your pencils forever be in union with your sister mediums.

On that note. There is a strict NO AI GENERATED ART or writing this year.

Not that I could physically stop anyone who does use AI. But I do not want that sort of thing associated with this challenge. It's become scarily good in 2023 to the point it can't always be identified. So I simply ask for the honor system when it comes to AI generated creations.

That being said. If you've made it to the end of this post:

Prompts will be posted tomorrow.

I usually prefer to give yall more of a buffer, but I've been busy. Both with Big Sad, rescuing some feral cats, my own life, errands, chores and work.

If you're still here- here is a preview of the first three days.

FEB 1 - black

FEB 2 - spring

FEB 3 - cake

The 14th as usual will be some sort of Valentine romance type theme(haven't decided specifically yet) and as always there will be a Rest Day.

Expect some repeat prompts. In the past I tried to avoid them but idc anymore.

It's also a Leap Year this year so expect one extra prompt to throw off the symmetry of what's normally 28 days.

Thanks for coming back this year. And thank you to those that still check on this blog.

❤️🧡🤍💜🩷

Keep loving girls

-PuffPink

#femslashfeb #femslash february #femslashfeb2024 #lesbian

55 notes · View notes

mashiraostail · 9 months

Note

Hi there, I was wondering if you would write some vlad, Kugo, and hound dog x fem reader with nipple piercings and how you think the guys would feel abt them, if they like them or not and if they play with their nipples more because of it I love your writing btw 🖤

I'm gonna start going through old asks but feel free to send new ones! I have mine done and they certainly slay. I did also spend the past two years getting crazy body mods and making myself unemployable hehehe idk what this phD is even for because I'm big time tatted up.

I wanted to start with my best boys (esp Kugo :3) and some headcanons. I've been rewatching the show which is what made me think abt and miss the blog a little. Idk if the demand for MHA content is still there so I'll probably make an updated post with other shows and media I enjoy (big Bauldr's gate rn!!! yall already KNOW who it is.) NSFW under the cut!

Vlad: *I think he would be the least surprised upon noticing them. He's maybe seen them on other partners, or just is familiar with the concept. *the first time he notices them through your shirt probably went something like this: You're fresh out of the shower, pajamas sticking to your still damp skin as you pop into the kitchen for a drink. The relationship is new, and he's still in awe of you. He's always eyeing you in an appreciative way, especially when you're freshly showered, his eyes climb up your exposed legs shimmering from your body lotion, to your stomach and waist, and of course to your chest. Usually they'll slide up to your shoulders and linger on your neck and the cut of your jaw, but today they stop. Your shirt was smaller than usual, and of course it complimented your chest but there was something else. "What?" You pull the bottle of water away from your lips, "do I have toothpaste on me?" "No." He shakes his head, "no you don't." You cap the bottle and shrug, starting to walk by him, "I'm gonna go watch the-" Before you can get by him he grabs you by your arm, "what is that?" He's looking at your chest again. "My boobs-" "No I know." He looks up at your face, "are those your-" "Oh yea. I guess you've never seen them like this before huh? You can see them through a tight shirt." He's blinking, he's taking it in. All you can do is laugh, "go ahead." "No I'm an adult. I don't need to squeeze-" "It's fine, go ahead." You bridge the short gap between your lips and kiss him, holding him by his jaw and pressing the full weight of your body against his. After the fact he might be slightly apologetic for getting worked up so easily. *H's probably the most delighted by them too. I feel like he's just a horny guy, he's easily worked up, his brain always goes right to the wrong place. *Wearing a baby tee with no bra underneath so he can see them prominently will drive him up a wall. *He might get used to it with time, but all you have to do to hook him in is lean over the table at him, get him to look a little too long and he'll be bent at your will. *He loves them, he loves when you change the jewelry, colorful rhinestones, short chains, or captive hoops are all equally enticing to him. Red is his favorite on you though. *He'll lavish them with attention in bed, especially when he's going down on you, one of his hands is always occupied. If you're especially sensitive you'll need to tell him. *He likes to use his mouth too, the metallic taste on his tongue paired with the taste of your skin is a huge turn on for him.

_________

Kugo: *Most perplexed. He's probably not encountered them before. Show him the ropes, let him know they help rather than hurt and he'll be good. The first time he sees them he's going to have a lot of questions: Honestly, getting into a car and going home with Gang Orca was not necessarily in your plans for the evening. If anyone asked Kugo, taking home a random reporter was also not like him at all, in fact he had never done it. Maybe it wasn't fair to call you random, he had your phone number, you'd met before, you even had a friendly and slightly flirtatious banter. Maybe you had been sending him signals all along, maybe he had failed to pick them up, until now. He doesn't even get the chance to ask you if you're sure about this, if you want to sleep with him, if you'd been hinting at that this whole time, because you're straight to business as soon as his front door closes, climbing him like a tree. He guesses you were sure. Your excitement was contagious, you were handsy and giggly tugging him further into his home. You end up ontop of him, stopping your assault of kisses to sit up around his waist, "hey are you sure you want to..." You trail off, hands at the hem of your shirt, "I won't be offended, I was probably coming on so strong this whole time." You laugh a little but Kugo shakes his head, "take off your shirt." Your sweater flys off, something about the fact you've been bare skinned under that sweater all night makes his stomach warm with arousal. His eyes catch two shiny, metallic adornments. He reaches up instinctively to touch them. One hand still holding your waist. Your gasp makes him pull back. "Sorry does it-" "No it doesn't hurt." You catch his hand before he can pull it away any more, "the opposite." He spends most of your first sexual encounter fixated on them, licking, brushing his fingers over them, squeezing and so on, but you don't mind. *That being said he'll grow to love them as well. *Especially enjoys seeing you touch them in bed. *If you're riding him he won't be able to keep his hands off though. *Doesn't have a preference for jewelry, but if you ask him to pick you out something he'd secretly be delighted, he'd probably pick a barbell with some small charms on the ends, maybe hearts. *Lowkey already a huge boob guy so they just draw more attention to what he likes!

______

Hound Dog: *Mostly indifferent, doesn't get the point. *Until you're fucking, then he gets the point, then he likes them. A lot. *He doesn't avoid them during sex but he doesn't give them special attention either until one specific night: You're in missionary below him, his hands are holding onto your waist as his pace increases from dizzying to bruising. He likes to watch your face, your furrowed brows and the way you draw your lips between your teeth drive him nuts, it's almost impossible to get his eyes off. He'll let his gazy flicker downwards though, he likes your body almost as much as he likes your face, seeing the bounce of your stomach or the way your thighs shake is also rewarding for him. Today he stops on your chest though, bouncing to his almost abusive pace the dim light in the room catches on the jewelry, it's tantalizing, begging to be touched. When he ducks his head down to roll his tongue over one the moan you let out and the way you say his name would have probably made him cream his pants honestly, and the cherry on top is the way you hold the back of his head, practically burying him in your chest. Safe to say he gets the appeal after. *Lowkey likes rings better than barbells, he'll start to gently tug them, enjoying the way it makes you buzz. *Likes to pick jewelry out for you, for all your piercings, wants them all to match!

#bnha hc #bnha x reader #kugo sakamata #kugo sakamata x reader #vlad king hc #vlad king x reader #kan sekijiro x reader #ryo inui x reader #ryo inui

60 notes · View notes

remimibanana · 2 months

Text

A bit about Shattered!

I wrote a story about Robin and Sunday!

It's about what may have happened during their past, their present and what the reality during and after the never ending dream held for them.

You can find it here!

I wanted to write a bit about my thought process behind writing this, since I have a lot to say and it might interest some people! I also didn’t want to make my notes section way too long and make it hard to leave a comment or kudos.

All under the cut!

Conception

I started writing this story after 2.2 released, but I didn’t finish it until now. It took me so long but it’s finally here! 30k wasn't the amount I expecting but I am all for it.

It originally was meant to be a love letter to 2.2, but it soon became a love letter to Penacony as a whole since there’s spoilers for everything. I had to rewatch the quests often to make sure I didn’t mess up the lore.

I remember I spent a whole day on the 2.2 quest, a Thursday where I sat down on my phone reading through the dialogue and playing the game while wondering when it was going to actually end at one point.

It was way longer than I expected, but I cried by the end of it all while pacing around the kitchen like a crazy person. Seeing Robin jump for Sunday as he fell, I couldn’t help but tear up. It made me love Robin and Sunday way more than I did before!

It was an incredible quest. It was worth all the hours I poured into it, thanking everything that no one was home when I let out noises and screams like a maniac in the kitchen out of all places. I'm a very expressive person.

I also jumped like a maniac when Acheron said Mei, or Yayi since I play with the CN dub! I love Honkai Impact 3rd a lot, if you didn’t know. I mean, everyone knew beforehand but it felt super validating for it to be explicitly said.

I knew immediately that I had to write something for this wonderful story. I’m always inspired to write after a quest, especially one like this. Shaoji cooked with Penacony and he needs to come back and write more for Star Rail.

I had to write Robin and Sunday, because there was so much I could write regarding these two doomed siblings. I did alternating point of views with both of them, as I wanted to tell both their stories.

I also knew that I wanted angst to the max, especially after hearing what the heck Robin went through and the fact that the game barely touched on anything in her point of view. This is the same case with Sunday.

I’m sorry for the pain I have inflicted on you all! I will write a happy story at some point, I promise you. Then again, I've said this before and I still manage to write angst…

There wasn’t much planning for this, aside from a few things from the quest that I wanted to write into it and use…and yet it looks like I’ve meticulously planned it all out doesn’t it?

I amaze myself sometimes. I quite literally surprised myself actually at times, I made stuff connect and I didn’t mean to really. Is this what they call being a genius?

Let’s take it from the top!

The Past

The first thing I knew I wanted to write was how Robin was shot in the neck.

That sounds terrible, damn. I don’t know how else to word it, I’m sorry!

It was mentioned by Sunday so briefly, and then never brought up again by anyone which is insane to me like what do you mean that Robin was shot in the neck in a war she went into?!

We got to see how he was informed by the Dreammaster about it after showing Robin’s letter and how he was going to pack his bags immediately for Kasbelina-VIII but that was honestly it. This gave me the perfect base to write my rendition of how it all happened.

I structured this part by writing out two letters, the one that Robin sent to Sunday and one that Sunday would have written back if he received it first. I then wrote the actual happenings underneath each paragraph that contradict the letters.

My goal was to make this as interesting as I could since it’s the first thing you read in my story. I needed to hook you all in, and keep you wanting to read on until the end.

There is a lot of story building here, describing the conditions of Kasbelina-VIII and some of the messed up stuff that is happening there. It’s rather realistic, because I wanted it to be. If I was going to talk about a war, I would do so properly without downplaying anything.

I first found it strange that Sunday didn’t know about the war at all. I figured, wouldn’t a war be at least broadcasted by the largest government body, the IPC themselves?

That’s when the idea that the IPC was intentionally covering it all up came to me. It seemed like the most logical explanation, and a very interesting one that I could build upon.

Despite Robin’s letter being in her point of view, we see another being shown. The soldiers who she was staying with this whole time, their thoughts regarding the war and Robin herself.

I had to make a reason as to why she would be shot, because she had to be right in the middle of the battlefield for that to happen. If the IPC was covering everything up, they would also stop supporting the poor planet.

These poor soldiers she’s staying with had no new supplies delivered to for weeks, and yet they still gave what they had left to her, showing that there is still kindness in such a horrific situation.

Based of what I could see, Robin wouldn’t let them suffer like this when she learnt about the supply issue by what I assume was on accident generally. I wanted to give the soldiers some character, so I made them lie to her for her sake about how long they didn’t have supplies for.

We have a lot of lying mentioned in this story, since it’s the main premise for both Sunday and Robin. They both lied to each other for the other’s sake, thinking that it was the right thing to do. Lies after lies pile up, and we see what happened when they all came falling down.

I've never been shot before (god forbid) but I tried to imagine how it might have felt for Robin, the way it would make her feel. It did hurt to write this part, the way she still tried to deliver those supplies...the way she belittled herself for lying...

I wanted to make you all suffer, pretty much. That also sounds terrible.

Now, we go into Xipe and THEIR role. The Dreammaster mentioned how Harmony had blessed her by missing her vital arteries, so I made THEM interfere despite the fact THEY usually only observe and watch everything unfold.

THEY said that the bullet was not meant to hit her, but it still did for some reason that eluded them. This was such a major foreshadowing point that doesn't make much sense until later on, I am such a genius for this!

The same case when it is mentioned that someone could try to calculate their reasonings by forsaking their humanity, I was intentionally foreshadowing what Sunday does later on when he tried to.

You seriously would think I planned all this but it sort of came out this way.

Sunday's letter on the other hand, is much more of a character study of himself if anything. I wanted to explore how he would feel about all this, the way he would handle such a situation of his beloved sister being shot.

We know that Sunday uses puppets, but it's never stated why or how he had them in the first place. We can also see how he can manipulate them, making them act out scenes and characters during the time when we are stuck running through those Memory Zones before his boss fight, which I took and built upon the idea.

Sunday is a very complex character, so I made him a little mentally unstable when concerning his sister. The way he lashed out at his puppets, destroying them all over and over while making up scenarios of her shooting in order to cope. He even thinks that a puppet is Robin for a second.

If this is out of character or not, I don’t know. I wanted to give him more character than we see in the actual story, and naturally my thoughts went to this. It is mentioned how much he loves Robin (as a sister obviously), and so I wanted to see how far he would go for his only family left.

I took the concept of Harmony and expanded on it. We can see that Harmony can alter the mind's state, so why not make it so they can control others by altering their thoughts? I often like adding additional powers for the plot that still make sense in the realm of the game.

For Robin, it was mostly subconsciously done. For Sunday, he does it intentionally for his own reasons. Both use Harmony to alter minds without asking if the intended victim wanted it, making them both in the wrong.

We have these whispers present, the choir above that Sunday can hear because of how attuned he is to Harmony, alongside Robin that he rejects often. I don't think this is a thing in game, but I thought it would make everything so much more intriguing!

His distrust in Harmony grows and the rejection started from the first seed of doubt planted by Mr Gopher Wood. I imagine that his manipulation started young, slowly introducing the disharmony into Sunday's ideals.

This whole section quite literally foreshadows the rest of the story, it's great.

The Present

The major part of this story is when Robin is in Sunday's consciousness.

We have no idea what happened to her there, only that they were “put” to sleep. In Ena’s Dream, apparently it is called Tuning that she went through alongside Welt Yang by Sunday, who mentioned that nothing too bad happened to him there.

Then again, apparently it was Jing Yuan who saved Welt from Sunday’s subconscious???? I don’t really know how that works but point is, I had a lot of playing ground for what happens to Robin in there.

Here, we are introduced to the idea of Memory Zones (every time I read this, I think of Mystery Zones from Pokémon Diamond/Pearl/Platinum), areas of Sunday’s subconscious that he made to house his manifestations.

The first zone that Robin enters is incomplete. I imagine that Sunday never prepared for the possibility that Robin would ever enter his mind, so she was thrown into a zone that was quickly conjured up to keep her.

Since Robin too is attuned to Harmony, she can affect the Memory Zone to an extent. The colours you see on the ground is from her own power, as you can tell by the fact it originally came from her every single time it is mentioned.

As to why this is happening, I think it’s more of a subconscious thing once again. Robin doesn’t truly mean to use Harmony here while stuck in a random zone.

She can also hear the whispers, although they are trying to help her unlike Sunday’s ones. This is clearly a major foreshadowing point that you realise later on that these aren’t the same whispers.

We see the Charmony Dove from their childhood flying around and giving Robin a bit of trouble. This was definitely Sunday’s doing, who finally decided what he would do with her.

I wanted Robin to sing here because I thought that it was the best way to calm down the little bird, and symbolize how important her singing is to her and the world around her.

As she keeps saying, it’s the only thing she is good for at the end.

It was Sunday who made the bird fly away like a puppet with feathers, and Robin ran after it. I feel like she’s very selfless, to the point that she would run into a trap knowingly.

A zone just for her.

I knew I wanted to use that story with the Charmony Dove since it’s pretty prominent in 2.2. The Memory Zone she runs into is a replica of the bedroom the siblings stayed in, with the Charmony Dove now in the cage they kept it in.

This bird isn’t the same one as before as you can tell, since this whole zone is Sunday’s memory of how he released the small bird to its death. Robin helps it to fly, but it only shattered its wings when it fell as Sunday explained.

That’s when she learnt that this was all her fault, and we learn why that bullet that wasn’t meant to hit her did back then.

It was karma. They do say that karma’s a bitch, and for Robin, it took form with that bullet. It sounds like I’m quoting Jojo Siwa but I’m not, I swear ;;

Point is, I AM A GENIUS FOR THIS.

I didn’t intent for it but I wrote down that sentence “Perhaps, Robin was shot in the neck because of what she did” and my brain connected the dots immediately with what I wrote with Xipe earlier.

Sunday finally makes an appearance in person. This whole sequence is interesting because we have him hurting Robin, as if she was one of his puppets. I intentionally made it this strange, with Sunday mentioning after that the zone fell out of his control later on.

I described how his arms were out like an overseer, that’s a very obvious reference to Otto Apocalypse from Honkai Impact 3rd.

The lullaby part is from 2.3, where Robin mentioned how Sunday used to sing a lullaby to her when she was restless at night. I thought it would the perfect final blow.

It isn’t Robin in that zone. But it is at the same time. It’s interesting, isn’t it? Would it be too farfetched to say that it was Robin's consciousness who transferred into that puppet? Who knows.

Robin “wakes up” from that Memory Zone, completely nauseous and disoriented from the sheer amount of Harmony, or Order she was subjected to. We saw this with that doctor earlier with only a small amount of it used.

It was too much for her to handle. It was only when Sunday appears again to cut through it all, does she snap out of it out of his sheer grace. What a kind person he is.

We learn that Robin is in a cage. This is the same cage we see in her splash art! I like to try to integrate them into my stories, like I did for one of my previous stories with Black Swan’s one!

The two siblings share a conversation that doesn’t end well, with him leaving her. It was the only logical outcome for our doomed siblings here. I feel bad for them.

The cage breaking and Robin singing is also based on her splash art, as I needed a way for her to escape the cage that made sense to her and the story. I think it signifies how important her singing is to her and how Harmony interacts when she does.

We see Robin running around all the various Memory Zones Sunday has, noting how there are many puppets in them. I was alluding to when we go through those Memory Zones in the Grand Theater where Sunday tells us some stories using his puppets.

In one of them…we find her companion that was forced to sleep alongside her.

WELT YANG IS HERE.

I just wanted to write him since he is one of my favourite characters and I had my chance to finally in a story!

You can probably tell how much I enjoyed writing him based on how long his part is. If you have played Honkai Impact 3rd, or know Welt’s backstory, this is my little treat for you. If Hoyo won't make him do things, I WILL.

I made Welt finally use his powers. He’s the Herrscher of Reason, he has the freaking Star of Eden (the 9th Divine Key itself), AND HE BARELY DOES ANYTHING PLEASE DO SOMETHING I WANT TO SEE—

Ahem.

Making a bench is child’s play for Welt. I thought it would be kind of funny if he did.

Welt is more childish here since he wanted to cheer Robin up, who looked clearly sad. I think he probably used to do something similar with his adoptive son Joey when he was upset. He couldn't help but do so for his companion.

The idea for him making himself have wings like hers is from this one comic I saw on Twitter that lives rent free in my mind. I thought it would be a great way to cheer her up while also using his power more!

(It took me so long to find this, it wasn't funny how much I scrolled)

His wings smack right onto his face rather comedically and I took that from the official emojis where you can see Robin hiding her face. I imagine that younger Halovians struggle with their wings moving around and his wings are practically akin to newborn ones.

The power of Reason.

This is where I had to make things painful. Welt talks about his experience, the memory that Sunday chose to use against him. I was thinking about what would be the best memory, and of course I went for the jugular for that pain factor.

This is where Welt Joyce, the former Herrscher of Reason died in the city he was protecting. This was where Joachim Nokianvirtanen, who we now know as Welt Yang received the Core of Reason, the name Welt and a mission from Welt Joyce, before passing away.

It’s a very important memory to Welt, and one I would see Sunday exploiting. Only those who know of Welt Yang’s story would know that the man he mentioned was Welt Joyce since I intentionally didn't mention his name.

For Welt recreating half of the town, I was spitballing about the energy part. I don’t know if Memoria would be a good substitute for Honkai energy but I’m just rolling with it. Don't quote me on that.

The main role of Welt here is to reassure Robin, give her the will and inspiration to keep going despite everything. She even tells him all about her experiences, a connection between the two already facilitated by simple communication.

I feel like Welt is such a father figure. If only we all had him in our lives.

Reality

Sunday has now merged with Dominicus and has fallen to those whispers above, as the never ending dream is taking form.

The Dreammaster, Mr Gopher Wood himself makes an appearance as his former form. In 2.2, all his ravens die and he is never seen again, making it pretty clear that he's dead. However, I assume that he joined the Dreamscape and is now an entity that can oversee everything.

Dead only physically, as you will.

The Embryo of Philosophy is named by the Dreammaster here, since I was wondering how Sunday was named that during his boss fight, although it could have been from the whispers THEMSELVES. I also made Mr Gopher Wood show his true colours, to show that manipulative side.

There was a reason for this. He didn't want his son to start rebelling or second guessing his choice, so he used Robin as a way to keep him ensnared in his deception. Evil, isn't he?

I honestly think that Sunday knew that he would ascend to Aeonhood, as smart as he is. At least, he would have had an inkling of Gopher Wood’s true intentions.

Those whispers were Ena this whole time inside of Xipe as we learn. If Xipe absorbed Ena, wouldn’t Ena still be there? I think Mr Gopher Wood and Ena were in cahoots, scheming together. Perhaps even more than that (gets hit).

How…how dare he?

How dare he glimpse Heaven’s will? How dare he change people’s fate?

How dare he decide the life and death of other beings?

How dare he represent the will of all beings? How dare he control the greatest secrets and riches of the world itself?

How dare he…hold the fate of the entire world in his hands?

These lines are from HI3, particularly from Chapter 3 of Part 2 but slightly edited. This is what Baiji thinks of his actions to save everyone, and I feel like it also applies to Sunday.

We have many HI3 references here. I couldn’t help myself.

We now go back to Robin's point of view. This is after she awakens from Ena’s dream.

I don’t know if any other people woke up aside from the Astral Express + Acheron, Boothill and Black Swan, but for plots sake, there was. Just some random people we don’t care about.

We have Acheron! I wanted to write her since she played a huge part in Penacony and it would be a shame not to after I read this:

The bloody sacrifice becomes the sweet dreamland. The real world will lose meaning for them, while the eternal dream will become their only reality. They will no longer think with time. Their dreams will be connected, which will create a true miracle that transcends finality.

This is also a treat for the HI3 players. The words here are the words that Raven tells Mei before Project Stigma takes place. I was playing through that chapter at one point and thought that the words fit perfectly for this story.

I rewrote Acheron’s part because I disliked what I had initially. I was writing about Finality and how it was the same as transcending Order but it didn’t fit well so I changed it. I wanted to say how Finality governs time and how it can change reality if you had the authority...but perhaps another time.

As we know, Acheron was the only survivor who defeated End, referring to Kevin Kaslana all by herself without her companions unlike in HI3. I had to mention this and highlight the difference between their cases.

She doesn't show up again in the story, but she also impacts Robin in a way.

Miss Firefly takes the stage!

We have a bit of Robifly because I do ship them and I couldn’t help myself when I had a chance to write an interaction between Robin and Firefly. I wanted something a bit more lighthearted to break between all the angst and pain.

I saw how Firefly mentioned that she can't dream, and so I just wanted Robin to tell her otherwise to cheer her up. She’s following Welt’s lead, being that kind and inspirational person!

I’m sorry for making you the third wheel…

Speaking of him, we have Welt again appear! I couldn’t help myself, I just wanted to write more of him and I felt like Robin would try to seek him out first.

Did you know that it was called a Dream Pool, that bed in the Reverie? I had to rewatch 2.0’s quest because I didn’t remember the name for the life of me.

This time, we have Welt suffering yet again…I'm sorry that I only write you like this. He mentions in 2.3 that he dreamt about returning to his homeland and seeing all his old friends. This poor man, imagine waking up to find that it was all a lie.

The yelling mention was obviously a nod to Tesla who I would imagine yell at him for taking this long to return without a single word.

I hope Welt does get to connect with his homeland eventually, I want to see them or hear them!

We then go into the battle against Sunday! I purposely chose Sunday's point of view here, since we never receive it in the game.

I was rewatching the fight, and noted how sudden the switch from the question Sunday asked to mentioning how it was their final talk felt like it wasn’t him talking anymore, which I made the case here since we have my wonderful whispers.

We learn more about how Sunday felt during this, and what may have happened after their fall. Robin mentioned how she woke up by herself, which could only mean that Sunday left her there.

I think he genuinely was upset by the failure, but most of all…failing Robin. The feather falling down is a reference from how there were feathers flying around when Robin appeared and how the Trailblazer took it into their hands.

It clearly has the power of Harmony, and that’s what Sunday can feel when he holds it tightly. I imagine that he would keep that feather with him, as a reminder of what he lost.

The ending is based off 2.3, where we learn that Sunday is captured and will face trial. I didn’t go into much detail since we really don’t know much about how he was caught.

It won’t be the end.

It will be the end of all the suffering.

I will realise my dreams.

I will make my dreams come true.

I won’t fail again.

I will never fail.

The poison to Penacony still lingers.

I am a traitor.

These are Robin and Sunday's thoughts respectfully. As you can see, they are both the same fundamentally. That goes to show how they are both traitors in a way, aren't they?

We have a little ending about the siblings, alongside a story with a snake.

The snake is Miss Jade herself, where Robin went to her to make her greatest desire come true...to let Sunday go free. I wanted to reference the end of 2.3 where we see Jade talking to Sunday, how he was free but he refused her.

I repeated the words Acheron spoke for the very end to tie it all together. The perfect words to end a story filled with so much!

End

Thank you for reading all this! I’ve spent way too long on this story and I’m glad it’s finally out there for everyone to read!

I feel like in terms of storytelling, this is my best story so far! I'm proud of all the elements I was able to merge into this!

- Miku

#Robin #Sunday #robin hsr #sunday hsr #honkai star rail #honkai star rail fanfiction #I finished itttttttt #yayyyyy

22 notes · View notes