#idk where i’m really going with this it’s just so interesting to me. anyway

[cruel-hiraeth]

memory is as fascinating as it is fickle. it’s really cool how we associate different sounds and feelings and smells with different parts of our lives—how a song or a scent or an emotion can instantly transport us to a younger version of ourselves. there are songs and albums that i will forever associate with different phases of my life; it’s the closest i’ll ever get to time travel, i think, as i listen to a song and my mind reverts back to whatever age i was when i first heard it and loved it.

[sgtpeppers]

Okay so the quick version of this is: saw Two Of Us today, adored it even more than I adore the film, the choice to keep them in John's building worked really well to further highlight the mental health message the director talks about in his little note in the programme, the rooftop scene is somehow even more intimate and lovely in this version and the ending is even more painful! I'm gonna write down more under the cut about it all:

Playlist: The playlist before the show/during the interval is everything you would want it to be and it includes Monkberry Moon Delight which I feel like I never hear in public! 

The overall experience was also just super wholesome, one thing I always love about Beatles events is the range of people there it just makes you feel like your part of such a special thing, so shout out to all the old women talking about Paul near me, the middle aged men in their Beatles shirts, and the girl behind me who was sooo excited to be there and I hope she got to meet the cast after like she wanted to! ALSO the Beatles drinks are so funny, idk why Ringo’s is just earl grey tea 😭

Performances: OKAY let’s get into it. So one of my only real complaints about the film is that although I think overall Jared Harris and Aiden Quinn do an amazing job but I do find the quality a little inconsistent (especially the accents) but Richard Short and Barry Sloane are soooo so good, the accents, the little verbal quirks (which also, kudos to the writer as well) and the physicalities are jarringly good at points, especially Barry Sloane’s John. I also feel like a lot of Get Back was watched in preparation because there were so many little things, like the way John plays with his hair that just took me right back to that. Sometimes with fictional Beatles things I’m constantly thinking about how you’re watching two people try to portray these real people, but I definitely found that they were convincing enough that I wasn’t thinking about it too much. 

Outfits: I did find it kinda weird they went for the Get Back looks rather than how they looked in 76, I feel robbed of the New York City vest tbh but they did look great 

Changes from the film: basically they cut out them going for the walk to the park and to Luigi’s and instead John sets up the table for them like they’re in a restaurant in his kitchen. I think it works really well because they play into John not wanting to leave the building, which just adds into that whole mental health thing, and I think it actually makes the rooftop scene more poignant when they get there, because it feels more like Paul has broken through a bit and coaxed him outside, even if it’s baby steps. Anyway, they still have all the same conversations really the script is just chopped up a bit. 

One interesting thing is that the conversation that happens with the fan in Luigi’s still happens, but John sort of pesters Paul about whether he really thinks silly love songs should be number one, and it’s a nice extra layer to Paul’s insecurity which I enjoyed 

Mental health conversations: I think going into it knowing that the director wanted to make this because of the mental health themes, specifically men’s mental health and how having someone to reach out to is so important, is really interesting. They definitely amped up John’s anxiety from the film, his fidgeting and little moments to himself where he’s trying to get himself together were just so palpable, and Paul talking about his depression after the Beatles broke up was even more raw and upsetting seeing it in front of you. My absolute favourite line in the film is ‘I’m thirty-five years old and I still feel like I’ve done something wrong’ and god, my heart just broke seeing it on stage, I think that’s such a common feeling, just that sense that you’re in trouble for something but you’re not really sure what? Anyway, I just loved Sloane’s delivery of it. 

The Kiss: Okay, look I actually don’t care that much about the kiss in the film, I’m glad it’s in there as a little nod to John’s queerness but it really isn’t anything imo, but I liked it a lot more in this! For one thing rather than coming after a little play fight (which is still cute, don’t get me wrong) they do one of their silly dances where they’re spinning each other round etc, so the scene already feels more tender, and then John just kinda grabs him and it goes on a little longer than in the film. I still think it’s far from one of the most intimate moments in the show, but I do think they made it into something more here. 

Rooftop scene: It’s just. It’s everything. They sit right at the front of the stage, facing each other, cross legged and Paul gives him the whole ‘I see a beautiful baby boy speech’ and it’s PERFECT, this was the moment I was most worried about them screwing up and it was perfectly delivered and they have this lovely big hug after it and it made my heart ache in the best way. And idk, if seeing some guy dressed up as Paul McCartney saying that we should focus on fun and get out our own heads and how we don’t have to stay stuck as the kids who were just scared and trying to survive, doesn’t do something for you, then we’re just very different people. 

SNL scene: okay it’s pretty much the same but the way John is sleeping on Paul was everything, it wasn’t just a head on the shoulder he was fully laying back against Paul!! 

The ending: this is just so brutal because Paul doesn’t leave the flat to get his guitar, he borrows one of John’s and so when Yoko calls and John starts doing the whole ‘I wish you were here, you’re the only one who stops me disappearing’ it’s literally…. In Paul’s face. And it hurts. Then at the very end they cut between John on the phone to Yoko and Paul on the phone to Linda, and so Paul says ‘I love you’ to Linda, then John says ‘I love you too’ to Yoko but it sounds like they said it to each other, and then Here Today plays. The fact most people didn’t appear to be crying baffled me quite frankly. 

Yoko: They decided to have Yoko be the one who actually invited Paul, which felt like an odd choice and didn’t really add anything for me, but there we go 

Okay I’m gonna shut up there because this is way too long and I doubt anyone’s read it but ahhhhhhhhh it was so good and you’re just all lucky I can’t text you because my friends have had much more incoherent versions of all this

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[maxgicalgirl]

Archive 81 tv show made Melody Pendras straight we cannot trust podcasts in the hands of mainstream media !!!!!!!

[fingertipsmp3]

Nothing more frustrating than having a dream set in an amazing book series and then waking up to find out it doesn’t exist. Guess I’VE gotta write this now

[soullessjack]

every day I remember that this fandom simply does not care about autistic people and, much like every other fucking thing I experience as an autistic person, the concept of it being a collective found family becomes increasingly alien to me. love this place.

[seilon]

still don’t really know if I’ll return to Art School after this gap semester but. guess im back in norcal for now. ah how ive missed Living Near Things

[padfootastic]

working on foundations of decay after…a long time bc everything i’ve posted so far has been pre-written like. months ago. def before my lil writers block episode.

and it’s—interesting, really. reminds me why i love fanfiction so much. it’s the endless possibilities. i can do whatever with my characters, manipulate the situation to my fancy and…that’s okay? it’s in my control?

writing only one shots definitely makes u forget that lil fact tbh there’s just not enough time & space

[canisvesperus]

:D

[tiredsadpeach]

I’ve convinced myself my friends don’t wanna hear me so I’m posting this here instead of my twt because I’m excited and need to say something

[sukiipjs]

❧ ONLY YOU

°:. *₊ ° . ☆ °:. *₊ ° . ° .•

↳ chris sturniolo x fem reader

↳ words - 1629

↳ summary - chris sees you with another guy at a party, he has to remind you that your his. only his. (this is freaky)

↳ contains - friends with benifits, smut, lowkey toxic 💀, rough sex, oral, gagging, hair pulling, swearing, spanking, mascohism, drinking, praise, degrading, pet names (baby), idk

↳ song - lights down low by maejor

°:. *₊ ° . ☆ °:. *₊ ° . ° .•

°:. *₊ ° . ☆

me and chris have a.. complicated relationship. he’s really hot, like really, but honestly he’s such an asshole. everything he does drives me up a fucking wall. all we do is fuck, have been for a while and its great but nothing more, and even though we are nothing more, everytime he sees me with another guy or thinks i’m with another guy, he gets pissed. but when he’s with another girl who cares? that hypocrite. every time i call him out he rolls his eyes and uses his famous line, ‘they don’t fuck me as good as you baby’

anyways. i’m getting ready for this party, i’ve been trying to ignore and forget chris, so why not go to some dumb partys? i get on a tight mini dress, it’s black and silky with thin straps, deep v neck and a cute bow on the back to match my new nails i got a few days ago, black french tips with some rhinestones. black eyeshadow and mascara, some of my favorite lipgloss, smells like strawberry and has glitter in it, almost half out of it already. i leave my hair down and i put on my black heels and finally i grab my small black purse with my lipgloss, my phone, and a condom that will hopefully be used!

i make my way to the party and when i walk into it, i already regret it. i go straight to where all the drinks are and pour some. i lean on the counter staying by the table of drinks and trying not to look too bored.

i look around seeing if anyone i know is here so i can actually talk to someone. as im looking and drinking some random dude comes up beside me, leaning on the counter next to me with a drink in his hand too. “hey” he nudges my shoulder a little, “uh hey?” he continues to talk to me and annoying me, eventually he says i’m ‘boring’ and goes to some other girl.

over time a maybe two other guys come up to me, annoying but one i’m still talking with, he’s actually kinda interesting, and cute. we talk a lot and laugh but then i feel two arms wrap around my waist, making me almost spill my drink. “the fuck?” i turn my head to see who and it’s chris, i see his eyes stare at the guy i’m talking to as he holds me. i roll my eyes as he speaks to the guy, what is wrong with him. “yeah i’m her boyfriend, so.” wait… im his WHAT? the guy looks a little uncomfortable then looks at me before walking off.

i back off from his arms and face toward him, “what the fuck is wrong with you? ‘i’m her boyfriend’ since when?” he laughs a little then takes a sip of his drink, “okay maybe i’m not but i don’t want him talking to you,” i roll my eyes and scoff, “why? every single time you see me with a guy, you make him leave but when your with a girl it’s all fine? we’re fucking! that’s all, so just shut up. i haven’t called you in a while for a reason,”

i see his eyes narrow as he sets his drink down and grabs my arm, “shut up and come with me,” i try to move my arm away from his grip but he pulls me toward some room, i set down my drink as we walk.

he pulls me into a bathroom and shuts the door, pushing me against the door after, “the fuck is wrong with you,” he holds me onto the door, staring at my eyes, “me? the fuck is wrong with you. you’re such an asshole!” one of his hands go to the back of my head, he pulls my hair making my head lean up to look at him better. he moves his head closer to mine, lips inches apart.

“i don’t remember you saying that shit when i was fucking you all those time, when you begged me to come over? yeah? begging me to keep going, fucking slut.” he spits back, “god chris. fuck off!” i try to put my arms on his chest to push him away, “just leave me alone.” i hear him laugh a little as he pushes down on my head, trying to get me on my knees. “just get on those knees and be fucking good? yeah?”

he manages to get me down, me kneeling in front of him as he still grips on my hair and the other to his pants as he pulls down his pants and boxers, my hands trying to push him away on his thighs, “all you do is talk, talk, talk, maybe you should put that mouth to good use,”

his dick springs out and hits my face as he pulls my head closer and the other hand holding his dick, guiding it on my lips as i seal them shut, or trying to. “cmon baby, open up,”

he pushes his dick more and more onto my lips, and finally i open my mouth and he pushes it inside, the tip hitting the back of my throat. “oh fuck baby,” he put his other hand on my head, both holding me down, pushing his dick all the way in. my hands on his legs trying to push away as i start gagging, spit dripping out of my mouth.

he bucks his hips into me more as i try to push myself away but i just hit my head on the door. tears start forming in my eyes as i try to catch my breath, but can’t with my mouth full. he finally pulls out my mouth, stroking his dick and finishing over my face as i close my eyes, panting. “aww, so pretty” he laughs as he kneels down a little, giving my cheek small pats then he grabs my jaw, making my head turn to him. “get up baby, you got this,”

i slowly get myself standing, still panting as he moves me to the counter of the sink and takes off my dress, a huge mirror on the wall. he’s behind me as he grabs my hair, pulling my head up, “look at yourself,” he smacks my ass with his other hand, i jump a little, opening my eyes as i see myself, “look at that slut,” my mascara and tears run down my cheeks, my hair frizzy and messed up, and his come across my face. i lift up my arm to wipe off some of the mess as he laughs, “mm, aren’t you so pretty?”

his hand moves to the front of me, reaching for my clit as he starts to circle it with his finger, my arms on the counter as my head drops and i start to whimper, “fuck! chris…” he moves faster as his length pokes against me. his mouth moving to my neck as he starts kissing and marking my neck.

he lifts his head to my ear as he whispers, “cmon, you’re mine right? only mine?” i try to nod my head as i moan, his breath on my neck. “no, say it. i need to hear it baby,” he moves my hair out of the way of my neck, to the other side, “i’m.. fuck.. i’m yours chris. only yours. only you, please..”

i feel his smirk grow on my neck as he goes back to kissing me, “good girl” my knees buckle as i start to feel even weaker, about to finish but suddenly he stops and i go back to panting and catching my breath as my moans stop.

“chris-“ he cuts me off, “oh don’t worry baby,” he quickly pushes his dick inside me, making my breath cut off, “fuck!” he pulls on my waist, making my elbows lay on the counter and making my back arch even more than it was.

one hand on my waist, guiding his deep thrusts and one on my head, pulling my hair again, making my head lean up, “watch me fuck you before i stop.” i force my eyes to open as i see him behind me thrusting, i mindlessly moan and whine as he fucks me good, forcing my eyes to not close, and staring at the mirror.

“chrisssss…” i moan as i start getting close again, his thrusts become deeper and faster, knowing that i’m close. “cmon baby, let it go” i can’t help but drop my head again, shutting my eyes as i finish over his dick. he keeps thrusting until he comes too, “oh fuck.”

he pulls out and gives me another smack on my ass, “such a good girl baby,” he speaks as he’s talking to a dog. i stand a bit straighter, my legs weak and shaking as i pant more and more, my eyes closing to rest. his hands come up to my shoulders, giving me a small massage.

“your mine right?” i nod as i try to open my mouth to speak but it takes a minute, “y-yes.. only you chris,” i pant. he takes his hand off me and starts getting clothed and putting my panties in his pocket as i’m still leaning on the counter still.

“cmon baby, i’ll help if you need,” i nod and he grabs my dress, nodding at me to put my arms up, i do and he slides it over me. “sit down,” again, i do. i sit on the edge of the bathtub as he grabs a random towel, wetting it and wiping off my face. “there you go,” he smiles throwing the towel elsewhere and leaning down to kiss me, “such a pretty girl,”

☆ °:. *₊ ° . °

[chaos0pikachu]

4 Minutes and the Cinematography of Nipples

I said before that I thought 4 Minutes was pretty instantaneously the best looking BL on the market for 2024 after one episode. Which, not gonna lie, is a pretty big fucking claim. There’s been a lot of BL that’s come out that’s looked good, and I do think there’s been a steady improvement overall in the market in the last few years. Personally I think Japanese and Korean BL have a stronger production quality over a majority of Thai BL but like, if that’s a hot take I guess I prefer my food spicy. 

The point being~ if I’m gonna make such a hyperbolic statement, well I better back it up right? 

So I’m gonna break down a few scenes from the first episode, what I liked about them, why they worked for me, and why on a technical level I think 4 Minutes has just got it going on.

For better readability you can also check out this essay here.

Sidenote: my google docs kept trying to autocorrect “Bible” to “the Bible” and idk how to teach google I mean the hot Thai actor and not the book of Jesus. 

To start, I’m going to break down this scene featuring Great and his nepo baby cat: 

I thought starting with this scene would be good because it’s such a low-key scene and honestly making these simplistic scenes visually interesting is very difficult! But if you have the basics down, the foundations of cinematography and film making, these simpler scenes can be really memorable. 

Like yeah we’re all gonna remember this scene because shirtless Bible and oh my god Akira!? - I have only recently learned who Akira is; why is this cat getting a bigger bag than me? - but beyond that, what makes it cool to watch? What makes it interesting? What information does it showcase to the audience? 

One thing I added to the video was a grid for the rule of thirds. 

Rule of thirds is a shot composition technique applied to both film and photography. It’s the grid you see if you film a homevideo and helps a Director and Cinematographer figure out where to place the subject or subjects of the shot. The idea is the gridlines show you where you “should” place the subject(s) of said shot. 

Like everything, the rule of thirds is a guideline in filmmaking, not a hard and fast unbreakable rule. Filmmakers like Wes Anderson like to play more with central composition shots, rather than ROT. 

Anyway on to the opening shot, right after our credits and we’re moving into the shot. 

To start, the first thing I notice is the scene’s color grading. Color grading in film is the manipulation of raw film footage to create specific color tones throughout a project. Sometimes this grading is more pointed and obvious, think The Matrix, while in other films it’s not as obvious but still very prominent, think Killers of the Flower Moon. 

It’s not that the before credits scene looks entirely, jarringly different from the opening scene, but the hospital scene is surrounded by whites and blue tones, it’s darker, and only a single source of light exists. It gives the entire scene a much more frantic, uneasy aesthetic but it’s not so far off from the darker muted tones of the next scene that it feels jarring or out of place. 

The second big thing I noticed in the episode is the use of aspect ratio. I’m not 100% sure what aspect ratio the production used exactly, but the use of widescreen as opposed to full screen in my opinion, gives the episode a more cinematic feel to it in comparison to other Thai BLs. 

Example, if you look at Century of Love (2024) it appears to be filmed in the standard full screen - which I believe is 16:9? - while 4 Minutes is widescreen (thus the black bars at the top and bottom). Widescreen can give a show a more “movie like” quality to it which is part of the vibes I get from 4 Minutes. 

(source)

Onto Great’s actual introduction scene.

We’re not starting the shot with static movement, but with a camera panning right. I’ve talked about camera panning and such in BL before and it’s something I’ve found doesn’t happen as often as it should. Which is a shame! It’s such a simple technique but it adds so much. 

Imagine if we entered the frame with a static center shot, and then a cut to Great sleeping and turning off his alarm clock, and then another cut to above the bed. Think about how much more boring that could be visually. 

Instead, we enter the scene with movement, panning over and creating some interesting visual framing. 

So here’s our opening shot, do you notice anything interesting? To start, what I like about this shot other than the panning movement in, is that we don’t see Great’s face yet. In fact we don’t see his face in full until about 30 seconds into the scene. This builds anticipation, yeah we all know what Bible looks like, but for the audience who doesn’t this helps build anticipation. 

Who is this character? What does he look like? What’s his deal? 

It also engages the audience more, if you notice part of the composition of the shot has Great in the mid-ground slightly blurred out, while the foreground emphasizes the things on his desk. He’s distant from us, the audience, sleeping off his hangover not yet ready to “join” the world yet. 

Here’s another two more things I like about this shot:

Lines. 

Using lines and shapes can make a scene more visually interesting and invoke different feelings to the viewer. In this shot, I get a sense of symmetry, the camera panning right, lightly drags across the screen alongside the lines below and above Great, almost creating a frame within a frame effect. As if Great is boxed into a clock in and of itself. 

You can also see the use of balance in the scene as well, connecting back to that visual theme of symmetry as well as blocking our view of Great’s face. The lava lamb and champagne bottle are almost the same height, which helps create balance in the shot. The champagne bottle informs us Great has been drinking or does drink since it’s positioned so close to his bed, whilst also continuing to hide his face away from the viewer. 

I also like that the lava lamp is a bright spot of color. The tone of the scene is mostly muted greens, and gray, but the bright orange lava lamp and even the pink champagne bottle draw our attention but don’t overwhelm us either. It provides the scene with some warmth but doesn’t offset the overall tone of the color grading. 

And then, the last bit of this shot:

We have Great knocking over the champagne bottom, and turning off his alarm clock. Notice that the alarm clock and the champagne bottle hit those ROT dots almost exactly. There’s also the use of lines by the length of Great’s arm - I just forgot to add a line I’m a failure, a fake, fml - we see him knock over the bottle, and then we follow the line of his arm directly to the alarm clock which is also a shape, a circle. 

I like that they used a clock with a specific notable shape, since by the end of this scene the clock is relevant to the story as a whole. Using a shape makes the clock more visually noticeable and memorable to the audience. 

So in the next cut we’re above Great - just like Great’s gonna be above Tyme, fuckin hell I’m corny - in a medium-full shot and there’s a couple things I really like here. 

I really like the use of lines here with the bed going in one direction but Great’s body going another. It’s disconcerting, and off kilter a bit. 

The use of patterns plus the opposing symmetry, whereas in the previous shot the lava lamp and champagne bottle were providing balance, here one side of the bed is patterned, while the other isn’t. This creates a sense of imbalance and makes the shot more visually interesting.

This medium-full shot at a high angle makes Great smaller, and continues to showcase his dishevelment, keeping him distant from the world itself. Also notice the lack of color here as well. 

What could this say about Great as a character? Or his story? 

So this next cut is the one that actually inspired me to write this essay to begin with and know what I’ma eat some crow here. I originally said it was a great ROT shot but I was wrooooooong. It’s definitely a center composition shot. 

Notice as well, the bed itself is its own shape - rectangle - center in the frame, and yet the shot almost looks unbalanced again because of that singular patterned rug. It’s the only pattern in the entire shot, not even Great’s pillows have noticeable patterns on them. 

The above view camera angle in a full shot creates almost an omnipresent feel, as if the audience - or something else? - were looking down upon Great. Whose face we still haven’t seen! It makes him smaller, less powerful, and almost vulnerable. Shots like this are often used in horror films like James Wan’s Malignant (2021) where the horror spector will be looking down above the would-be victim. 

Another thing I like about this scene though is we have Great moving. It would be simpler and easier to have his phone just by his alarm clock, or under his pillow, but think about how much more visually interesting it is that he has to move down the bed and reach for his phone. It creates action in an actionless low stakes scene. 

And now, 30 whole seconds in and we’ve finally seen Great’s face! 

Fun fact, with the ROT grid the gridlines fall right across Bible’s nipples. That’s not a film analysis, just something I noticed entirely intentionally. Thanks Madam Director Ning Bhanbhassa Dhubthien.

The actual shot is in center composition again, as Great rolls over and reveals his face the camera begins to zoom in. 

This creates movement in the scene instead of leaving the camera to statically observe it’s now, finally, inviting the audience to meet Great. Pulling us in towards him whereas before we were kept at a distance. Great’s awake and, well as ready to meet the world as somebody with a raging hangover can be. 

I also like how Bible is moving constantly in this scene; he rubs his eyes and nose, he twitches his fingers, titles his head back and forth, etc it’s nothing revolutionary but it’s appreciated. 

When the scene cuts, we get this shot: 

I didn’t put the red dot on his nipple, it just landed there. This is all Madam Director Ning chepie. 

But you can see how Great’s body is landing on all those gridlines pretty solidly. Also in the background we see his alarm clock again, a bright blurred circle in the distance. I also like the angle of this shot, as it creates depth in the frame, with Great’s head being in the foreground his lower body in the mid-ground and the background blurred out. 

What follows is Akira appearing in frame. Which was really difficult to capture so I don’t have a screenshot. But what I really like is Akira entering the frame out of focus. They could have just cut to Akira, but instead they opted for Akira to enter the frame which is more interesting. 

When we do cut, Akira is firmly on one of those dots so we don’t miss them in the frame. I think it’s also interesting that we’ve pulled out again, into a mid-full shot, hanging above Great, and we see that clear symmetry line again between the patterned rug and the regular carpet. 

I also really love that when we got to Great sweet-talking Akira and feeding them we’re not just doing a cut, we’re panning downwards which continues to add movement to the scene. And we get that moneyed sponsor shot! 

Durex can’t pay for everything okay?

So in the final bit of this scene we get focus on Great, who’s in focus, before he gets up and leaves the frame where the camera then focuses on the clock behind him. 

See how in the first frame the background is all blurred out, but once Great walks out of the frame - again, great that he walks out, movement!! Y’all don’t understand how boring 1000 Stars was for me to watch because of the lack of this stuff okay? - and then the focus shifts to the clock. Which is round. 

God I know that sounds so dumb, but imagine the clock without that ring light bit on it, it’s just a tiny little rectangle. Not as fun or interesting to look at right? Or as noticeable especially from a distance? 

This shift in focus also tells us “this is important” whatever “this” is. The subject of the shot goes from Great to the alarm clock but they are positioned as equally important. We’re meant to pay attention to this seemingly innocuous item, which we learn later in the episode is time. We’re meant to remember and note that time will be important to the story - I know with a title like 4 Minutes you’d fucking hope time would be important but have y’all ever read Youtube comments? It’s rough out there for visual comprehension okay? 

So all in all this scene is only 1 minute and 40 seconds give or take. It’s very short, but I don’t think it was boring at all. I think it’s a really solid introduction to a main character. Think, Korn didn’t get this much time to showcase his introduction, his scene is shorter - though also well done - which showcases which character is more of a story priority. 

This scene eases the audience into the story, inviting us to wake up into the world like Great is. It uses techniques like lines, shapes, symmetry, color and focus to make what could be a very boring scene into an interesting one. 

There’s so so much I probably and certainly missed, I’m far from an expert, but I hope I was able to articulate what I liked about this scene, and why I think it looks good. 

Stay tuned for more if I can manage to focus long enough to breakdown more scenes lol

Also red dots on Bible’s nipples are just funny to me it be what it be. 

Further Reading: 

Composition in Cinematography / THE LAST OF US

Center-Framing vs Chaos-Cinema: Mad Max vs Transformers

Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]

The Ultimate Guide to Camera Shots (50+ Types of Shots and Angles in Film)

Color Grading 101 - Everything You Need to Know

Mixing Film And Digital Footage: Killers Of The Flower Moon

In Praise of Subtle Cinematography

[thesmollestsnek]

Death echoes

So a while ago, i found this dp x dc post that had a really interesting lore headcanon for Danny’s ghostly wail. Idk if I’ll be able to find it again, I’ll link it here if I do, but essentially it posited that every ghost has something called a “death echo”, which is an ability unique to them based heavily on their deaths. These echoes are the most powerful move in a ghost’s moveset, but they’re also extremely volatile and draining, typically damaging the ghost in some way when used, with Danny’s being his Wail because he died screaming. The original post then went on to some really cool halfa!Jason ideas based on these death echoes, but for this lil snippet with an extremely long intro I’d like to focus on Danny a bit more.

Edit: Apparently I may have extrapolated a lot of the actual lore behind these death echos myself? The inspiration post was a lot longer in my memories. Or I might've mushed multiple posts into one mental box and then forgot lol. So a lot of the actual detail from this point on is seemingly mostly original material? I think? Idk man, sometimes my brain spits out information without giving me any clues as to where it got that information. Anyway, this post got kinda long and since I'm... decently sure this is where I shifted from summarizing @ailithnight's post to writing all my own thoughts I figured here would be a good place to throw the cut lol.

So! with all of the context-for-the-context out of the way, let’s move on to the actual context for what I’m writing cause I can’t be bothered with writing an intro XD

Essentially, this is an au where Danny is an established member of the Justice League, or maybe one of the teen hero teams? I’m a slut for eternal teenager Danny, but maybe he’s enough of a powerhouse to be on the main team despite him both looking and acting like the dumbass fourteen year old he died as. Either way, he’s on a League/League-sanctioned mission and things go bad. Like, everyone-almost-dies bad. And so as a final desperation attack, Danny uses his Wail, a power he’s never told anyone on the league he even has. And it works, and they make it out, but after the fact everyone has. Questions. And because in this au death echoes are deeply personal, Danny dodges those questions, but the league coughbatmancough isn’t satisfied with that. So they push for answers. Answers Danny’s not willing to give, because. In my mind death echoes aren’t just based on how a person died, but also their experience of that death. What their last thoughts were. When Danny died the only thing that he could process beyond just an all-encompassing painpainpainpainpain was the sound of someone screaming. His screaming. And so his death echo is the sound of a fourteen year old child screaming in deathly pain and terror weaponized, which definitely gave the league Even More Questions than they would’ve had already. Which finally brings us to the actual snippet, which is a conversation between John Constantine, who was brought in for his experience with the supernatural once it became clear Danny wasn’t going to talk, and Danny himself. 

~~~~~~~

“So, kid. Batsy tells me you’ve been hiding some of your abilities, wanna tell me what's up with that? Call it an occultist's intuition, but somethin’ tells me you’re not just being stubborn for the hell of it.”

“It’s... complicated. And not anyone’s business, either!”

“Kid...”

“Why does it even matter?! It’s not something I want to or am even able to do on a regular basis! I saved the mission, can’t they just accept that and move on???”

Sighing, Constantine reached up to start massaging his brow. “Kid, you and I both know that ain’t gonna be enough. Now I know that some things are better left alone, but the rest of these idiots? They can’t accept that, Batsy especially. That man’s never left bloody well enough alone in his life”

He looked up just in time to see the otherworldly teen shrink into himself, looking every bit the child he was. “I know but... why? Why do they need to keep asking questions? And why do they only ask the ones that hurt to answer?”

A sharp glance. “The fuck kinda questions are they asking? Batman was speaking in more grunt than word, so I didn’t really catch all the details of what this power you’re supposedly hiding even is.”

Phantom shrinks even more into himself at that, and responds in a voice so small it’s more sigh than speech. “I... I can scream. And it breaks things and pushes people back. But it, it sounds. Bad. And it brings up bad memories and I don’t like to do it or listentoitoreventhinkaboutitandtheywon’tletmeforgetand-”

“Breathe kid. I know you don’t need to but just take a deep breath with me. Don’t you go getting lost in your own head on me now., Constantine reassured the kid automatically, the sheer hopelessness prompting action long before the words themselves could be understood. Then the rest of him caught up, and he had to pause. Looked up at the kid, saw just how distressed he was. A picture was starting to form in the back of his head, and Constantine didn’t like what he saw one bit. A last-resort power that the normally open Phantom was strangely reticent about. A scream so horrible sounding the rest of the league would not to stop asking questions about it. Terrible memories to match said scream. And one truly miserable child who couldn’t bear to even think about any of it. 

“Phantom... is that your Echo? Screaming?”

A miserable nod is his only response, the tears that had been welling up in the kid’s eyes finally starting to fall. Cursing softly to himself, Constantine stood to leave, bracing himself for the Bat’s inevitable questioning. “Well then you just take all the time you need love, and leave the rest to me. I’ll make sure the rest of those idiots know not to ask you about this ever again.”  And with that Constantine turned and strode towards the door, leaving the quietly sobbing child to collect himself in privacy.

~~~~~

I had a whole-ass lore dump conversation between Constantine and Batman planned here, explaining how death echoes are deeply personal, and asking about one is a taboo on par with, potentially even worse than, asking a ghost about their death outright. Because they are formed from an amalgamation of how a ghost died, their last thoughts, and their final emotions, in some ways asking a ghost about their Echo is like asking them to describe their death in painstaking detail. But uhhh... inspiration bug left. So yea. Side note, I’d like to apologize if my depiction of Constantine’s accent was Bad, I’m but a lowly USAmerican whose only exposure to British accents is through tv ^-^’

[juniperskye]

She’s Definitely Guilty.

Based on the following ask: hi !! i love love love your work! (no seriously, you make me giggle and twirl my hair it's kinda ridiculous) could i request something where the reader is being interrogated by hotch (whether she's guilty or not is totally up to you!) he's using all his intimation tactics, the stern voice, the glare, maybe even shouting or hitting the desk. but the reader is kinda just captivated by him, blushing and all hot and bothered (like please yell at me more sir.. 🤭 oh? you think i'm a person of interest? you're totally interested in me aren't you.) anyways ty ty!! <33

Aaron Hotchner x (Fem) Reader

Angst/Fluff

Word count: 2167

REQUESTS ARE OPEN - not edited - please be kind. Requests are open and feedback is welcome if it's constructive! Nonnie I hope you like this because idk this one was hard for me to write lol

Warnings: My blog is 18+, minors DNI, some language, explicit thoughts, reader is horny for Hotch, no use of y/n, fem reader, no physical description other than hair length, let me know if I missed any!

I do not consent to having my work translated or reposted to any other site. That being said I do not own the characters portrayed in this story

“She’s in the interrogation room whenever you’re ready Hotch.” JJ informed him.

“Thank you JJ.” Hotch replied with a curt nod.

Hotch double checked the file in his hand before entering the interrogation room. You had been brought in for questioning in connection with a string of murders. You hadn’t been exactly sure of the reason you were here, but you hadn’t felt worried, considering you haven’t done anything wrong.

The door was pulled open, and all of the air in the room seemed to escape. You couldn’t believe how hot this man was…maybe being brought in wouldn’t be so bad after all.

Hotch looked up and found himself doing a double take. He hadn’t expecting you to be so captivating…could you really be caught up in all this?

As Hotch took a seat across from you, he couldn't help but notice the way your eyes sparkled with a mixture of defiance and curiosity. He cleared his throat, trying to push aside the unexpected flutter in his chest as he opened the file.

"Thank you for coming in, I’m Agent Hotchner. We just have a few questions regarding your whereabouts last Friday night," Hotch began, his voice steady despite the turmoil within him.

You tilted your head slightly, a small smile playing on your lips as you answered his question calmly, your alibi seemingly airtight. But Hotch couldn't focus on the words; instead, he found himself drawn to the way your hair fell gently over your shoulders and the subtle scent of lavender that surrounded you.

As the interrogation continued, Hotch realized that maybe, just maybe, there was more to this case than met the eye. And as he excused himself from the room, he made a silent promise to unravel the mystery not only for the sake of justice, but also to see you again. The case suddenly felt more personal, and Hotch knew he couldn't let it go until he had all the answers.

Days passed as the investigation progressed, with each piece of evidence leading to more questions than answers. Hotch found himself thinking about you at odd hours, wondering if there was a chance you were truly innocent or if you were just an expert at hiding your secrets.

One day, a breakthrough finally came in the form of a witness who claimed to have seen you on the night of one of the murders. Hotch's heart sank as he read the report, but a small voice in his head urged him to dig deeper.

Convinced that there was more to the story, Hotch decided to call you back into the precinct. He wouldn’t let you get away this time.

As you entered the precinct once again, this time escorted by two officers, Hotch kept his gaze steady on you. He noticed the slight flicker of surprise that crossed your face before it was quickly replaced by a mask of composure.

"Please have a seat," Hotch gestured to the chair in front of him, his tone neutral but his eyes piercing into yours. "We have some new information regarding your alibi on the night of the murder. Care to explain?"

You leaned back in your chair, maintaining eye contact with Hotch as you calmly refuted the new evidence presented to you. But deep down, a sense of unease started creeping in. Hotch was different this time, his determination palpable in the air around him.

Hotch listened intently to your words, observing every flicker of emotion that crossed your face. As you finished speaking, he leaned forward slightly, his voice taking on a steely edge.

"We know you were at the scene of the crime that night," Hotch stated firmly. "And I'm not leaving this room until you tell me the truth about what really happened."

You try to remain calm and collected, but you can’t help but feel flustered. A heat creeping its way up your chest and neck, landing on your cheeks. His firm tone had you pressing your thighs together, you were losing control of your body, all because of the man in front of you, accusing your of murder.

With a deep breath, you met Hotch's unwavering gaze and decided to take a different approach. Leaning in slightly, you locked eyes with his and spoke in a voice just above a whisper.

"Agent Hotchner, I understand why things may seem incriminating, but I assure you, there's more to this than meets the eye," you said with a teasing lilt in your tone.

"Help me understand then," He urged you to continue, his eyes searching yours for any sign of deception.

But instead of delving into the details of the case, you leaned even closer, your breath brushing against Hotch's cheek as you whispered softly, "Or maybe we could take a break from all this seriousness. You and I could... explore other ways to pass the time."

Hotch's jaw clenched in frustration, his patience wearing thin as your flirting only seemed to escalate. He leaned back in his chair, a deep frown marring his features.

"This is not a game," Hotch growled, his voice low and dangerous. "People's lives are at stake here, and you think this is some kind of joke?"

You leaned back, feigning innocence as you tilted your head to the side, strands of hair falling across your face in a calculated display. "I never said it was," you replied silkily, your eyes dancing with mischief.

Hotch's patience wore thin as he slammed his fist on the table, causing you to jump in surprise. "Enough!" he barked, his voice reverberating through the room. "Tell me the truth, damn it!”

As Hotch's anger flared, you couldn't ignore the rush of adrenaline coursing through your veins. Despite the gravity of the situation, a devilish grin tugged at the corners of your lips as you met Hotch's intense gaze with a provocative glint in your eyes.

In a brazen move that caught both Hotch and the officers off guard, you leaned forward once again, the air crackling with tension between you and Hotch. "Or perhaps you enjoy playing the tough, relentless interrogator," you murmured, your voice laced with seduction. "But we both know there are other games we could play."

Hotch's jaw tightened further; his frustration evident as he struggled to maintain his composure in the face of your blatant flirtation. The observing agents exchanged uneasy glances, uncertain how to proceed in this unexpected turn of events.

With a sly smile playing on your lips, you pushed further, pushing Hotch's buttons with deliberate intent. "You want answers, Agent Hotchner. But maybe I'm the answer you've been looking for all along," you purred, your words like a dare hanging in the charged atmosphere of the interrogation room.

Hotch's steely facade cracked for a moment, a flicker of something unreadable crossing his features before he regained control. "Enough games," he gritted out, his voice strained. "You either start talking or I'll have no choice but to place you under arrest."

Your smile widened at his threat, a glint of defiance in your eyes as you leaned back, taunting him with your silence. The tension in the room was palpable, a battle of wills raging between you and Hotch. You both shifted in your seats as Hotch tried to figure out how to proceed.

Agent Rossi entered the room just in time to witness the tense standoff between Hotch and you. His expression hardened as he took in the scene before him, sensing the undercurrent of tension that buzzed between you and Hotch.

"Hotch, we caught the actual killer," Rossi announced, breaking the charged silence in the room. "And you're not going to like who it is."

Hotch's eyes flashed with a mix of relief and frustration, torn between the unresolved situation with you and the urgency of catching the real culprit. He turned his gaze towards Rossi, silently urging him to continue.

Rossi took a deep breath before delivering the bombshell revelation. "It's Jenna." He said gravely, watching as recognition dawned on both your faces.

You felt a surge of disbelief and anger rise within you at the mention of Jenna's name. She was your best friend, someone you trusted with your life. And now she was trying to frame you for a horrendous crime. The pieces of the puzzle were slowly falling into place, painting a picture of betrayal and deception that left you reeling.

Hotch's eyes narrowed as he processed the information, a mix of emotions flickering across his face. He turned back to you, searching your expression for any sign of involvement in Jenna's crimes.

"You knew about this," Hotch stated more than asked, his voice laced with accusation.

You shook your head in disbelief, the weight of Jenna's betrayal heavy on your shoulders. "I had no idea," you replied, your voice barely above a whisper. "She was my best friend. I never thought she was capable of something like this."

Hotch studied you for a moment, his gaze piercing yet contemplative. After a beat of silence, he let out a heavy sigh, the tension in the room dissipating slightly.

"We'll need you to give an official statement," Hotch said, his tone softer now, empathizing with the shock and betrayal you must be feeling.

Rossi quietly explained to Hotch that they found all the evidence in Jenna's home, meticulously laid out as if she wanted to be caught. When they confronted her, she admitted to everything, explaining that she didn't want to live in your shadow anymore. She had been envious of your success, your charisma, and the way everyone seemed drawn to you effortlessly.

As Rossi recounted Jenna's confession, Hotch's expression softened with a mix of understanding and pity. He could see the pain in your eyes as you processed the magnitude of Jenna's betrayal. The realization that someone you trusted implicitly had orchestrated such a twisted scheme left a bitter taste in your mouth.

Hotch placed a reassuring hand on your shoulder, a silent gesture of support amidst the chaos of emotions swirling around you. You turned to look at him, surprised by the tenderness in his eyes, a stark contrast to the intensity he usually exuded.

"I know this must be difficult for you," Hotch said softly, his voice a soothing balm to your frayed nerves. "But we need to get your statement to close this case once and for all."

You nodded, grateful for Hotch's understanding in the midst of the turmoil consuming you. As you recounted your version of events and the moments leading up to your wrongful arrest, Hotch listened intently, his unwavering gaze never leaving your face.

Once you finished your statement, there was a brief silence in the room as everyone processed the weight of Jenna's betrayal and the impact it had on you. Hotch broke the quiet tension with a decisive tone.

"I'll make sure Jenna faces the consequences of her actions," Hotch's eyes softened as he looked at you, his usual stoic demeanor giving way to a rare vulnerability.

“Thank you Agent Hotchner, how could I ever repay you and your team for catching Jenna?” You asked, batting your lashes at him.

Hotch's gaze met yours, a hint of amusement dancing in his eyes at your flirtatious tone. He cleared his throat, a small smile tugging at the corners of his lips as he replied, "I think seeing justice served will be reward enough."

You couldn't help but feel a surge of boldness, encouraged by the intensity of the moment and the shared connection forged through adversity. Leaning slightly closer to Hotch, you lowered your voice to a whisper, a teasing glint in your eye.

"Are you sure there's nothing else I can do to express my gratitude?" you asked, your voice laced with playful insinuation.

Hotch's expression flickered with surprise before a spark of something else - maybe desire - passed through his eyes. He cleared his throat again, regaining his composure as he replied in a more businesslike tone, "I appreciate the sentiment, but catching criminals is all part of the job."

Despite his professional demeanor, there was a subtle warmth in Hotch's eyes that gave you pause, a silent acknowledgment of the unspoken connection between you. Hotch's gaze lingered on yours for a moment longer, the air between you charged with unspoken words and untamed desires. As the weight of the moment hung heavy in the room, you felt a rush of adrenaline coursing through your veins, urging you to take a risk, to push the boundaries of this newfound connection.

In a daring move, you slipped a piece of paper out of your purse, scribbled down your number, and slid it across the table towards Hotch. Your heart raced as you watched Hotch pick up the paper, his eyes flickering with surprise before his lips curved into a small, knowing smile.

“My number, in case you think of a way that I can repay you.” You shoot Hotch a wink before making your way out of the precinct.

[fastboatsmojito]

just saw ur scott reblog gRAAAHH WOOF WOOF anyway !!! and it inspired me to request something <3 (love ur writing btw) pls write something with scott and how big he is 😣 a lil suggestive if u know what i mean 🙈

OHH YOU GET IT SO HARD + thank you so much !! 🫶🏼🫶🏼 whenever someone says they like my writing i get so giddy, it’s just the sweetest 😞

Anyways!!! Absolutely, thank you for fueling my obsession with this large man 💓

Just some scattered Scott x reader thoughts really

|CW; somewhat suggestive, he calls you girl once ☝🏼 incredibly obvious size kink from both parties whoops, he’s pretty canon-accurately an asshole, + suggested dom/sub relationship stuff??? Kinda??? Like not really but a little bit??? idk how else to tag that lmao. Obviously there’s a size difference here but it’s not specific, you could really just be shorter than him and it’d work just the same mwah <33

The first time you really notice is a total accident, you got caught up in the sight of the storm in front of you, not even given time to react to his stern “get in.” before he’s picking you up and putting you back in the car.

“What the hell was that?” He snapped, figuratively and literally as you blankly stare at him, still focused on how effortlessly he carried you back to the car.

“I’m sorry. I don’t know, it was just so close-“

“Yeah, no shit it was close. You could’ve gotten yourself killed. You have to pay more attention than that.”

You just nodded, staring at the way his hands flexed as he drove away, suddenly aware of the drastic contrast between the two of you. He picked you up like it was nothing, which was nothing considering the size of him, you just hadn’t thought about it in that way before.

——

He doesn’t think anything of it for a while, chalking your lingering glances up to his over-analytical mind, until you unintentionally piss him off with it.

“Is this going to be a problem for you?” He was right in your face, arms crossed over his chest as he bitterly chewed his gum, working himself up even more when you couldn’t give him a direct answer.

“If you can’t do your job ‘cause you’re too busy staring at me or whatever the fuck, I’ll have to move you to Javi’s team. Got it?” He barked, shaking his head as he stormed off.

As soon as he realizes why you’ve been staring at him, it’s over.

You were at the diner with the rest of the team, smiling as you walked to the table, bumping into some hard, tall, figure in front of you on the way.

He turned to steady you, big hands landing on your waist. “You ever try paying attention to what you’re doing? It’s pretty helpful.” He was a dick, sure. But you still found yourself focusing more on the feeling of his hands and the way your face warmed up at his assertive tone.

“You ever try not being an asshole?” You rolled your eyes at him before you walked away, but he didn’t miss the pause, or the way your breath picked up at his words. He put it together then, having been so caught up in work he didn’t realize just how tolerable you were getting, his hands constantly drifting towards you absentmindedly whenever you were close enough.

——

He usually went to work to get his job done and go home which was made clear, but after a while he got carried away. Comfortable enough being around you to end up reluctantly carrying you out of the car one night.

He tried to wake you up, met with sleepy grunts and you repositioning yourself before falling back to sleep.

He wanted to just leave you in the car, give you a blanket or ‘whatever’ but it was too cold, and you were in some small town he didn’t know well enough. He rolled his eyes as he took you out, large, rough hands a nice juxtaposition to the way he gently lifted you up.

He had to bring you to his room, not sure of where your room key was and not interested in dealing with your mood if he woke you back up.

He laid you down on the bed, throwing the blanket over you before taking off his work shirt and getting ready to begrudgingly sleep on the couch in his own room.

He went to turn off the lights, groaning when he saw you sit up, whining and stretching your arms.

“You know your necks gonna hurt if you sleep on that couch, Scotty. C’mere.” You sleepily muttered, patting the bed next to you.

He knew it was a bad idea, not missing the new nickname as he put his face in his hands, too exhausted to argue and too self-aware to disregard the attitude he’d have if he woke up to you in his bed and a sore neck.

“Jesus Christ. Alright, fine. One time. Don’t make it weird.” He gruffed as he turned the light off before slipping into bed next to you.

You were facing him as he faced the ceiling, his arms crossed firmly along his chest like some grumpy old man, still awake and motionless when you cuddled into him in your sleep.

——

After that he’s basically torturing you until you say it out loud. Putting his hands on your waist all casual to move past you, refusing to acknowledge any of it first.

Both of his hands were on your shoulders as he crouched down to be eye level with you, losing his patience after he caught you staring at his arms when he was trying to talk to you.

“If you want something, you’ll have to use your words like a big girl and ask for it. All this pouty, wordless shit won’t work with me. I need you to listen to me when I talk to you.” He spat condescendingly, minty gum popping in your ears. He grabbed your chin between his thumb and pointer when you shook your head.

“No? I can’t give you what you want if you don’t tell me what you want. I’m not about to guess.” You squeezed your eyes shut to get away from his intense stare.

“I don’t want to say it here.” You barely whispered, opening your eyes when he sighed.

“Damn it.” He breathed before pausing, standing up tall and scanning over the parking lot you were in.

“Alright, come on.” He said bluntly before grabbing you and throwing you over his shoulder.

“Scott-“ You pouted as he swept you back to his motel room.

“Just shut up and let me help you out for once, yeah?”

-

I need him so bad

[luffyvace]

✌︎ Sitting in Zoro’s Lap hcs ✌︎

I just felt like doing these<3 I don’t usually do concepts and I’m testing out the waters so they’ll likely be short ;3 also I wanna do more than just relationship hcs bc it’ll be more fun ✌︎

enjoy zoro simps cuz y’all definitely be on my acc 💖

At first he feels it’s kinda pointless

like he’s thinking “why would you wanna sit on my lap?!—sit on a chair or- just- somewhere else!...even the floor or something idk?!!”

but however you somehow convince him to let you, whether that’s bribery (swords or alcohol), sitting on him anyway or schmoozing him over into letting you,

you did it!!

And that’s all that matters :)

he probably got tired of your relentless request and just let you eventually

While you sit on him he’s usually sleeping sitting up, drinking alcohol or just relaxing with his eyes closed

When you sit facing him it’s a little more comfortable for him

he prefers it that way

sometimes you lay your head on his shoulder/chest and fall asleep on him

he’ll scoff either way but he gets a bit annoyed if he was trying to do something that requires getting up

Like training for example

If he wasn’t too busy in the first place then he just scoffs and probably takes a nap himself

if he’s not tired he waits for you to get up

he doesn’t like to stir you from sleep but if it’s important like a ship attack he’s kinda rough about doing so- 😀

bro he basically yanks you up and yells your name

not because he’s trying to be mean 🤷‍♀️

Just the fact that if an attack comes your way you won’t be able to dodge—and protecting someone isn’t his thing when fighting, he always tells you to go hide if your weak

uh anyway 😗

When you sit with your back to his chest its comfy but like don’t be surprised if he picks you up and turns you around (i don’t wanna hear anyone saying they’re too heavy bc you obviously must not have seen the weights he lifts on a daily)

sitting like that’s kinda annoying bc having to crane your neck back and to the side is not fun 😬😀

plus you probably hit his jaw a lot-

Or things like

1) he bites his tongue

2) his teeth hit your head (and it hurts for both of you)

3) he spits his alcohol in your hair (when you hit his jaw with your head)

4) you hit your head on his nose

So yeah this position is less common for you guys

Bonus if your hair is long

then he gets his fingernails stuck to it too :)

he prefers you don’t sit on his lap in public

mostly because he doesn’t like the stares that come with it 💁‍♀️

he just feels awkward

If you once again somehow convince him to let you in public however…..

it’ll be the type where he man spreads and you sit on one leg facing him

that way he has a bit more space to move and one of his arms is free

just in case an attack comes that he needs to block

orrrrrr just for simply drinking alcohol 😋

on the merry/sunny he’s more likely to cave in

especially since it’s just the strawhats

unless they make fun of him or smth (especially robin) then he doesn’t mind as much

plus y’all can have some privacy in the crows nest most likely

ngl he pretty comfy to sit on

unless your really tall or smth he’s prob bigger than you

so it’s not like y’all are uncomfortable or squished

zoro after time skip is low key more comfy because you know that dark green coat he wears?

yeah it like bends to create a little chair when he manspreads

and idk if you know what I’m talking about but those who get it do 💗👍

Does he end up liking it?

yes :)

yes he does. :)

Im trying to branch out and do more concepts because it’s more interesting for me to write, and you to read so why not 😊

Hopefully my zoro stans enjoyed !! <3 ⚔️🗡