#just tending to other things

[tutuandscoot]

Anyone else ever think about how every single Latch ending pose is slightly different because that IS NOT JUST an ending pose.. it’s Scott thanking Tessa for keeping him alive through everything that whole season and her cuddling and holding him exactly how he needs to be held on that specific day at that specific moment.. while simultaneously it is him holding her, for everything she has been through, this program more broadly an encapsulation of their journey so far.. just feeling so incredibly grateful and wanting to cherish each of these moments.

[bionicboxes]

this is the dynamic they have going on in my head.

[romijuli]

It’s not that I don’t LIKE the Fandom Popular Pairings, it’s that I find the assumption that everyone ships them and the general all-consuming nature of said pairings to be kinda exhausting,

[ruporas]

being a little petty (ID in alt)

[martyryo]

Swapshipping ☕

[icaruspendragon]

hiii, this might be weird, but who is Lazarus? I'm not religious, so I've tried searching for who he is, but I can't seem to get a clear answer and was wondering if you could explain him?

ah yes, lazarus of bethany. a man i consider to be equal parts friend and foe.

lazarus lived in bethany with his two sisters, mary and martha. and when we meet him, he’s sick. so much so that his sisters send for jesus of nazareth saying, “lord, your dear friend is very sick.”

jesus of nazareth was in jerusalem when he received the message. and despite being only a few miles from bethany, and despite jesus loving martha and mary and lazarus, he waited. he didn’t go to them straight away. he waited. he waited until lazarus died and then said, “lazarus’ sickness will not end in death. no, it happened for the glory of god so that the son of god will receive glory from this.”  

and when jesus finally made it to bethany he was told lazarus had already died. that he has already been in the grave for four days. and when martha, sister of lazarus got word that jesus was coming, she went to meet him. and mary, sister of lazarus did not. and when martha saw jesus she said to him, “lord, if only you had been here, my brother would not have died.”

and jesus said to her, “your brother will rise again.”

but then mary arrived and she saw jesus and she fell at his feet and she said, “lord, if only you had been here, my brother would not have died.” and she wept over her brother. because she loved him and he was gone. and jesus should have been there. because if jesus had been there, her brother would not have died.

and jesus saw her weeping. and he saw the other people wailing with her. because lazarus was deeply loved. and now he was gone. and they had sent for jesus. they had prayed for a miracle. and that miracle didn’t come until it was four days too late. and they didn’t know that jesus was going to bring lazarus back. they didn’t know that jesus had waited that long to teach a lesson. to prove a point. they just knew jesus was too late. and now they were forced to grieve.

and then a deep anger welled up in jesus. and he was deeply troubled. and jesus asks, “where have you put him?” and the people say, “lord, come and see.” and he does. and when he sees, jesus weeps. when he sees, we get the shortest verse in the bible. a mere two words to sum up an entire town’s grief. two words to convey the loss of a sibling. two words are offered for the preventable death of a loved man.

jesus is four days too late. and jesus?

jesus wept.

and the people who loved lazarus turned to him and said to jesus, “see how much he loved him!”

jesus loved lazarus. and then he let him die.

and some of the people said about jesus “this man healed a blind man. couldn’t he have kept lazarus from dying?”

and then jesus, who knew all along that he would revive lazarus. jesus, who let all those people mourn. jesus, who let those sisters lose their brother. jesus, who let them weep. jesus, who wept with them. that very same jesus said to those who loved lazarus, who mourned him, jesus of nazareth said to them, “didn’t i tell you that you would see god’s glory if you believe?”

and then the stone of lazarus’ tomb was rolled aside. and then jesus looked up to heaven and said, “father, thank you for hearing me. you always hear me, but i said it out loud for the sake of all these people standing here, so that they will believe you sent me.” and then jesus shouted, “lazarus, come out!” and he did.

lazarus the dead man came out, his hands and feet and face wrapped still in burial cloth. and then jesus of nazareth told them, “unwrap him and let him go!”

and then lazarus of bethany became lazarus of the grave. lazarus of the grave that will never be left behind even though he has risen and relinquished. lazarus of the grave who did not make good his escape unscathed. lazarus of the grave who will now check each darkened doorway as death and his sting is keenly felt.

lazarus was a man. a man whose family loved him. a man whose sisters sent for a miracle. a man whose sisters mourned him in the four days it took for that miracle to show up. a man who was made an example for no reason other than being loved by jesus. a thing that we are all told to be. loved by our savior.

lazarus is a man who makes me wonder three things. firstly, if jesus had been there that my brother may not have died. secondly, if jesus of nazareth too weeps for me. and thirdly, if jesus loves us and we in turn love him too like the scriptures command, why does he use us in the lessons he teaches.

why must we be the men he makes believers of?

so lazarus was just a man whose crime was loving jesus. and martha was just a girl whose crime was loving her brother. and they both suffered a miracle because of it.

[fuedalreesespieces]

gossiping inukag is the best inukag, actually (ft disgruntled younger brother shippo)

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[the-golden-weapons]

I’d like to think Jay and Nya are very funny because they are both mechanics, but in entirely opposite ways:

Nya has all her tools in proper order. In her workshop, there is never any scrap part going unused. Any notes and blueprints since the ripe age of 12 have been carefully stored and saved, no matter how much she cringes when looking back on them. The Samurai X designs and revisions have their own file cabinet as well as digital backups. Her measurements are double and triple checked, even though she probably had it right the first time. Every choice she makes is calculated and buffed out, from the interlocking gears to the paint job. She prides on her work on being practical and aesthetic, thank you very much.

Jay, meanwhile, is the definition of fuck around and find out. Blueprints? Who needs em, anyways? The only thing vaguely resembling “notes” in his work area are scrap pieces of paper with the most round-about mathematics ever (complete with indecipherable short-hand and a stick figure drawing of Jay holding a blowtorch, naturally.) He will change up plans on the fly and casually stick his hands in very sharp moving parts like there is no tomorrow. Safety equipment? He grew up in a junkyard. He had a wrench in his hand before he could walk. Yeah, no, he’s pretty sure he’s fine, thanks.

[egophiliac]

hi! this is Insomniac Anon here!!! I noticed on some of ur artworks (specifically the unique magic posters), that u have a textured look to em, like paper or grain ... i wanted to ask how u get that effect? is it a brush, a filter, or like an overlay/png u use ... ? pls tell me!! ;v; I really like how the texture looks, so i wanted to know how 2 do it since ure a very big inspo 2 me LAWL ... I've been doing art practices in diff styles i find, so, i wanted to know a bit more how you do it :^D

thank you! :D :D :D it's usually photos/textures of paper that I've messed around with; I have a bunch of free/paid/ones I took myself. anytime I see good photos of paper I add it to the collection...it is my weakness. 😔

I mostly use Photoshop, but this should work in any program that supports blending modes (also I did this in like an hour to use as an example, please forgive it :')

image by itself before texturing:

with the texture pasted in (for this one I'm using this public domain one from Pexels):

then mess around with the blending mode to see how it looks -- in this case I went with overlay, but soft light and hard light are usually good ones too, it really depends on the texture:

then with a bunch of messing around with opacity/colors/saturation/levels/adding in a bit more texture until I like how it looks:

et voilà, texture! (waves hands)

[turtleblogatlast]

Thinking about how Leo says he uses his jokes to cope and y’know, thinking harder on it I think it may very well be because of what else uses one-liners and puns and that type of humor.

Specifically, 80’s action movies and campy sci-fi. Even more specifically, the protagonists of these.

So I can imagine why, exactly, Leo leans toward this brand of humor. It’s directly linked to things he loves! But even more than that is why I think it’s used as a coping mechanism.

In these genres, these quips tend to be said by the winner - or, if not a winner, then someone who will stay alive. So there’s a confidence behind them, an assurance, almost, that even if things go wrong, things aren’t ever too serious. There’s no bad endings here! It’s all good fun, even if the stakes seem high.

Leo canonically has been known to steer his brothers away from the more brutal villains and toward more fun, lighthearted activities and not-so-dangerous criminals. So for Leo, these jokes definitely make things less heavy, make the situations they find themselves in less intense.

It’s kinda not just coping, but also can be seen as a form of escapism. A safety blanket. A way for Leo to defuse the tension of knowing just how dangerous their lives are and replace that with a levity which implies that things will be okay.

Unfortunately, levity alone does not alter reality.

[genericpuff]

gonna be a bitch on main for a sec but i always find it really funny when folks say "why does this puff person waste their time and energy and skills making spite fic, they could be making original projects instead of tying themselves down to LO"

and i'm over here like

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[whalehouse1]

Co-worker who knows that I’m a nerd, “What are your plans for the 4th?”

Me, trying my best to figure out how to explain that the Thunder Saga is dropping for Epic, “Uh, well, YouTube is going to have a premiere for something I’m excited about.”

“Oh? What’s premiering?”

Me, literally stumbling over my words, trying to figure out how to explain Epic.

Him, “It’s something nerdy isn’t it?”

Me, ���Yeah, so some guy seemingly got a hyper fixation on the Odyssey during Covid and decided to make a musical about it in parts, and the part with one of my favorite Greek monsters is this one.”

Him, confused cause he 100% was not expecting that type of answer, “Well, I hope it’s good.”

[ruporas]

bound to want (part two) /// part one rest of pages under READ MORE after ID

[ID: 23 page digital comic of Vashwood from Trigun Maximum. The comic is in a limited palette of a dark blue, light pink, white, black, and a light beige color for Vash's skin and a mid-brown color for Wolfwood's. This comic is the second part to "Bound to Want" and is spoiler-free. The first part is linked here.

It begins with a panel close up of Vash's expressions. The sky colored in dark blue can be seen behind him. He has a neutral expression, but he holds a slight frown and the reflection of his glasses covers one side of his eyes. Wolfwood says, "Hey. What's with the distance?" In the second panel, the shot widens to show both of them, a clear physical distance separating them with Wolfwood walking ahead and Vash trailing a little behind. Vash responds, "What? I'm just walking a bit slower today..." Wolfwood looks at him with a an irritated expression, clicking his tongue. Wolfwood says, "I was going to wait for you to start... But yer just running away away."

Vash is seen looking away, unable to hold eye contact with Wolfwood as he continues, "You've been avoiding me since that night. Did ya think I wouldn't notice? It's about that dream, right? Tell me about it already if you're going to be moping like this." Vash looks slightly downwards, his brows furrowing and he starts to walk ahead of Wolfwood without looking at him and responds stiffly, "I really don't want to talk about it..." Wolfwood looks at him with a surprised expression, but doesn't probe.

A panel close up to Wolfwood's eyes as he watches Vash go on ahead before he follows suite with an irritated sigh. The panels are overlapped by Wolfwood's hand holding the bottle of the Bride with motion lines, indicating a transition in time.

A wide shot of Vash and Wolfwood in a room now. Vash is seated, his back turned away from the viewer, while Wolfwood's body faces the viewer with his eyes looking towards Vash. He rests the bottle of the Bride on the table with a "clack" and his other hand holds two shotglasses. The background is coated in a light pink.

A panel shows a close up of Wolfwood's face, his eyes looking downwards to Vash as he says, "Let's drink." Next to this panel is Vash looking up at Wolfwood, his brows furrowed and a slight frown. The bottom half of the page is a wider shot with Vash's body turned away from the viewer as he says, "I'm not going to talk about it." Wolfwood responds, "You don't have to." as he sits down.

A wide panel of Wolfwood holding the shotglass, pouring in the drink as he continues, "I'll talk." The next panel is a profile view of Wolfwood, his eyes looking down at the now filled shotglass as he continues to say, "You're..."

"... upset with me." Vash can be seen next to this speech bubble with narrowed eyes, looking towards Wolfwood. The panels are all coated in with a dark blue background. Wolfwood continues, "I can't be certain why since yer not telling me a thing -- but it's probably... my bad." The panels show Wolfwood about to bring the shotglass to his mouth but he turns way as he continued to speak, his eyes not on Vash. The bottom page shows him looking away completely with a guilty expression as he says, "I'm sorry.

If you can ever tell me why, I can try and adjust to make it more bearable. But if you're just trying to get rid of me--" The panels follow Wolfwood's certain expression as he says this, "I don't intend to leave you. I can't... and I won't." A panel shows Vash's wide-eyed expression, surprised upon hearing this, and then his eyes soften as Wolfwood again concludes with, "I'm sorry."

Vash's inner thoughts begins, a boxed speech at the center of the page and panels of his eyes, his brows furrowing again and a resigned, but frustrated expression. His thoughts starts, "Stop. I shouldn't be happy hearing that. And why are you apologizing? I should be the one to..! I can't let anything like that happen to you. You deserve to live a long steady and peaceful life. I want to be optimistic. I want to protect you, but I might end up doing the opposite." The text surrounds Wolfwood from Vash's perspective, the other man drinking out of his shotglass, his eyes downcasted.

"I shouldn't have you. And you won't leave." Behind these text is a panel of Wolfwood's eyes finally looking over to Vash. Vash's thoughts continues,  "It's so unfair." When Wolfwood sees Vash, his eyes soften and he frowns. The last panel shows the lower half of Vash's face, but tears begins to flow down his cheek. Wolfwood's hand is already reaching to wipe at them as he starts to say, "You know..."

A wider shot of Vash and Wolfwood, Vash slightly leaning forward with his mouth tightly shut, and tears steadily continuing to flow out of his closed eyes. Wolfwood continues to wipe at them with his hand as he continues, "This isn't a dream anymore. I don't know what you saw for you to be this shaken up, but whatever happened, you'll overcome it, right? If not you, I'm here too. You'll be okay, Spikey. So..." Wolfwood's expression grows more tender, "Have a little faith in me... and come back already." The dark blue starts to fade.

The wide panel has the dark blue background faded and replaced is the light pink. It shows Vash in full up to his shoulders, his eyes are still tears littered, but there's light in them as he says, "Wolfwood..." making eye contact with the other. The next panel shows Wolfwood's tender expression, his eyes and brows fully soften and he has a small smile on his lips, finally seeing the other return a level of sincerity with him.

The next panel shows the bottom half of Wolfwood's face and his hand is offered towards Vash for a dance as he says, "C'mon. We don't have to talk, but this is okay, right?" The background is now white and a ribbon flowing across the page separates this panel from the next sequence. Vash's inner thoughts continus, "I've spent too long avoiding this. It's scary to want after I've taken so much from others." A sequence close up of their hands is shown, with Wolfwood's outstretched hand on the right and Vash's reaching hand on the left. Vash gently places his hand in Wolfwood and at the bottom, Wolfwood wraps his fingers across Vash's.

Throughout the page, a dark blue ribbon starts to flow around the both of them with confetti raining alongside the effect. Vash and Wolfwood are hand and hand, dancing together with Wolfwood as the lead. The viewer can see a peak of Vash's expression, full of fondness but also a hint of sorrow as he looks down at Wolfwood. His inner thoughts continue, "I don't deserve this. I don't deserve you. But why is that even though I have these burdens, I still want to love you. I still want you to be by my side."

With a close up of their mouths, Vash's thoughts continue, the text covering his mouth, "Wolfwood, I--" Wolfwood's speech bubble covers Vash's text as he completes his sentence, "want you." Vash's eyes widen for one panel and in the next, his eyes spark, a blush appearing on his cheek and the confetti flows and spark. Tears ease up on his eyes again.

"Want me too already, Spikey." Wolfwood has leaned in enough to rest his head against Vash, a hand of his on Vash's neck, holding his nape and another hand pressed gently against his back. A ribbon separates this panel from the next, a mix of confetti flows across the page, as Vash envelopes Wolfwood in a hug too, holding him and his hand gripping tightly onto his back.

This page is just the ribbon flowly throughout the page on the white background, one white ribbon and the other a dark blue. Near the bottom, the ribbon envelopes each other in a loop. A conversation of Vash and Wolfwood is held over these ribbons, Vash starting to say, "What if I hurt you? What if you..?" Wolfwood responds, "You? How could you hurt me?" Vash, "You know what I mean... You see it everyday..." Wolfwood responds, "If you think I'm going to kick the bucket so easily, I suggest you look at me more closely from now on, idiot. I'm not that easy to get rid of."

The next page has the ribbon criss cross over the top of the page. Vash and Wolfwood can be seen in their dancing position again, Wolfwood now resting a hand on Vash's shoulder, as Vash takes the lead. Vash continues, "Well, I know that... I tried." Wolfwood responds, "But you won't anymore... since you want me... around, yeah?" Wolfwood's head cocks to the side, smiling with assurance, cheeks flushed. Vash looks at him with a wide smile and fond, loving eyes. The confetti flows across the bottom of this page and as it eases into the next page, it starts to disappear.

Vash responds, ".. Yeah... I do..." as he pulls Wolfwood into a hug again. Wolfwood says, "Not going to run away anymore, are you?" Vash says, "No... I trust you." A panel shows Wolfwood's turning away slightly with a shy expression, muttering "Geez..."

In a more simplified style, Wolfwood is seen gripping Vash's cheeks now with his hand, "Though... You do remember you avoided me for two weeks straight, right? How are you going to make that up to me?" Wolfwood asks. Vash responds with eyes closed and a pucker of his lips. A vein of irritation appears on Wolfwood's face. Wolfwood starts to squeeze at Vash's cheek with both hands, shouting, "Now that you've recovered, you're trying to be funny, huh?!" Vash says through the squished cheeks, "I'm just happy..."

The next page opens with a closed up panel of Vash's widen eye as Wolfwood's hand moves from squishing his cheeks to gently holding them and Wolfwood leans in. The inner thoughts starts again, "There's a chance I'm not making the right choice... My dreams, my fears of losing you, it will never go away. But you said you won't let it happen... And I want to hang onto your words closely this time. After all, if it's anyone who can make me believe, it's you."  The white ribbon from previous pages flows across the page and it visibly ends at the bottom of the page, enclosing the two of them as they share a gentle kiss with Vash holding Wolfwood's face, a tear in his eye.

The next pages starts with Wolfwood saying, "You cryin' again?" Vash responds, "I'm just grateful..." Wolfwood responds, "But you've always had me." Vash responds, "Being like this is different from staring at you from behind all the time though..." The two can be seen together again, Wolfwood pressing his elbows against the table with Vash leaning over him. Wolfwood is easing the tears out of Vash's eye again, just like earlier. A close panel of Vash's fond expression is seen as he says, "Thank you, Wolfwood." Wolfwood looks up at him with a small smile, gentle eyes. Confetti starts to flow lightly across the page as text starts to appear against the white background, "I'm the one who's grateful...

That you'd embrace someone like me, when I'm not fit to hold you in the first place... But I know better than to hesitate. The moment I acknowledged it, I knew I'd spend the rest of my life loving you. So, have as much of me as you want, Vash."

The final page shows the confetti gently falling down the page and at the bottom shows Vash and Wolfwood pressing their foreheads together, Wolfwood's hands cupping the side of Vash's face gently, and both of them smiling brightly with each other. ID END]

[impaladin]

getting around to pearl’s double life pov. she is making me cry chat (i’m only 2 episodes in)

i’ll do an actual design eventually. this is mostly emotion + not wanting to think. hence eye