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papersnakepress · 2 days

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I had a message the other day asking (among other things) what kind of tools and equipment I use in making books, and as it's something I like to go into detail on, I realized I couldn't fit everything I had to say in a message so it's getting its own post. With photos!

Disclaimer that I'm not a professional bookbinder, I'm entirely self-taught and probably have habits and practices that would drive a pro nuts. I'm no authority, but these are the things that have worked for me, and maybe you can adapt them to work for you too.

This post will not cover: storage options, materials like board and glue, or equipment specific to one narrower aspect of the hobby like embossing or gilding. It is also not a tutorial on how to make a book, though I am covering things in more-or-less the order I use them in during the book-making process.

This post will cover: What I've found useful, what I've regretted buying, and some things you can co-opt from other, more common hobbies. A lot of it you may already have in your house. Some of it is for beginners, some is nicer equipment you might want as you get further into making books. They are not separated, it's just a list and some description.

Keep reading below the cut; this is gonna be a very long one and there are a lot of photos of everything.

If you want to make books you will need access to a printer. I'm not going to go into detail on this part and I didn't take a photo of my HP (not the best brand, but that's a long discussion in and of itself). Once you've got your pages printed and it's time to fold it into signatures, it helps to have a folding tool like these:

Folding tools can be anything as long as they're smooth and flat. The one on the left here is an actual bone folder from an art supply shop, but the center one is a plastic leatherworking tool that I got at Hobby Lobby, and the one on the right is an agate burnisher that I got from Amazon. None of these cost more than $10, and you can also use the edge of a pen (as long as it has no rubber grip or cap/clip) or the back of a spoon. Or your fingers, but the tools make it faster and the folds are more precise. I once worked a job where I had to fold maps, and all my coworkers were wondering how I did them so much faster and why mine were flatter than everyone else's, and it was because I'd grabbed a sharpie and started using the back end like a bone folder.

Once it's folded, you'll need to poke holes for sewing. I use one of these:

Left is, again, an actual bookbinding awl from an art supply store, while the center one is a paper quilling tool and the right one is a beadwork awl, both of which came from a big chain craft store. The bead one is my favorite; it's a good size and very stable. The quilling thing has too long and thin of a blade and it's wobbly, and I don't like the tapering on the bookbinding awl. It tends to make the holes in the middle page too big, and the outer ones too small. Again, these were cheap, about $10 each, but you can also use a sewing needle stuck in a cork, or a thumbtack or pushpin. If it's pointy and rigid, it'll work.

This isn't a requirement by any means, but I've found I like having a punching cradle for the hole-poking step. I got this 3d printed one from a fellow bookbinder, who was designing their own and made this one as a prototype. There are a lot of tutorials on how to make a punching cradle, or you can buy them online from several different vendors. They don's all look like this, and you can make them from wood or cardboard (though those don't usually have guide holes). If you're just starting out or this doesn't appeal, you can just use a paper template like the one on the far right. The cradle helps get the holes lined up and evenly spaced, and I've never liked this step so anything that makes it faster and less fussy is a win. If you use this kind, check that your hole-poking tool fits in the guide holes--the binding awl pictured above doesn't, but the other two do.

We've made holes, so let's stitch them up. These are just regular sewing needles and beeswax, to make your thread less prone to tangling. You can get both of them in any store that has a sewing department. There are dedicated bookbinding needles, like curved needles, and some binders like them, but I've never gotten the hang of the curved ones and they aren't necessary, especially when you're just starting out. If it fits through the holes you made, it will work.

Once it's sewn, you probably want to squish your new text block so it's flat. I've got a laying press that I bought a couple of years ago when I was first getting started. It was marketed as a book and flower press, and it's honestly not the best. I would probably not have bought it if I had known that it wasn't essential to the process, and I mainly use it now when I'm squishing a text block and still want to use my work space, because once it's tight I can move it somewhere else. You can really use almost anything for squishing as long as it's heavy and flat and rigid on one side, like the stack of books in the right-hand photo. Textbooks, encyclopedias, art and photo books, and comic book omnibuses are all great. I've seen people use all kinds of things, like paper-wrapped bricks and doorstops, and there are tutorials out there to make your own press out of cutting boards if you do want one.

If you like your books to have smooth, flat page edges you're going to have to trim them. This is a book plow from Affordable Binding Equipment, and it was the first piece of actual expensive equipment that I bought. Not all plows look like this; I think the design is unique to ABE, but I've never used the traditional kind. In the interest of full disclosure, you can also trim edges with a sharpened chisel, which is much cheaper and can be bought at any hardware store, and some binders love this method. I do not love this method and have had zero regrets about caving and getting the plow. Very easy to use but does require some grip strength. Not pictured: the setup for sharpening the blade, which isn't hard but requires a bit of space and a small sheet of plate glass that you have to source yourself. Even with that, I still prefer it to the chisel. That said, this is not an essential step and you can leave your books with a "sawtooth" or deckled edge. Most of my early books have them, and some people just like them better than the flat ones and never learn to trim them. As another side note, some tutorials will say that you can trim your edges flat with a knife. You can't. Maybe on a pamphlet you can, but if it's more than 10 or 20 pages you just can't. It will look terrible.

If you're going to use a plow, you've got to have the right kind of press. The one I talked about further up the thread is the wrong kind (full disclosure: I did use it with that press turned on its side, before I bought this one. But it's harder, more time-consuming, less comfortable, and less safe. Don't be like me). So here's a photo of my finishing press (also from Affordable Binding Equipment). I bought it so I could make backed books, but I use it for trimming too. The top part here has a narrow tapered section for backing, but if you flip it over it's totally flat, which is what you need for trimming. Not pictured: the stand that it came with for backing, or the c-clamps that I use to attach it to the desk for trimming. Again, though--this isn't a requirement for bookbinding. This is a later stage that's entirely optional. On the subject of backing, though:

You don't need special equipment to round the spines of your books, but you do for backing. Left image is the set of backing boards I got from, once again, Affordable Binding Equipment, and on the right is a backing hammer from Hollander's. Neither of these are essential. Even if you get the boards (which have to be used in a press with a tapered edge, like the one directly above) you can actually use a regular hammer as long as the front part has no scratches or gouges. This one is a backing hammer, the primary difference being that it has a wider, convex head than a regular household hammer, to make the kind of glancing blows needed for backing a little easier. Honestly, I'm still learning how to use these and I'm not very good with them yet. Comes of being self-taught, probably. I don't think youtube is the best vehicle for learning this part, but it's what I have and I'm making do. Not every book is going to benefit from backing, either; it's primarily for helping mitigate spine swell.

Okay, time for my favorite repurposed equipment hack.

It's bookends. Regular bookends that I've had for ages and that probably came from Ross or some other place that doesn't even sell craft supplies.

Want to keep the text block upright while you glue it? Bookends. Want to sew some custom end bands but your text block keeps falling over? Bookends. They won't provide pressure for squishing, but if you just need to hold something upright while you work on it, bookends are the answer. They hold up books, it's right there in the name. Having said that, you want some with a little weight to them, like these agate slices, so they won't slide around. And you want something with a smooth finished edge like these, so they won't scratch up your text block or leave dents. I have other sets but these are the only ones I use for this purpose, and they're better for it than anything else I've got.

Moving on from making the text block, let's look at what I use to make covers.

It's appeared in the background of most of the other photos, but here's a photo of just the desk surface covered in cutting mats. I really recommend a mat to protect the surface of your furniture and keep your knives from going immediately dull. I've got a big one that covers almost the full surface, and a small one for when I want to be more mobile. I started with just the small one and it was good until I started working with larger sheets of paper. The big one was bought largely for convenience but I have no regrets about it. They're self-healing, non-slip, and you can get them in the sewing section of any big craft store.

I'll be honest, I am not big on knives. I've got a regular box cutter for trimming board, and a razor knife for paper and cloth, and that's it. There are a lot of kinds and really all you need is one sharp blade for board. Paper and cloth can be cut with scissors if you want, though I find I get more consistently straight lines with the knives. Also pictured: Metal rulers and a T-square. You want a metal ruler for this. Plastic will flex and wood won't lay flat. Ideally you want one without a cork backing (my 18" one has this problem) and with the tick marks etched in rather than printed (my 12" one has this problem). For larger sheets of paper and cloth, the 18" one is great, but you can get by with the smaller one. The T-square is for making right angles; mine is plastic and only 12", and I really wish I had a longer one that was metal. These are drafting tools and you'll find them in the section of the craft store that has easels and sketch pads and they're usually pretty cheap.

This is an adjustable compass. You can probably get these at craft stores but I got mine on Amazon. It's for measuring hinge gaps and the width of spines, both essential for making sure your cover fits your text block and your hinges open the way they should. Both of those are incredibly frustrating situations, and this thing makes it so much easier to avoid them.

Things to spread glue with! Any old paintbrush will do, though I like to have a few different sizes and textures on hand to choose from. I like the big one for cover boards and casing in, the mid-size ones for doing turn-ins, and the little fellow for details and touch-ups. I don't care for foam brushes because I find them hard to clean when glue is involved, but if you like you can use those. The metal thing on the left is a micro-spatula, and I did have to special order it from an art supply place but it was cheap and it's very helpful to have on hand for when the brushes are too thick, for doing turn-ins on rounded spines, and for separating pages if you decide to learn edge foiling. Not essential, but recommended.

One thing I neglected to take a photo of is my crepe eraser. Despite the best intentions, no matter how careful you are, you will at some point get glue where you don't want it, where it will be visible on the finished book. This is where the crepe eraser comes in; you can use it to remove dried glue from cloth or (to a lesser extent) paper. Very annoyingly, none of the craft or art supply places I went to had even heard of these and I had to get mine from Amazon. It was cheap (under $10) and I strongly recommend getting one.

Once your cover is made, you have some options. You can leave it blank, hand-letter or draw an image, stamp it with ink or embossing powder, use a stencil, or do what I usually do these days and make a cover graphic from HTV. I've got a cricut for this (though they're not the only kind of cutting machine; it pays to research other brands) and a mini heat press (I want a bigger one, but I got this one cheap because the box is messed up). A lot of libraries have cricuts you can use, and you can use a regular iron to apply the HTV. Getting it to stick is a bit tricky, but that's true no matter which tools you use. Not pictured: a cutting mat, different than the kind shown above, necessary with most materials you can cut (mine came with one, they're about $20 at most craft stores, and they're lightly sticky to keep your materials in place while it's being cut). I don't know if other brands require them, but cricut does unless you're using their Smart Materials (I have never used these). If your library has a cutting machine, they will also have the appropriate cutting mats. Also not pictured: weeding tools. Weeding is when you remove the bits of HTV that you don't want in the final image, usually the spaces between letters and such. The negative space, if you want to get artsy. The special tools cricut sells aren't necessary, you can use an awl or needle and the dull edge of your knife blade, but I have a set of theirs and I like mine.

I didn't take a photo of it, but sometimes I use embossing inks and powder to make cover designs and text. You only need a heat gun for embossing powder, it takes up way less space than the cricut does, and it's cheaper. I got mine free from a family member so I don't know what it cost initially, but cutting machines are a really big expense; the cricut is my third most expensive piece of equipment, after the finishing press and the plow.

Good god I think that's everything. It sounds intimidating, I know. And it sounds like it takes up tons of space in your home, and to be honest it can, but it doesn't have to. The first dozen or so books I made, I made completely to my satisfaction with tools and materials that fit in one 12x16" moving box. If you love the hobby and can make the space, the bulkier items might be worth it down the line, but especially when you're first getting started it's smart to keep things low-cost and compact. Most of the basics are simple and your fellow bookbinders are delighted to share their shortcuts and substitutions if you ask.

The end! I hope it was helpful, @cardassianexpats! I did warn you it would be wordy, lol.

#bookbinding #fanbinding #long post #like ridiculously long post omg #my own verbosity will be my downfall #if anything is unclear please tell me #i can't always tell when i'm over-explaining #or when i think i've given enough info but my audience thinks i haven't #snek makes books #but sometimes she just talks about them

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theabstruseone · 1 year

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I slept in and just woke up, so here's what I've been able to figure out while sipping coffee:

Twitter has officially rebranded to X just a day or two after the move was announced.

The official branding is that a tweet is now called "an X", for which there are too many jokes to make.

The official account is still @twitter because someone else owns @X and they didn't reclaim the username first.

The logo is 𝕏 which is the Unicode character Unicode U+1D54F so the logo cannot be copyrighted and it is highly likely that it cannot be protected as a trademark.

Outside the visual logo, the trademark for the use of the name "X" in social media is held by Meta/Facebook, while the trademark for "X" in finance/commerce is owned by Microsoft.

The rebranding has been stopped in Japan as the term "X Japan" is trademarked by the band X JAPAN.

Elon had workers taking down the "Twitter" name from the side of the building. He did not have any permits to do this. The building owner called the cops who stopped the crew midway through so the sign just says "er".

He still plans to call his streaming and media hosting branch of the company as "Xvideo". Nobody tell him.

This man wants you to give him control over all of your financial information.

Edit to add further developments:

Yes, this is all real. Check the notes and people have pictures. I understand the skepticism because it feels like a joke, but to the best of my knowledge, everything in the above is accurate.

Microsoft also owns the trademark on X for chatting and gaming because, y'know, X-box.

The logo came from a random podcaster who tweeted it at Musk.

The act of sending a tweet is now known as "Xeet". They even added a guide for how to Xeet.

The branding change is inconsistent. Some icons have changed, some have not, and the words "tweet" and "Twitter" are still all over the place on the site.

TweetDeck is currently unaffected and I hope it's because they forgot that it exists again. The complete negligence toward that tool and just leaving it the hell alone is the only thing that makes the site usable (and some of us are stuck on there for work).

This is likely because Musk was forced out of PayPal due to a failed credit line project and because he wanted to rename the site to "X-Paypal" and eventually just to "X".

This became a big deal behind the scenes as Musk paid over $1 million for the domain X.com and wanted to rebrand the company that already had the brand awareness people were using it as a verb to "pay online" (as in "I'll paypal you the money")

X.com is not currently owned by Musk. It is held by a domain registrar (I believe GoDaddy but I'm not entirely sure). Meaning as long as he's hung onto this idea of making X Corp a thing, he couldn't be arsed to pay the $15/year domain renewal.

Bloomberg estimates the rebranding wiped between $4 to $20 billion from the valuation of Twitter due to the loss of brand awareness.

The company was already worth less than half of the $44 billion Musk paid for it in the first place, meaning this may end up a worse deal than when Yahoo bought Tumblr.

One estimation (though this is with a grain of salt) said that Twitter is three months from defaulting on its loans taken out to buy the site. Those loans were secured with Tesla stock. Meaning the bank will seize that stock and, since it won't be enough to pay the debt (since it's worth around 50-75% of what it was at the time of the loan), they can start seizing personal assets of Elon Musk including the Twitter company itself and his interest in SpaceX.

Sesame Street's official accounts mocked the rebranding.

#twitter #twitterpocalypse #twitter fail #elon musk #fuck elon musk

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she-who-fights-and-writes · 7 months

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“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation.

The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating.

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut.

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

#writing tips #writing advice #writing help #writeblr #booklr #writers #writing #show #creative writing

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punkitt-is-here · 10 months

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How did you learn to draw fat bodies but still keep it cartoony? I love how you draw different types of bodies and make them all seem normal instead of certain body types sticking out like a sore thumb next to others. I struggle to draw fat bodies without it looking weird with the rest of my art. Do you have a specific tutorial you followed or something?

This is a really good question! I'm glad you like my depictions of different body types, i worked really hard to get better at that so im happy folks enjoy em!! I didn't actually learn from a book or tutorial, it was mostly looking at fat bodies IRL and learning to incorporate those features onto what I already drew. As it turns out, we're all human, so if you understand the anatomy enough to draw a skinny person, you have the tools to understand the anatomy of a fat person.

So, like, here, this is my sketch of someone with a very average build. If I were to draw a fat body, I would still use all the basic principles I use here. One mistake I think folks run into is "isolating" parts, which can lead to things like this

which isn't necessarily bad, but if its not what you're going for, the issue is pretty apparent. Weight affects ALL of the body, not just the stomach or the face or the limbs. If you think about how that weight affects everything in tandem then you can start drawing fat bodies that work more in your style.

for this, this is the same quick sketch using the same pose and principles as the first one. but! I allowed the weight to be distributed across the body. Notice how the legs, belly, arms, etc all got thicker? The key to drawing fat bodies and making them look like they fit is allowing that weight to affect everything. without it, it just looks like you're adding on features to someone rather than considering everything at once.

my other tip is: don't be scared! things like fat arms or chins or bellies or stretch lines are not something that's bad to depict. if you want to draw fat bodies, you gotta not be scared to draw things the way they are. someone having a fat body is not bad, and you drawing that fat body is not bad either. Experiment! To me, art is about representing ideas, and the only way to get better is to experiment with how you represent those ideas. I'm by no means an expert, and I think you can also get a ton done by looking for resources aside from me, but I hope this helps, and have fun!!

#my posts #asks #bard-irl #art tutorial #tutorial #fat

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creatingblackcharacters · 7 months

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Lesson 1: "White Man Painted Black"?

Okay, I recognize that this is a strong foot to step off on! But! If you learn nothing else from this series, if you decide for whatever reason to forsake me: this is the ONE perspective I'd like you to take away!

You may have heard this quote before, when Black fans deride a character design as 'a white man with the brown bucket tool'. On its face, it means exactly what was said. But specifically, what it means is that we recognize that whomever designed the character drew the way they normally draw for a 'default' character in their mind- default usually meaning White/Eurocentric features- and they added a shade of brown within the line art to make that character now 'Black'.

Now if you're feeling defensive, wait just a moment! This discomfort is not inherently a bad thing!

I'm going to use both a 'real world' example first, to show you what your Black fans and peers are seeing, and perhaps you will also understand our discomfort!

(if anyone was curious, my folder for this lesson is titled 'brad' lmao and you'll see why)

(I'll have y'all know that I actually worked very hard to make Blackface Brad look mildly presentable lmao I'm sorry, I'm wheezing, I can hardly breathe looking at him 🤣)

You see how, despite knowing where this was going, and using one of the darkest shades of brown in my Skin Tones arsenal, you still know that that's Brad Pitt? That nothing about his hair texture, his lips, his nose, or really anything other than the palette change... changed? And you can still see that?

It's incredibly hurtful to be told that that's supposed to be you. You know it's not, you know why it's not, but rather than hearing how it makes you feel unseen and what they could do to be better (since they wanted to draw a Black character!), the artist lashes out at you.

And as an artist, you might have worked VERY HARD to do this! That might be a real handsome guy you drew!! But... is he really Black? Did you walk into it with the intention, that you were drawing a Black Character, or did you draw a character that just happened to be Black? It seems like a silly thing, but it matters!

Okay. I just finished laughing over Brad. Now let's get into some more perspective changes:

Now, imagine you drew a character. You want to make her Black, so you change the hair and skin colors. All right! You have your Black character... right?

Changed ONE feature about her? (You should obviously change more than one feature, but let's just go with the simplified example.)

What if, instead of just changing her palette, we changed her:

Hair?

There isn't nearly enough time in the world, let alone in this little scribble and blurb, for me to describe the IMPORTANCE of Black hair in Black character design. There are so many ways to do curls, afros, braids, twists, locs, SO MANY HAIRSTYLES!! Get used to searching in the 3C-4C hair textures!!!! I plan on doing an entire lesson or two on hair alone, but suffice it to say, Hair Texture is thee BIGGEST giveaway that you 'painted a white person Black'- from cartoon styles to realistic! It reveals itself in your writing as well- just based on how your character takes care of their hair, how your describe the texture, how other people might perceive it... it lets me know just how much research was done. Because we can have straight hair! But again, that's a conversation for a whole 'nother lesson so- come back later 👀?

Lips?

I love our lips, I really do. There's a long history of shaming Black women in particular for the way our lips look. So when I see them done in all their glory, it makes me very happy. Two-toned lips vary in shade and intensity, so make sure you're using references if you want to be 'realistic', but it doesn't have to be that hard. Even a little subtle shift like this in the design/story description lets me know that a creator was thinking about me.

Nose?

One thing I've noticed ever since I starting drawing is that... people in a lot of mangas/manhwas barely have noses! I admit, out of all the features on the face, the nose isn't the most important. I think they should be, especially when you want to emphasize that your characters look different! People have different types of noses! I especially want to gear this towards those with a goal of drawing realistic portraits and the like- there, the nose is ANOTHER dead giveaway. There are Black people with aquiline and straight noses- we aren't a monolith- but is that why you drew it? Consider why you went for that nose specifically. That's part of the intent, in all this!

Now, you might be looking at me and going "Ice... this is just character design". To which my answer is: Yes! It is! It feels so basic, and yet if you ask your Black friends/peers how often they've come across this feeling of not being properly drawn/written, from fanart to professionally produced works, it's unfortunately common despite how simple of a concept it is.

I hope that you can walk away from my first lil lesson with new eyes. Remember, it's the thought that counts, but the action that delivers!

#creatingblackcharacters #black characters #black artists #black writers #black art #character design

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sanchoyo · 2 years

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I rly should learn how to use perspective rulers in clip studio esp with the new fisheye one just being released bc I know they’re very useful and would probably help a ton. It’s just….perspective in general is so hard and confusing for me I rly do not get the concept of perspective lines/rulers at all 😭

#I struggle with basic concepts of ‘which way is left or right’ irl . so u can imagine a billion weird lines on the screen make NO SENSE #like what do all the lines mean. how do I use this tool. I can barely use rhe 3D tools in general 🫣 but I’ve had the program for so long!!#I should try to learn all the features!!!! right!!! like I’m still paying money bc #tablet version requires a yearly payment (which is actually coming up next month iirc…) so!#I should get the most out of my money!#but no tutorial explains it in a way I’ve been able to get 😭 girl help #I know it would help sooo much for bgs if I brute force trying to learn it maybe smth will click……hopefully #I also have a random itch to animate???? what’s going on w my brain lately 🤨#I’ve gotten a few of those free icons done at least :3 but idk how fast I’ll be able to focus on finishing all of them #Brain is playing ping pong with what it wants to do I am trying so Hard to focus on Anything #sanchoyorambles #I also still want to mess with blender but am Scared like girl if I can’t work well w basic 3D models and conceptualizing 3D spaces how am #I gonna be able to make 3D models myself #I still will try tho

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crimson-rain-smoked-flower · 2 years

Note

I’m not trying to attack you, but do you know that proshipper means someone who supports and romanticizes pedophilia, incest, and abuse? Your reblog on that post seems to read that you think antis just hate on people for having ships they don’t like. But it’s completely different than that. Just looking on the proshipper side of Tumblr and the internet and you can see people happily shipping children and adults and making nsfw content of such things.

i appreciate that you're not being outright hostile, but i have to say, that on its own put you above basically every anti i've interacted with.

i understand where antis are coming from, i really do. there are a lot of things on the internet that make me deeply uncomfortable, including the minor/adult ships that you mention. i don't want to anything to do with those kinds of ships and i would be happiest if i never saw them again. which is why i'm proship.

nine times out of ten, if i see that kind of ship brought up on my dash, it's because i was following an anti without realizing it, and they brought it up unprompted and untagged, to talk about how bad it is that they exist. they are the ones putting that kind of content in front of my face and making it harder to avoid.

the thing about people who ship those ships is that they're generally very aware that not everyone wants to see that kind of content, and so they tag it. they make sideblogs to talk about it. they don't go out of their way to shove it in people's faces. that means i, and everyone else who doesn't like it, can avoid it.

what antis want is for it to not exist at all. they want the tags to be purged and blocked, and for anyone who uses those tags to have their accounts deleted. and sure, that might get rid of some of it, but do you know what would happen to the rest? it would stop being tagged. people who don't want to see it wouldn't have the tools to avoid it. this isn't just a hypothetical, that's what's happened any time a fan space has tried to do that.

that's not even getting into the rabbit hole of what should be banned and what shouldn't. obviously any content that depicts real children or real life abuse shouldn't exist and shouldn't be allowed to be posted, but basically any platform that people use already enforces those policies, and there's not much of a slippery slope to go down there. if it involves real living breathing people being abused, it's bad. end of discussion.

but the same can't be said for fiction. ask ten antis for a specific list of all the content that should be banned, and you'll get ten different answers. what about kink? what about roleplay? what about horror and murder and anything that involves fictional characters being graphically tortured? what about people using art to process terrible things that have happened to them? what about art that uses dark themes as a horror element? if you just want to ban anything questionable to anyone, that's the line of thinking that gets any mention of lgbt existence banned. and again, this isn't just a hypothetical, this has happened before, and that's generally where it leads.

i know, from personal experience, that antis do, in fact, send harassment to people just for shipping things they don't like. i've gotten accused of absolutely vile shit for shipping two fictional characters who were both consenting adults. i've seen ship wars turn into moral battlegrounds, over ships that an average person wouldn't bat an eye at.

the thing about "romanticization" is a whole other can of worms. the anti logic goes like this: if someone sees something (even if it's very obviously fictional) in a positive light enough times, they will start thinking it's okay in real life, and go on to hurt real people. the problem with that is that it's just. blatantly untrue.

if it were true every horror movie fan would be a serial killer, every person that studies dark media would be an unhinged psychopath, and everyone who is into ddlg would be a pedophile. but they're not. they just aren't. people have directed movies just as fucked up as the darkest shit on ao3, and are still capable of being normal human beings who know right from wrong in real life.

even if someone is that impressionable, scrubbing away the existence of every piece of questionable content isn't going to solve their problem, because they're still going to be vulnerable to con men, scams, and cultists. the only thing that would actually materially help someone like that is developing their own morals and critical thinking.

children are also more impressionable, and there's a lot of content that's not suitable for them, but that doesn't mean that content shouldn't exist. it just means that they should stick to spaces designed for them (which most social media sites, tumblr included, are not) or, if they're old enough to be responsible for their experience online, they, or a trusted adult in their lives, should block and filter out things that they aren't comfortable with.

which is what everyone on the internet should be doing. it's what i do, and it's made the internet a much more pleasant place to be. and it's why i sometimes worry for antis mental health, especially teenagers, because they're being told it's right and moral to seek out content that makes them uncomfortable and to engage with the people making it. and that's just. really bad. it's not good for the creators that they're harassing obviously, but it's also really bad for them! it's not healthy to seek out things that make you feel bad, and it's a terrible internet safety lesson to teach minors that it's okay for them to seek out and engage with people making adult content.

individual harassment and crusading is never going to succeed at removing dark content from the internet. it just isn't. at best you might get a small percentage of people who create that content to stop sharing it, at worst you're just going to make people stop tagging it, and either way, you're exposing yourself to things that make you feel bad, when you don't have to.

if you want to materially change the type of content you see, you can. the block button is your friend, use it liberally. same with content filtering and tag blocking.

#oops this got really long #cd.ask #proship #disk horse #tw pedophila mention #uhhh what to tag #tw shipping discourse #this doesn't even get into the antis that i've seen proudly professing that they care more about fictional characters than real people #because i don't know how to explain to someone that real humans matter more than cartoon characters #or how to avoid content on platforms other than tumblr bc frankly thats a lot of the reason i don't use them #i don't trust an algorithm #also im turning anon off after posting this so if you want to send me hate you cant be a coward about it #also be prepared to get blocked and ignored #the only reason i answered this person is bc they weren't being hostile

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breadbrobin · 8 months

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fate

clarisse la rue x reader — percy jackson and the olympians

[fem!daughter of apollo reader]

[part 2 to the trees]

summary: clarisse is being weirdly standoffish, and you’re not one to cave to that, no matter how much you like her. and no matter how things go, you still have to get your weapons from the forest.

warnings: swearing, arguing, fighting, monsters, PINING BUT THEYRE IDIOTS, everyone’s so mad at each other rn, kissing (AHHHH), canon typical violence, again probably slightly ooc clarisse but hey i love her anyway

word count: 3.2k

(uhhh so this is probably not what anyone was expecting for part two but this is how i alway a planned it, so here it is!! tag list in reblogs and also thank you for the love on the trees! i love you all so much <3 and i’d die for you just like clarisse and this dumb bitch here would die for each other)

(this is much more enemies to lovers than the first one btw so have fun)

———————————————

the day after capture the flag was always a little tense. of course it was. half the camp had just lost, and not many people at camp were good losers, especially not those who got their butts kicked.

this time, though, there was a new level of tension in the air.

ares kids didn’t often run the flag over the line themselves, and those who did were crowing about it at breakfast, then all morning too.

curiously, clarisse wasn’t. she was eating in silence, picking through her eggs like she was searching for something.

you’d never seen her like that before. no one had. but, it seemed you were the only person to notice. you always were, and you were okay with that.

your brother nudged your arm and shot you a questioning look, but you brushed him off with a smile.

why was clarisse so down? she’d won. what did she have to be upset about? was she mad at you? did you do something to piss her off in the tree? she hadn’t seemed exactly happy when she left.

stuck in your thoughts, you didn’t realise she’d met your eyes until your brother elbowed you.

“ow! what do you want?” you snapped, rubbing your rib cage tenderly.

“clarisse is staring at you,” he said with wide eyes. “dude… what did you do?”

“nothing,” you scoffed and stood up, taking your empty plate to the stack of dirty dishes, trying—and failing—to not look at clarisse as you left.

“y/n, wait up!”

you slowed down for sam as he jogged to catch up to you. there was a newfound bitterness in your mouth when you saw him. you’d never liked him, not like he’d liked you, but you’d never felt like you wanted to be away from him. not like you did in that moment then. but where would you go? to clarisse? yeah, right, she’d laugh in your face, regardless of whatever happened—or might have happened—in that tree.

“what’s up?” you asked. you couldn’t help your voice being drier than usual.

“just wanted to see how those arrows did you? were they good? i can make some more, if you want.” he looked almost eager to do so.

you smiled kindly. he really was sweet. “they were great, thanks, sam. best arrows i’ve ever used, even if i didn’t get too much of a chance to use them.” your steps faltered. “i did leave one in the forest though. i’ll have to get that later.”

your eyes locked on clarisse as she walked towards you down the path. two of her siblings were behind her, laughing, but she wasn’t. in fact, her jaw was set tight and she was glaring. at sam.

“i could come with you?” he suggested. “watch your back. keep you safe, you know?”

clarisse scoffed as she passed. “she doesn’t need you to keep her safe, tool-box.”

that was a little mean. sure, sam carried his tool-box everywhere, but you never know what might need to be fixed! despite yourself, you had to hold in a laugh. your eyes were alight with amusement as you locked gaze with clarisse.

she looked proud of herself, a jaunty grin on her lips. you couldn’t help your gaze dropping to them briefly. she smiled wider. it was infuriating. she now knew what her effect on you was, and she was using it.

“if she needed someone to protect her, she’d come to me, right, angel?” she tilted her head.

your mouth was infuriatingly dry. you nodded. “uh—“

“whatever,” sam snapped. “come on, y/n. let’s go.”

you kind of wanted to stay, but his grip on your arm didn’t leave any room for an argument. you trailed after him as he left, glancing over your shoulder just in time to see clarisse’s face darken with anger.

“angel?” sam scoffed. “who does she think she is?”

“uh…”

“whatever. gods, she’s just so—“ he turned and faced you, almost causing you to bump into his chest. you’d never seen him so intense before. “stay away from her, y/n. seriously. she’s bad news.”

“she’s nice to me,” you protested.

“she’s not nice to anyone. don’t be naive.” he turned on his heel and started to walk away, then turned back, his face softer. “come on. do you want to learn how to weld? you said you did last week.”

did you? you didn’t remember that. but you did vaguely remember a conversation with sam that you spent zoned out and staring at clarisse as she trained, so that was probably it. “oh, no… i have to… train…”

he looked disappointed, but nodded. “okay, that’s cool. maybe another day. or maybe, we can… go for a walk together? or even have lunch on the beach?”

you nodded absently. “maybe.”

“great, it’s a date!”

you frowned. “it’s a what?”

he looked happier than you’d ever seen him. he even kissed your cheek before walking off, a new spring in his step. you stood there for a moment, eyes wide, wondering what the hell just happened. then you heard a scoff from behind you.

when you turned around, clarisse was walking away.

“clarisse,” you said softly, jogging after her. “clarisse, wait!”

“go hang out with your boyfriend, l/n.” she snapped, her arms crossed as she walked. “he’s probably waiting for you so you two can make out in that sweaty little sex dungeon they call a workshop.”

your eyebrows shot up. “okay, first of all, i’m pretty sure it is actually a workshop, and second of all, he’s still not my boyfriend!”

she scoffed again but didn’t answer, stomping up the steps to the ares cabin and stopping at the top, looking down at you.

you felt small under her gaze, but you didn’t back down.

“what are you doing here?” she asked after a moment.

“you said i could come get a new dagger,”you said.

she rolled her eyes and leaned on the porch railing. “and?”

you frowned, looking up at her. “and… i’m here to get one?”

she regarded you for a few seconds in silence, then, just as she was about to speak, a new voice called out.

“clarisse, are you giving out girlfriend privileges already?” one of her brothers, marcus, you thought, stepped into the doorway of the cabin and peered around her to look at you. he looked like a stereotypical son of ares: buff, tall and mean. “that’s cute.” he continued, looking at you like you were an animal in a zoo.

“she’s not my girlfriend,” she scoffed like it was the most ridiculous thing in the world.

well, that hurt.

“yeah, we’re just—“

“we’re not even friends,” she added hurriedly, not even looking at you. “she just thinks she’s special.”

your jaw clenched. that really hurt. “i don’t think i’m special,” you snapped. “i think i want you to honour your word from yesterday or go and get my dagger out of the forest for me.”

“not my fault you forgot your dagger,” she studied her nails nonchalantly.

“but if you hadn’t thrown my dagger out of a tree and tossed my new arrow aside like it was trash then i wouldn’t have forgotten. and maybe if you hadn’t leaned in like you were about to kiss me, maybe i wouldn’t have forgotten either.” your gaze was as sharp as hers was, meeting in the middle with fire and lightning crackling between you.

she stepped forward, face to face with you. for a second, you thought she’d punch you, but you didn’t back down.

then she laughed. it wasn’t at all like her laugh in the tree the day before. this was her cold, cruel laugh that she usually saved for her victims. with a start, you realised that’s what you were: another victim of clarisse la rue. your heart broke for a split second before you pulled yourself together and straightened your back, meeting her eyes.

“kiss you?” she snickered. “get your head out of your ass, angel, you’re not all that because you can shoot a bow and climb a tree.”

you stepped closer to her, so you were right up in her face. “and you’re not all that because you scare away everyone who cares about you, just because your daddy’s a little mean. you don’t need to be a bitch about everything.”

you regretted it instantly. you’d gone too far. you knew that.

her face dropped and a hurt look flashed through her eyes, but it died as soon as it came to life.

you stepped back and turned, marching away.

“where are you going?” she called after you. “we’re not finished here!”

“you have something else to say to me, clarisse, you come find me!” you shot back, your voice hard. you didn’t start arguments often, but goddamn did you finish them.

you stomped into the forest, determined to find your dagger and arrow so you could prove to both clarisse and sam that you were capable of more than just shooting arrows from trees and running away from fights.

it was darker today. the clouds that covered camp half-blood permeated through the forest, leaving a heavy weight suspended among the trees. the air felt thicker, even, and the birdsong seemed quieter than usual. was there something around? something hanging in the air, waiting to attack you? drag your body back to camp and leave it on clarisse’s doorstep like a cat bringing in a dead bird?

or was your fear just because you were alone instead of with the rest of camp.

whatever it was, it put you on edge.

there was a clicking sound behind you, like someone was cracking a joint, but when you turned, no one was there. you weren’t foolish enough to call out.

you could feel a chill going down your spine, and that’s when you knew: the first shoe had dropped.

your eyelids fluttered and you nearly dropped to the ground, but you leaned heavily against a tree to catch yourself. typical. go out on your own, thinking you can take care of yourself and you get hit with a premonition. how’s that for fate?

you let the feeling wash over you; the pure panic of the near future and the warm grip of a hand on your wrist, like someone was pulling you along.

the future was not looking promising.

there was another clicking sound behind you as you finally managed to straighten up, much closer this time.

you turned around.

the bushes were rustling.

you suddenly realised what that clicking sound was.

mandibles.

two ants the size of german shepherds burst through the foliage. myrmeke.

there was the other shoe, dropping real hard.

“shit!” you stumbled backward, reaching for a weapon. you had no weapon. “double shit!”

you turned and ran.

the ants were fucking fast. they could have caught up to you if you weren’t so agile, turning and springing off in different directions every few steps, sending them careening into trees and rocks. that was the only thing keeping you alive.

where even were you? you didn’t recognise this area. hopefully you weren’t running directly for their anthill. that would be a real twist of fate.

then you burst into a new area, this one with a large tree—a large tree that you recognised.

“yes!” you exclaimed, dashing for the trunk. you found your dagger easily, then your discarded arrow too. you didn’t know what good they’d do against the myrmeke, considering that their shells were as hard as armour and, while force was good in some cases, you had to admit that sharpness may have helped you against them.

you couldn’t run anymore. your screaming lungs told you that. you couldn’t climb either. the ants could climb better than you and you’d be a sitting duck up there, no matter how high you went. but maybe, just maybe, you could hold them off until they got bored or someone realised you were missing.

it wasn’t easy, but you managed to deflect and dodge the myrmeke’s attacks. they were fast, but you were faster. you even managed a swipe at one of their legs as you rolled past, but all it did was leave a tiny chink in its armour.

you were beginning to lose hope.

honestly, what you wouldn’t give for a spear right now. your blunt dagger and slim arrow were about as good as a toothpick against these monsters.

just as you were backed against the tree that you’d once found a safe haven, you heard a battle cry. you could have sobbed from relief, but instead, as the spear-wielding figure landed on top of one of the ants, driving her weapon into the gap between its armoured plates, you took your opportunity to stab your arrow with as much force as you could into the other ant’s gaping mouth, slipping it precisely between its mandibles and, hopefully, into its brain.

it jerked back in pain and screeched, the sound making your ears ring, but it didn’t die. instead, it looked rightfully pissed off, and now it had an arrow sticking from its mouth.

as your saviour pulled her spear from the ants back, a warm, brown liquid sprayed on you. it smelled like ants always did after you crushed them, just a million times worse. you wondered if this was revenge for all the ants you’d murdered in your life.

“gross!” you exclaimed, wiping it off your face.

“grow up, bows, we gotta go!” clarisse. your saviour was clarisse. of course.

just as you were about to protest, two more myrmeke crept out of the forest towards you.

she gripped your wrist, right where that warmth was in your premonition, and dragged you away, making you drop your dagger in the rush.

“i dropped my—“

“save it!” she snapped, pulling you along.

the desperation in her voice kicked you into gear and you started running faster, alongside her now.

you didn’t use the same tactics as before. instead of dodging, you just ran as fast as you could and prayed that the myrmeke would be slower. clarisse seemed to know where she was going, at least.

“you’re such an idiot!” clarisse yelled as they ran.

“we’re doing this now?” you panted incredulously.

“you could have died!”

“we’ll both die if you don’t stop yelling at me!”

finally, gloriously, you breached the edge of the forest and stepped into camp. the myrmeke wouldn’t follow you there.

you dropped to you knees, panting and staring into the forest. clarisse was standing in front of you, her spear ready, just in case.

you’d stepped into a quiet part of camp up behind the amphitheatre, so there was no one around to see you, and no one around to help you. you had a feeling that if the myrmeke didn’t kill you, clarisse wouldn’t hesitate.

once it was clear that they weren’t following, she rounded on you.

you were still on your knees, your legs too tired and shaky with adrenaline to stand, but she didn’t seem to care.

“what were you thinking, going in on your own?” she snapped.

“well i wasn’t expecting to get attacked by killer ants within the camp’s borders!” you protested.

“everyone knows they’re there.”

“i forgot, okay? i’m not perfect.”

“oh, i know.” she rolled her eyes.

“gods, would you just fuck off?” you finally stood up, face to face with her. “you’re horrible sometimes, you know that? i can’t believe i’ve defended you.”

“i don’t need your defending.”

“and i don’t need your help!”

“you would have died!” she yelled, emphasising every word.

“but i didn’t!” you shouted back.

she rolled her eyes and stepped closer, anger practically radiating off her. “yeah, thanks to me. you’d be dead if i hadn’t followed you in there—“

“why did you follow me?” you asked suddenly, voice harsh.

“what?”

“why did you follow me?” you asked again, slower. “i didn’t ask you to look after me, clarisse.”

there it was again. that slightly relaxation of her shoulders when you said her name. it drove you nuts. you didn’t know if you wanted to kiss her for hours or throw her to the myrmeke.

she tensed up again and turned to leave. “whatever. i’m done here.”

“i’m not!” you gripped her shoulder and pulled her back around. to your surprise, she didn’t pull a weapon on you. “why did you follow me, clarisse? was it the same reason that you were flirting with me yesterday? and why you’re so protective of me? and why you hate sam?”

“i wasn’t flirting with you,” she grumbled. “and i hate sam for… personal reasons. and i’m not protective of you! why would you even think that?”

“that’s all bullshit and you know it,” you sneered.

“gods, you aggravate me!” she exclaimed.

“you didn’t have to come help me,” you scoffed, stepping back. “i didn’t ask for your help.”

“and i didn’t want to help you!”

“then why did you? huh? you could handle not winning a fight? you wanted to finish the argument on your terms?” your eyebrows were raised and your face was cold. “or were you gonna beat me up but the giant killer ants got to me first?”

she looked like she was about to explode with anger. “because i love you!”

the air escaped from your lungs in one sharp moment, and it looked like hers did the same thing.

“what?” you asked, your voice softer.

it was silent. she looked like she was trying to find something to say, but couldn’t. her mouth opened and closed weakly, and she shook her head, lips pressed together. you wanted to kiss her.

so you did.

she tensed up as your hands came to her waist, pulling her body and lips against yours hard. then, finally, she relaxed. she dropped her spear at your feet and raised her hands to your hair, threading her fingers through the strands. she was a softer kisser than you’d expected, but it was definitely her. it was all her. the tug on your hair, the underlying, undeniable harshness of the kiss, the spear that rested against your foot. it was perfectly clarisse. you could have kissed her until the sun went down and the ants came and carried you both to their anthill, and if you stayed kissing her like this, you wouldn’t even mind.

when, finally, you pulled away, you were both breathing heavily. all of the tension from the fight hid dissipated, leaving only a warm sparkling in the air, like a mirage around her face in the sunlight. maybe that was a sign? or a vision? whatever it was, it was heaven-sent.

she was smiling. she looked softer like this. gods, you loved it. it felt like fate, and you knew a lot about fate. fate was fickle. fate was cruel. fate brought you the arguments, the myrmeke, the terror. but fate also brought you this. this girl who was glowing in the sun like she was made of pure rays of light. the girl with a spear that she laid down at your feet and would save you barehanded if you asked. the girl who had sunk into your arms like she was made to be there.

“do you think i can get that new dagger now?” you asked cheekily, playing with the hem of her camp shirt. “i mean, i have girlfriend privileges now, right, babe?”

clarisse rolled her eyes, but she was still smiling. “shut up, devil.”

“ooh, devil. that’s new,” you teased. “i like it. it’s apt.”

“it sure is.” she looked down. “i’m… sorry, by the way.”

“me too,” you nodded. “i didn’t really mean any of that, you know?”

“‘cause you like me,” she said in a teasing voice.

“yeah, ‘cause i like you, or whatever.” you kissed her again, smiling against her lips. “and i know you like me too, because you so did nearly kiss me in that tree yesterday.”

she shrugged. “maybe. maybe not. guess we’ll never know.”

you found out at the next capture the flag game. and the next. and the next. she would go out of her way to find you, defeat you, then kiss you before running off to win the games. and honestly, you didn’t really mind.

fate was a fickle thing, but with clarisse by your side, no one could touch you. sam left you alone, people started treating you better, and you had everything you could ask for. her.

and whenever you two argued, you’d go into the woods together and kill some ants. after all, what says ‘couple’s bonding’ quite like murder?

#clarisse la rue #clarisse la rue x reader #clarisse la rue x y/n #clarisse la rue x you #pjo #pjo tv show #pjo x reader #percy jackson #percy jackon and the olympians #dior goodjohn

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some-bunniii · 8 months

Text

Lucifer meeting an artist reader

・❥ The King of Hell admires your paintings

x: reader is g/n :) no use of pronouns or y/n

warnings: some raunchy details of your painting & mild swearing

When you arrived in Hell, the first thing you did was scream.

Where were you? Why was it so hot? What happened to your bed?!

“You’re in Hell, kid.” A blue bat-faced man had broke the news, as you stood helpless and confused on the street.

Hell? Like, demons and dark satanic magic kind of Hell?

That couldn’t be right. Were you that bad of a person to deserve such a fate? Did the few times you passed the Salvation Army donation bucket without dropping a coin damn you to this place?

Your death was fuzzy, a trail of shattered memories that could only give you bits and pieces of your final days. Did you go quickly in your sleep? Maybe, you hit your head so hard it caused you some kind of post-death amnesia?

Whatever had happened, you were here now with no way out.

During your first few days scouring for answers, you began to notice that Hell had an eerie similarity to life above ground. There were clubs, casinos, concerts. Heck, even TV! Sure, the things broadcasted were dark and sometimes disgusting.. but at least you had something to watch.

Maybe it wasn’t so bad after all? At least, compared to being thrown into dark, fiery pits for all of eternity like some cruel game of sink or swim.

Minus the people, of course. Most of them were pretty bad. Your first day watching a man get shot in the chest and lines of cocaine across tables in a diner made you decide to stay away from the streets of the city.

Which meant you had to get busy making a life for yourself. It started with working odd jobs as a bartender or a bell-hopper. You’d scrap together enough money to head to the nearest art supply store, and fill your bag with paints and charcoal pencils.

“You an artist or something?” The clerk had asked you as she scanned your items, taking note of your vast amount of diverse tools you were slowly collecting every time you stopped by.

“I usually paint, but yes, I used to do all kinds of mediums professionally when I was.. alive,” You had whispered that last part out with a pang of sadness, the reality of your situation still a fresh wound in your mind.

You had found an ad for an art studio, ran by a demon named Alexandre. You had showed him a few of your pieces, some pretty landscapes, a rendition of the Starry Night Sky which you had replaced the backdrop to be Pentagram city instead of whatever little village it was originally, and a self portrait.

“You got talent, i’ll give you that,” He had hummed, as his eyes scanned your paintings with intrigue, “But the subject? Not really what we’re looking for.”

“What do you mean?” You had asked, confusion evident in your voice.

“We’re in Hell, demons ain’t into pretty ponies and happy, little trees. They want more— eh how do i put this — sinful behavior?”

“Like…?”

“Like tits or anything that can be turned into a kink. They like blood and guts, and dead people splayed around. Dead angels too. Stuff like that.”

Tits? Dead people? You didn’t have much practice with that! At least not enough to make a career out of it.

But you had agreed anyway, this was your only shot. You stayed up late into the night, sometimes even into the early mornings, perfecting your skill when it came to much more risqué visuals. You would buy stacks of pornograohic magazines, flipping through for poses to memorize.

Slowly, you began to master the craft, and your time at the studio increased as you finally settled into life in Hell.

All you had to do was churn out painting after pastel after acrylic in the little cramped room you now called home. Alexandre would then take your pieces and sell them to the highest bidder. You’d get a percentage of the commission, using the money for whatever necessary.

Seeing as you could be mugged at literally any point in time, or anywhere for that matter, you made sure to keep a large sum of cash locked away in a double-bolted safe.

“You know Ozzie’s, that club down in the Lust Ring?” Alexandre had approached you one day, excitement in his eyes.

You shook your head as you sat behind the easel, your brush an inch from the canvas.

“Run by Asmodeus, one of the literal seven deadly sins?”

You shook your head once more.

“Fuck, you still have a lot to learn. Well, he really likes your art. He wants to buy a bunch of paintings for his club, and he’ll drop a shit ton of cash too. Ya think you can handle it?”

Your eyes had widened when he told you the exact price this sin guy was willing to pay. You had jumped from your seat, shaking his hand in profuse thanks, before scurrying off to gather more supplies.

And for a time, that’s how it went. You’d sell your steamiest paintings to Asmodeus, and other private commissions you took one after the other.

Apparently, your painting hung up in Ozzie’s was getting a lot of attention. Especially from a certain spider demon named Angel Dust.

After hearing Charlie’s decision to look for another member of their staff— someone who’d be in charge of decorating the premise with promises of love and tranquility up in Heaven— Angel Dust had taken a few snaps of your work with his phone, before showing it to Vaggie and Charlie. He had complimented your work, claiming it was ‘the best’ oil paintings he’d ever seen.

Although, in his line of work, he probably hadn’t seen many to compare yours so.

“ls this what we want in our hotel?" Vaggie had asked, motioning to a woman on the canvas that was drenched in sweat and white fluid, her private parts exposed to the audience as she posed suggestively on a stripper pole.

To which Charlie has responded, "I think it's... unique! You can definitely see she knows how to, um, really bring the scene to life! l'm sure she'll be open to creating our vision!"

Your phone had rung one night, with a voice on the other end begging you to come to her hotel and at least hear her offer for a new job.

Which lead you to the Hazbin Hotel, a slightly run down building that obviously needed more work. Inside and out.

“Oh my gosh! Hi there! My name is Charlie, and this is my hotel! it’s such a pleasure to meet you!”

“Thanks.. but I don’t see many guests around.” You had told her, your eyes darting around the lobby as you absorbed your surroundings.

“Well, we’re still trying to get our name out there. We’re not just any hotel, we’re a hotel set on redeeming sinners!” She exclaimed with pride.

“Redeem?” You had asked her, an eyebrow raised in disbelief.

She shook her head vigorously, “This hotel.. it’s going to be amazing! We’re going to turn Sinners into well.. non-sinners! They’ll be rehabilitated, and have morals! And honor! Heaven won’t be able to do anything but welcome them as angels!”

This idea had sounded a little far-fetched when you first heard it.

“You’ll be in charge of making art that reflects such views! Something that will make Sinners go, ‘Wow! Now that’s where I want to go!’”

“What’s in it for me?” You had asked.

“Well you’ll have your own room, and your own little studio too! I’m sure it’s much bigger than the one you already have. Plus we have a bar, and good company!”

You turned your head to the small crowd of demons a few feet away. A pornstar, a gambler, a snake guy with weird little walking eggs, and a really creepy man in a red coat that shot you a wide smile with eyes that seemed to stare right through your soul.

This was good company?

You contemplated her words, thinking deeply. Did you really need to leave the studio you were already a part of? You already had a room and place to paint, anyway.

Charlie must have noticed your hesitation to accept before quickly adding,

“Anddd you can sell your pieces here too! Plus, you can keep a hundred percent of the earnings.”

You perked up at that, the money made from your art would be... all yours? And, you’d get a breather from the drawing people having sex? That didn’t sound so bad after all!

“Deal!” You had reached out a hand, shaking hers with delight.

It had taken you a day or two to map out the interior of the hotel and figure out what could go where. You began to slowly brainstorm, what could make a sinner stare at a canvas and want to redeem themselves?

During your time on earth, you studied many artists through history. Most notably however, were those from the Renaissance. You remembered walking through the Sistine Chapel when you were younger,

staring at awe of the paintings of winged angels and heavenly skies.

You perked at that thought. That was it! The inspiration for your paintings, an ethereal perspective on what one would find in heaven. The feelings of bliss and care-free joy.

You spent your first few days in an undisturbed area of the hotel, it was a large room on the farthest side of the lobby. It must’ve been a guest room at one point, but other than a bed and few cushions that the ‘Radio Demon’ had placed for you, it was empty.

It was quiet enough that you could sit there, undisturbed, as you drew upon your memories and vast knowledge of histories in art as you slowly began to bring your ideas to life. Slowly, the room also took form into being yours, personal knick-knacks and stacks upon stacks of blank canvases waiting to bring your visions to life.

At the end of every day, you'd come out with your hands covered in charcoal and paint, your hard work on full display.

You had even grown closer to the other residents in the hotel, beginning to see them as more than their initial appearance. Even Alastor, who still kind of gave you the creeps, you had regarded as someone you could speak to without hesitation.

You’d sit on the couches with Angel Dust, drowning in popcorn as you watched whatever was on TV for the night. Sometimes, you’d sit with Husk at the bar as you listened to his stories from his days at the casino and as an Overlord.

It was there, when Charlie had summoned the courage to call her father, Lucifer, the King of Hell, to come visit the hotel and decide on getting her that meeting with the higher powers in Heaven.

Upon hearing about Lucifer's impending visit, you felta mixture of nerves and excitement. You've heardstories about him-his charisma, his power--but you never expected to meet him, let alone showcase your art to him. Would he even like them? He's no doubt seen much more beautiful sights.

As preparations for Lucifer's visit got more chaotic by the minute, you found yourself back in your Atelier, quickly cleaning up your room and berating yourself for any little mistakes you found in your paintings. Each stroke of the brush carried with it a sense of urgency, a desire to impress not just your friends at the hotel, but also the King of Hell himself.

The current piece you were working on was your most intense one yet. It depicted that of an almost nude man, flying high in the skies. His back was faced towards you, his face hidden from view. He was faced towards the sun, which bathed him in a warm glow. Arms outstretched, knees curled in, it seemed as if the angel was going to give the sun a large bear-hug.

It wasn’t until you heard loud commotion in the lobby did you realize Lucifer had arrived. Quickly dropping the brush you were holding, you sneaked down the stairs and quickly neared the archway of the lobby.

Peaking your head out, you canned the large room. Until your eyes locked in a pale figure. Lucifer.

He was beautiful, definitely held the looks of an angel that fell from heaven. His light blonde hair curled elegantly around his face. The candles from the chandelier above basked him in an ethereal glow, as though he could replace the sun itself. Just like the angel from your painting.

His eyes reminded you mostly of a snake. Calculating and cold, but holding so much wisdom and depth. There was a slight sadness there as well, as though itate at him slowly, consuming his soul. It was masked incredibly well though, and you only caught a glimpse before it disappeared.

His attitude toward his daughter made your heartmelt, it was obvious he cared about her in the way heacted and spoke to Charlie, even if his absence didn't speak so fondly of him.

As Lucifer and Alastor butted heads, you quickly scurried back to your room. You had hoped to finish your work-in-progress by the time he arrived, but the struggle to get those damn angel wings to be anatomically correct was a pain.

You hurriedly continued your work, trying to calm your nerves by busying yourself with the painting in front of you.

Charlie's voice broke you out of your concentration soon after, multiple footsteps closing in on where your room lay. You shot up from your seat, and stood up straight, ready to meet the man of the hour.

You couldn't help but feel a flutter of anticipation mixed with apprehension as they approached your make-shift gallery.

Charlie, Vaggie, and— wow, he looked so much better up close— Lucifer stepped through the doorway.

“Dad, this is the newest addition to our staff! They are in charge of helping to inspire our future guests through the power of art!" Charlie proclaimed with glee, pulling you by the arm towards her father.

“It's a pleasure to meet you, your majesty. I apologize for being so messy, I was just finishing up another painting." You had greeted him softly.

"Don't worry, you look great," He assured, a gleam in his eyes, "and the pleasure is all mine, anyone who is willing to help my little girl is someone worth meeting,"

You stood there for a moment. Unsure of where to go next, before you felt a slight nudge from Charlie that pulled you back to reality, "Why don't we take a look at your paintings? I promise you, Dad, they are amazing!" She squealed softly.

Beckoning Lucifer forward, you took him through each painting. You described your feelings for each piece, and what made you choose them for the hotel.

You rambled on and on, and Lucifer never said anything, he just listened as you spoke.

Which made you nervous, what was he thinking? Did he like them, or was he just waiting for you to stop talking so he could quickly escape to something of more interest to him? The thought made sweat dribble down your forehead.

To your surprise, Lucifer's reaction to your art was not what you expected. Instead of dismissing it as mere frivolity, he studied each piece with genuine interest, his expression thoughtful and contemplative.

He mostly stayed quiet, but once in awhile would throw in a joke here and there if he noticed anything of interest in the paintings.

His goofy nature that you caught onto watching him earlier was barely evident though, unlike when he was trying to impress his daughter.

After finishing the small tour, you turned to him in anticipation. Your hands nervously rubbing together, as you shot a glance to Charlie, and she gave you an uncertain look. You both held the same question in your gaze: What is he thinking?

"These paintings.." Lucifer began, his voice low and melodic, "Are different than most i've seen down here, not just some scandalous display, but with real meaning. They evoke emotions long buried, memories of a time before.. all this."

His words caught you off guard, and you found yourself nodding in agreement, unable to tear your gaze away from his intense eyes.

The one he was staring at in particular was a recreation of The Garden of Eden by Jan Breghal, a painting that depicted the place where humanity was birthed, and where it fell.

“Does it look like.. how you remembered?" You had asked slowly, if anyone could validate the truth in your work, it would be him.

"Actually, this is much prettier. The real deal doesn't do your painting justice," He replied, "It was so boring, just green on green."

Also," He added, "An unfortunate lack of ducks. Humanity should be grateful that I got them out of that forest, so they could see something actually worthwhile.. and with ducks."

You giggled softly at his words, have you ever met someone that seemed to love ducks as much as him?

As Lucifer continued to explore the room, you couldn’t help but notice the way he lingered on certain paintings, his fingers tracing the delicate lines with reverence. It was as if he saw something in your art that no one else did, something profound and personal.

Perhaps your choice of baby-faced angels, and ethereal landscapes brought back memories of his time in Heaven. Hopefully, that wasn't a bad thing.

When Lucifer finally turned to you, his gaze softened, a hint of something unreadable lurking beneath the surface. "You have a rare gift," he said, his voice barely above a whisper. "To create beauty in a place like this... it's truly remarkable."

He looked at you for a moment, before a smile crept onto his lips. He was Lucifer, he knew exactly what you meant. It's what drove him to manipulate Eve to eat from the Tree of Life in the first place.

Was he finally getting a glimpse of the good free will brought to humanity? Was there actually meaning in his past actions that sent him to the depths of Hell?

His gaze narrowed in on the canvas behind you, and he slipped past you. "What is this?" He asked with intrigue, pointing towards your unfinished painting.

“My final piece. I've been working on it for days, but I just can't get the wings right.. believe it or not, i've never actually seen angel wings in person." You said that last bit as a joke.

His smile sent butterflies fluttering in your stomach. For the King of Hell, it was surprisingly warm, and kind.

Then an idea struck you, but you tried to desperately to push it down. Except it seemed like the only time you could ask someone with angel wings to let you use them as a reference. How many fallen angels were in Hell, anyway?

"I'm so sorry if this is out of line, but. could I, um, borrow you for a little bit? I've just been having trouble drawing the wings correctly and you, well, have them?”

His eyes widened, and his chest puffed slightly at your question. He shot you a toothy grin, “Paint me? Why didn't you mention that earlier?! I have the perfect figure for such a thing.”

Behind him, Charlie rolled her eyes, a hint of a smile on her lips. You smiled too, you should've known he'd have no problem with it, he was the embodiment of pride after all.

He plopped down on a stool before you, and removed his overcoat. Beneath what seemed to be a red and white gatsby vest that hugged his frame perfectly. Jeez, he was almost too good looking.

He stretched out his large wings, folding the otherfour behind him, only revealing the two much largerones. They were breathtaking, truly. They looked so fluffy too!

You guided him on the exact position you needed them to be in, before making your way to the canvas and getting to work.

Assuring the group you only needed to get a visual on the canvas, the actual work you would do on your own. Slowly, you traced the frame of his wings, etching out the soft lines of his feathers and the curvatures of its form.

You could only imagine how soft those feathers were and what it would be like to curl around them like a pillo-

You shook your head to rid those thoughts. Why were you thinking such things about Lucifer like that? It's not like he would even want to let you go anywhere near him or his wings.

Would he?

You continued your painting, trying not to meet his gaze as you would occasionally peak your head from behind the large canvas to get another good look at his wings.

There was a moment when you two did lock eyes, and he sent a half-lidded smirk in your direction. Thankfully the large object between you two helped hide your growing blush. He was obviously just trying to get you worked up, you assured yourself. Just like he did with Alastor. In a different way, of course.

"This reminds me of when Charlie was younger" Lucifer began, filling the silence, "We sat for a good few hours trying to get a family portrait painted and she would just not sit still!”

“Dad.. please, not right now." Charlie growled out in embarrassment, her cheeks flushed. Vaggie only smiled beside her, listening intently as Lucifer filled everyone in on her younger years.

“lt got to the point where I had to summon her favorite toy to get her to stop squirming, everything was smooth sailing after that.

"And what was her favorite toy?" You inquired softly behind the canvas

“A rubber duck! Like the ones you play with in the bath? She could not get enough of it whenever it squeaked. One time the squeaker broke, and I went to my workshop and crafted her a magical one that meowed instead! Haha!"

Okay, this family really has a thing for ducks!

“She hated it, but that only inspired me to keep making more. Sometimes, we'd sit together on the work bench, and I would just come up with ideas like confetti-spitting, or color changing ducks. She wasn't too good at speaking at that time, so every time she'd laugh that was my clue that she liked it!"

It was sweet, the way he rambled about his daughter. He never spoke of himself or his accomplishments, despite embodying the sin of pride. It was almost like his only pride was his best creation, Charlie.

He continued, the room full of jokes and laughter, even from Vaggie, regarding Charlie's life as a youngling. You listened intently to his stories, his voice dripping with amusement as he recounted story after story.

lt was so sappy and you loved it. Which made you grumble quietly to yourself, why did you have to have a thing for DILFS?! Concentrate on the painting!

After a moment, Lucifer's eyes turned back to the paintings around him, his gaze scanning each painting once more. "I've noticed that you seem to have a repetition in your work.. not that that's a bad thing!" He quickly corrected.

“But in all of your paintings featuring angels, there's always a swan swimming or resting nearby. Do they hold any significance, or are they just a passion for you?"

You looked up from the canvas, and also traced the angelic figures across the room. He was right, with the images of the divine beings also came the appearance of the large, white water fowl. Lying lazily beside the angels, or swimming across pools of water as the care-free beings danced and frolicked.

You contemplated for a moment, before speaking truthfully.

“I just think Swans are elegant and ethereal creatures. They embody the purest of souls, untouched by the taint of sin that consumes the world, just like how their feathers remain untouched from the waters they glide on"

Lucifer's eyes lit up slightly, drinking up your words.

“Plus," You continue, "they mate for life, and allow themselves to just.. decay once their significant other departs from the world. It's very romantic, and love is one of the purest emotions in the world."

Lucifer wasn't looking at you when your eyes met his again, his stare was far off. Past the room entirely, as your words echoed through him. There it was again, the glimpse of sadness that he tried to hide so painfully well.

“Does such love like that exist?," he murmured so softly you had to strain your ears.

There was a few moments of deathly silence before Charlie piped up, asking her father something about heaven. You tried to listen, but your mind was stuck on his words. Lucifer was in heaven once, and he still didn't fully believe in such things?

If there weren't others in the room, perhaps you would’ve asked him.

It took a few more minutes before you were able to wrap up fully, but you had no regrets of asking this man for help, the angel on the canvas actually looked like he had wings, not just stumps of white tuft.

You got up from your seat and walked towards him, noticing that Charlie and her girlfriend were not present anymore. It was just you and Lucifer in theroom now.

“Well, thank you, Your Majesty. You really helped me out here, and it'll go a long way to make the hotel look even better"

“Please, call me Lucifer. The formalities are only for subjects, not friends," he replied, "l did really enjoy getting to see your paintings, you are quite a phenomenal artist. I wasn't lying when I said your work was different from the rest. If only you were around for those family portraits."

You were so taken aback by his praise that you only shrugged it off, like it was no big deal. Even though, coming from the King of Hell, it was.

Glancing behind him, you saw Charlie and Vaggie whispering to each other in the hallway outside of the door. You assumed they probably wanted to finish up so they could get him to agree to the meeting with Heaven.

lgnoring his previous statement of formalities— he was the king, you thought, you weren't going to just pat him on the back and say 'see ya! —you lowered your head and bent down to curtsy, just like you were taught when you were younger, placing your hand slightly in front of you.

Usually, you'd use that hand to shake or grasp the other person's, but it felt wrong to treat this powerful angel like any other man.

Suddenly, you felt the soft touch of fingers gliding across your hand. In confusion, you looked up at those golden eyes and that charming smile. Trying to get a glimpse of what he was thinking.

His hand gripped yours gently, and with a bow of his own, lowered his lips, and pressed a soft kiss your knuckles.

Your breath caught in your throat, and you feared to blink, soaking in his beauty for as long as you could before he had the chance to pull away. You wanted to say something, but your tongue was refusing to work as your mouth opened and closed silently.

When he finally released your hand, he adjusted his hat and turned towards the door. Leaving you standing there, your face burning hot

He cleared his throat, and turned his head slightly, his eye catching yours. A playful smile dancing on his lips.

“l look forward to our next portrait together, hopefully where I am the motivation behind your strokes. Not just these dull wings."

And with his words hanging in the air, you were left alone, with the growing itch to press your face into a pillow and squeal.

——————

awww man, my first fic! I was trying to make this more dating-centric, but i couldn’t stop writing for their first meeting and it got too long haha! If y’all like this one enough, i’ll make a dating version!

let me know what you think 🙏 i reallyyyy appreciate all comments and criticisms!!

wonderful art i commissioned by DawnDrawnS on twitter! <3

#Hazbin hotel #lucifer x reader #lucifer morningstar x reader #hellverse #OOC Lucifer?#He just ain’t as goofy #But I HC he’s only like that around Charlie :)#fanfiction #writing

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hauntingsofhouses · 9 months

Text

uhhh thinkin about how mizu and taigen's relationship was described as "this meeting of the minds, this meeting of the swords, that they could not share with anybody else" in one of the netflix articles about the show

and i'm going crazy because YEAH they're both equally invested about swords and fighting in a way that nobody else in their lives are. and that's just. so important considering we're talking about mizu, who sees her sword as her own soul.

and it's not JUST mizu who's obsessed with fighting. taigen is too. cuz like after their duel at the shindo dojo, as taigen is examining his bald spot in the mirror where mizu cut off his hair, he literally interrupts his own turmoil over losing his honour, just to express his awe, openly admiring mizu's skill DESPITE the fact that mizu just beat his ass and stripped his honour and status from him

then in the next episode, mizu says a very similar line when she examines the cut flower that fowler had pinned to heiji shindo's robe.

this was also such a sudden thing to notice in the middle of their conversation (my interpretation of this is that it hints to fowler's own skills with a blade, and gives mizu information about her enemy being a formidable opponent), but the fact that mizu had such a keen eye and managed to hone in on such a tiny detail from like a foot or two away is interesting because it shows us just how attentive mizu is, especially when it comes to blades and anything to do with them

to mizu (when she's not spiralling and agonising over her own self-hatred and the way the world treats her), swords are not a mere tool for revenge, but an art form which she is fascinated by and loves and admires. we see this from time to time, during rare moments of respite, like when she admires the duel in the beginning of ep4

mizu also takes to heart all the teachings from her years training, while taigen is interestingly less strict about them, basically disregarding some of those teachings as mere pedantry, or even if he doesn't actually really think so, he at least tells mizu as much in his attempt to comfort her after her sword breaks

but that doesn't mean he doesn't care for the more formal aspects of his training at all. because in ep3 when he says this

this line about mount sumeru is not talking about the literal mountain in front of them, but is a recitation of a line from the lotus sutra, which is among the mahayana sutras that they learned as part of their spiritual training, as zen buddhism forms a lot of the basis for samurai doctrines and philosophy. the sutra given more emphasis in the show is the heart sutra that mizu writes on her body in ep7 during her rite of rebirth

so taigen saying this line, as i see it, is a way to bond with mizu, or at least make conversation over their shared knowledge, as we see him await a reaction as soon as he says this. but mizu gives him none, and he looks disappointed/annoyed/frustrated or what have you as he watches her walk off without a word

also we see a little more of their shared knowledge of swordsmanship in the last episode when it's clear that mizu has been training ringo in sword fighting techniques

and later taigen recognises it instantly

they're both nerds about swords and fighting!!! they both respect each other's skills!!!

GOD i really hope in future episodes they get to bond some more over their shared passion and common training and just samurai camaraderie in general!!! mizu clearly loves the artistry of sword fighting so much, she deserves to have a confidant who shares that with her, someone she can talk openly about these things to!!!

because like remember when mikio was telling her about the naginata, she looked soooo uwu in love!!! admiring her husband as he showed off the weapon and told her the benefits of using it!!! believing at the time that she'd found a match who she could openly share her love of martial arts with!! she was having so much fun sparring him too. everyone says fighting is part of her love language and YES it IS!!!

except the difference is that mikio—due to, among other things, their large age difference and subsequent gap in life experience—believes he is mizu's teacher, rather than her equal. this is the role he's readily taken throughout their marriage, from teaching her how to throw a knife to cut down fruit (not like she needed that particular lesson), to teaching her equestrian skills.

meanwhile taigen and mizu were both kids growing up poor in the same backwater fishing village, which means that they are and always have been PEERS. and this becomes even more pronounced once taigen is stripped of his giant ego and unlearns his prejudice, allowing them both to fully respect each other and view each other as equals

which is again why it frustrates taigen when mizu admits later in this scene that she basically doesn't care about saving the shogun. like he gets mad because it upends his initial belief in their shared goals and aligned values, believing them both to be samurai of equal standing and honour.

ALSO i'd like to add, that though mizu is the better swordsman as we see her win all their brawls and matches, she doesn't surpass him by that much, and mizu knows this.

these words coming from mizu is such a huge compliment all things considered, acknowledging that he was strong enough to deserve fighting her, because shortly before this mizu was just about to say "no one has given me much of a challenge" only for taigen to enter the scene and, well, challenge her.

now combine this with her saying that chiaki's broken blade suits him well, giving to him HER sword which SHE made AND won, as a surety, promising him a duel that he "deserves". it's proof that even though she finds taigen an annoying brat and oftentimes an obstacle to her mission for revenge, she DOES respect him and does value his skills.

IN CONCLUSION nobody else is on their level, nobody else shares their love of swordsmanship and that is such an important factor to their bond and the way they relate to each other. i rest my case your honour

#mizu x taigen #taigen x mizu #taimizu #taizu #blue eye samurai #mizu blue eye samurai #taigen blue eye samurai #blue eye samurai meta #i caaaant stop thinking about THEM #like im soooo sorry im being annoying and cant shut up about these two #the brainrot is real yall. pray for me in these trying times #shut up haydar #meta dissertations.pdf #fandom.rtf

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barefoothighlander · 1 year

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never going back again - 03

summary: ghost finds himself at the wrong safe house, injured and unable to call for backup

simon ‘ghost’ riley x innocent fem!reader

warnings: mdni (18+), mention of nudity, mention of food, simons a flirt

prev part masterlist next part

a/n: haven’t proofread this yet, sorry for any grammatical errors

It’s a loud banging that wakes you, echoing through the walls of the small cottage, shifting frames on the wall as it continues.

In a sleepy daze you remember how Simon had mentioned he was going to fix the shower, something about mould and needing to redo the tile, what you didn’t recall was him saying he’d start work promptly at 7am, effectively disrupting your peaceful slumber.

You trudge your way out of the bedroom, wrapping the blanket around your form for some warmth as you stand in the doorway to the bathroom, heavy eyes watching him.

It takes him no time at all to acknowledge your presence, probably due to whatever training he’d acquired over the years, he could notice a mosquito shift from 10 feet away, such keen eyes.

He turns to you, his dark clothes sprinkled with powdered remnants of tile, “Did I wake you?”

You smile weakly, “You know there’s no rush, can always start these things, I dunno, in the afternoon”

“Woke up early, wanted to get a head start”

“Head start, sure, yeah” You dig your palms into your eyes, trying to rub the sleep from them, he drops his tools, moving closer to you and gently wrapping his fingers around your wrists, tugging them from your face.

“How’d you sleep love?”

“You mean before you shook my entire house at the crack of dawn? Very well, you’re quite comfortable”

“Am I?”

You smile, shifting your arms to wrap around him, letting the blanket draped on you fall to the floor, he snakes a hand behind your head, tugging it against his chest as he lifts his mask slightly, planting a kiss on the crown of your head.

“How long is this gonna take?”

“Shouldn’t be more than two days”

“You understand this is my only washroom”

“I know”

“And I use it”

“Mhm”

“Please don’t destroy it”

“Wouldn’t dream of it”

You peak your head around him, getting a full glance at the room, it’s a complete mess, tools and dust everywhere, fallen tiles scattering the floor.

“Oh my god”

He pulls back, following your line of sight, “It’s not that bad”

“Not that bad, Simon, be serious”

“You still have the bathtub”

You huff, your forehead falling into his chest, “Just, promise me you know what you’re doing”

He scrunches his face under his mask, “I know what I’m doing” Running his hands up your arms, lying.

“Okay, I’m trusting you”

“Go get some tea love, I’ll take a break soon”

You lift your head from him, gazing up at his masked face before turning around, picking up your fallen blanket and making your way to the kitchen, jolting at the sudden clanging from a wall away and silently praying he wouldn’t destroy your entire washroom.

It’s takes him a few hours before the banging stops, your hearing feeling like it was permanently damaged from the consistent noise as Simon emerges, completely covered in dust.

You bite back the smile that pulls on your lips as you watch him saunter in, reaching for a mug and pouring himself a cup of tea before dramatically huffing a breath while he sits down.

“Done yet?”

He chuckles lightly, shaking his head, “Done taking the old tile down”

“Seems like it took all your energy old man”

“Old man?”

You laugh lightly into your tea,

“Believe me love, I’ve got energy to spare” He smirks under his mask as you choke into your tea, drops of the liquid spurting from the mug as your cheeks flush.

You clear your throat, tilting your head lightly “Wanna use some of it to help me in the garden?”

“Give me five minutes”

You smile, standing from your chair and walking beside him, placing a hand to his shoulder and dragging it along the skin as you walk away.

It takes him more than 5 minutes to meet you, more interested in watching you move around the land whilst sipping his tea, the privacy granting him the opportunity to drink properly without the hindrance of his mask, he made a mental note to buy you proper tea considering the stuff you had tasted like wet dirt to him.

By the time he found you in the garden he had changed his clothes, opting for a more comfortable t-shirt and jeans, the man looked damn good, his arms flexing under the thin cloth that allowed you perfect sight of the ink on his arm.

“Must be hot with that mask on all the time”

“M’not gonna take it off” He groans, standing behind you to wrap his arms around your waist, he leans in to your ear “Yet”

You bite you lower lip as the thoughts flash through your mind, really you didn’t mean the words in a teasing way, more of an observation but now all you could think about was what he looked like. You knew his eyes were dark and his lips were full and pink, that his jaw was muscular and stubbled, from the few angles he granted you, you could tell he had scars on his face, specifically one that spanned his chin going down and another that cut through his left eyebrow.

It was enough, the small glimpses of him, the mystery intriguing but now there was a desire to know him under the mask, how he looked alongside who he was.

“Okay” You break yourself from your thought,la, pulling his arms from you and turning around, “I need you to help me plant these”

“Yes ma’am”

You hand him a small shovel, kneeling in the dirt, “So dig a small hole here, and then just put the pods in and cover them”

“Seems simple enough”

“So you won’t mess up?”

“I didn’t say that”

You smile, “Just do your best, need these to eat”

You watch him struggle to choose spots to dig, clearly overthinking his moves as he twists his body, reaching across the beds.

You shake your head, patting down the dirt in front of you at you settle one of the plants, untangling the vines and sitting back, wiping your hand across your forehead.

“Just plant it Si”

He whips his head to you, his eyes glued to your face in a panicked manner, it makes you uneasy,

“You okay?”

You slowly reach a hand down to rest on top of his, watching his reaction,

“Yeah fine” He shakes his head, “No one’s called me that in a long time, took me by surprise”

“Oh, m’sorry it just slipped out”

“No, I like it, sounds nice coming from you”

“Oh” You turn your gaze down, how did he always manage to make you so nervous, his hand meets your jaw, moving your gaze up to him as he holds you, his other thumb moving to swipe across your forehead.

“Got somethin”

He shows his palm, a smear of dirt on it as you realize, using your own hand to wipe it, you glance down at your body, stains of grass and soil covering you as you laugh.

“You’re filthy”

“You’re no better” You joke, gesturing to the clumps of spilt soil on his lap,

“Could probably use a shower”

“You think you’re so funny”

“Sometimes yeah”

You huff, grabbing a small handful of soil and tossing it at him, he closes his eyes for a moment, “Seriously”

You can’t fight the laughter that erupts from you, the dirt sticking to his sweat covered skin as he looks at you.

You yelp as he pounced on you, throwing your body back into the dirt as he hovers over your frame, his fingers tickling at your sides as you writhe under him.

“Say you’re sorry”

“Will not” You manage through laughs

His fingers poke at your skin, smearing the dirt from his arms onto your clothes in the process,

“Please, can’t breath”

He leans back with a smile, watching your heavy breaths raise your chest as your arms fall to the ground.

“Apologize”

“I’m-“

You’re sentence is cut short as you hear a car pull up, it’s door slamming shut, Simon jumps from you in full fight mode, extending an arm back to keep you guarded as a man exits the vehicle.

You squint your eyes at him, pushing Simons arm down gently as you recognize the person.

“William?”

“Hey doll”

Simon looks between you and the man, a sudden fire burning under his skin at the pet name, he stands back slightly as you approach him.

“What are you doing here?”

“Who’s this?”

You glance at Simon, giving him a small smile before turning back, “A friend”

The term feels like a punch to his chest.

“Pleasure” William extends a hand to Simon who neglects to shake it, eyeing the smaller man’s frame before turning back to you.

“What do you want”

“Came to drop something off, or someone rather”

He walks toward the car, opening the back door quickly as you watch a furry mass sprint toward you, gasping as you kneel down to meet it.

He licks your face as you scrunch it, running your hands over his fur, laughing as he prances around you before he catches Simons scent.

Simon watches the animal intently, studying it’s moves, as it approaches him quickly, jumping to his chest, licking his arms.

“He missed you, and I’m moving”

You tilt your head to him, “Moving?”

“Going to Spain, my mums sick”

“Will I’m so sorry”

“S’alright, just figured Riley needed a better place to stay”

“Yeah of course, thank you”

“We’ll I’ll get out of your hair, seems your busy, it was nice meeting you Simon”

Ghost is at a loss for words, he simply nods toward the man, his gaze focused on Riley.

“Seems he likes you”

“Where’d you get this dog” His tone is serious

“We adopted him when Will and I were together, he’s a retired-“

“Spec ops dog”

“Yeah? How’d you know”

“This is my dog”

“Simon what are you talking about?”

“I work in the military, that’s my job”

“And Riley was yours?”

“For a few years yeah, last they told me he’d retired in the states”

“They didn’t let you keep him?”

“Not protocol, I’m not home much”

“Home” The word triggers something in your mind, he’s not home, this isn’t his house, you’d been so caught up in being around him you’d completely forgot that he has a life outside yours.

Simons eyes crinkle as he plays with the dog, rough housing with him as they roll in the dirt, “We should get inside, looks like rain”

“Be in, in a minute love”

You walk slowly toward the house, resting your back against the front door and shutting your eyes, why hadn’t you thought about him leaving, there were people relying on him, it’s not like he could stay forever.

Even with the anxiety in your chest, your heart swells at the sight of Simon playing with Riley, even in the short time you’d known him, you’d never seen him this comfortable, he was so happy.

You glance at your arms, caked in dirt and sweat, deciding you needed to wash off. Stumbling over the mess of the washroom to turn on the bath, closing your eyes as you sink into the warm water.

Losing track of time in the water you notice your skin had grown wrinkled, scrubbing off the last bits of dirt and stepping out, wrapping a towel around your body and carefully navigating around the room.

Apparently during your alone time, Simon and Riley had moved their fun into the house, moving around the rooms together as they settled in.

You open the door, bumping directly into Simons chest, your nerves jumping as you collide. In a panic your towel falls,

“Sorry I didn’t see you” He struggles to get the last words out, his eyes roaming your naked form as you quickly move to cover yourself,

“Oh my god!” You reach for your towel but Riley runs over, grabbing it with his teeth and running away, “Riley! No, not a toy!”

Your cheeks flush with heat as you glance up, Simons eyes glued to you, your own eyes blown wide as you scurry away, slamming your bedroom door shut.

“Hey, wait” He follows you, leaning against your door as you drop your head to your hands on the other side.

“Please, go away”

“C’mon, it wasn’t that bad”

“You saw my whole body”

“Lucky me”

“Simon” You laugh,

“It was bound to happen at some point”

“Well these are awful circumstances”

He moves the door open slightly, his eyes on your face as you hide behind the wood, face flush, he smiles, reaching to lift his mask slightly as he leans in, capturing your lips in a kiss.

“You’re so beautiful”

You take a deep breath, smiling against his lips before shoving him back and closing the door. He sits down, back resting against the door as you shuffle around in your room, quickly throwing on clothes.

“I’m serious, the most perfect girl i’ve ever seen, honestly just can’t believe it took this long for you to get naked”

You open the door quickly, his body falling backwards onto the ground, wincing lightly as he laughs, his eyes opening to see you standing above him.

“You’re very cocky, has anyone ever told you that?”

“Actually yeah”

Shaking your head you step over him, making your way to the kitchen, Riley following closely behind you.

Simon appears in the door frame, watching you pull food from the fridge, tossing items into pots and onto the cutting board.

“You hungry?” Twisting your head over your shoulder,

“Starved”

He rests an arm above his head against the frame, watching you cook, his hand extended down to pet Riley, this was perfect, the life he never knew he wanted, he had you and his dog and goliath his own little family.

He gives you some space to work, settling on the couch while Riley rests at his feet, seemingly tired out from the day. He reaches for the small tray of electronics on the table, toying with his comms for a moment before piecing it together finally, clipping in the missing cord.

There’s a massive weight on his shoulders, he knows what he has to do, he has a team waiting on him, a family, less conventional yes, but a family none the less, the team were his brothers, he had to get in contact.

He grabs his comm, tucking it to his ear before moving into the bedroom, closing the door so you couldn’t hear.

“Bravo Delta, this is Ghost”

He waits a few minutes before repeating himself, double checking his channel, those few minutes make his heart sink lower, either no one was there and his team had forgotten him, or his comms really were destroyed, and he could stay with you.

“Ghost?”

“Captain, good to hear your voice”

“Christ Son, we thought you’d died”

“Not yet Sir, just a little misplaced”

“Send your coordinates, we’ll get you evac”

“Negative Sir, I’ve got hostiles in the city near”

“Can you get out? We need you on base”

“How much time can you give me?”

He hears Price take a deep breath, murmuring to someone else in the room, “Three days Simon, then I’m sending everyone I have to get you”

“Copy, see you in three days”

“Be careful”

The line goes dead, Simons worries surfacing, he had three days, he didn’t want to face the idea of leaving you let alone how you’d react when he told you, he’d finally gotten his family, he wouldn’t give it up this easy.

tag list: @pepsicolacoochie @coolbanana44 @konigsblog @lialacleaf @mli345 @gghoulzz @fuckface-6996

#cod mw2 #simon riley x reader #cod mw x reader #simon ghost riley x reader #simon riley #ghost cod #ghost x reader #mw2022 #ghost mw2 #call of duty mwii #cod x reader

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adorkastock · 2 months

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So I don't know who to ask about this, and since it's your profession, I figured you'd know most! I like to use Magic Poser to help me draw my characters' poses, but I feel like I always wind up altering the proportions to fit the models rather than my style without meaning to just because I'm drawing what I'm looking at. It feels less like looking at a reference and more copying a picture, and it makes me feel really bad, like I'm cheating at art. Do you have any thoughts or word of advice on this? I'd greatly appreciate it. Thanks!

Hey Nonnie! Hmmm there's I feel like kind of two questions here. One, using Magic Poser or any other legit reference to make your art is not cheating. It's just using a tool the way it's meant to be used (as a reference). There's nothing at all wrong with that. ♥ However, if you are getting Not The Results You Want from this process that's another issue entirely. So, two: what do I do if the art I'm making from reference doesn't look like *my* art? If you find that working from a reference is changing your style in ways you don't like, I have suggestions: 1) do a sketch from the reference just like you normally would in whatever style comes out naturally using the reference 2) look at the drawing you did and put the reference away 3) draw another drawing from the drawing you did but try to make adjustments towards the stylization you prefer (your first drawing is your reference for your second) OR, if your brain will do this for you: 3b) after sketching from the reference (maybe a few times for good measure) put the reference away completely and try to draw the pose from memory* and see what happens. If you think you're overly reliant on references to the point you think it's holding you back then you can start to wean yourself off of them but doing more and more drawing without them. Maybe start with a 20min warm-up on my Sketch App drawing a bunch of poses really fast from reference, then pull up a new pose, look at it, and try to draw it without checking back in at all. Honestly the best way to get to a style you like is to just draw A LOT. Draw lots of different ways. Mess around with line weight and shapes. Make things swish, make them pointy, make lines that cross over a lot, make a mess, make it neat, keep going. Do a lot of drawing and investigate what feels and looks right to you. And if a tool isn't serving your goals, you can let it go. It might be hard at first but you will find your way. ♥ * Side note: I have aphantasia which means I don't have head pictures. If I look at a reference and walk into the other room, I am not going to be able to replicated it very well from memory. That being said, if I sketch a pose over and over and over a bunch I will retain it somehow, somewhere (I don't know how brains work). The next time I go to draw that pose it will be easier. Just popping this in here in case you have the same trouble.

#art advice #ask adorkastock

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neoplatinum · 6 months

Text

til' death do us part - part 1 | minatozaki sana

summary: sana minatozaki walks right into your life with a marriage license.

pairing: heiress!sana x reader

themes: arranged marriage au, fluff, angst, tension, lots of elitism, conglomerate power-hungry side characters, implied sex

wc: 5.0k

(series masterlist)

"the minatozaki's are waiting." you stare at the contract in front of you, frustrated at the idea of the family visiting. they sent the contract to you two weeks ago, and you knew that they were expecting a response, as in a signature. but here lays the contract on your coffee table, left to collect dust.

"let them in." you sit up from the couch, adjusting your shirt. you watch the maid let them in, timed steps in the long marble hallway. you hear their presence before you see them. then you see the matriarch of the minatozaki family step into the room. her head held high and proper, like a leader.

she reminds you of your own mother: the sharp tongue, quick judgements, and inability to let go of grudges.

then walks in sana minatozaki, the only heiress of the minatozaki group. she is not a stranger at all, but you havent decided if she is a friend or foe. when you were both younger, annual balls were centered around her. she always took those events in stride, while you enjoyed sticking by your mother's side.

you often remember watching sana dancing with anyone who would ask her; even from afar, you knew she was someone that everyone awed at. they treated her attention like a prize worth attaining.

"hello mrs. minatozaki and ms. minatozaki, please have a seat." you direct them to sit on the opposing couch. "how may i help you?"

they both get situated while you sit by yourself, feeling the weight of the minatozaki power firsthand. you watch your staff rushing to present them with tea, only for the two to dismiss them quickly.

"yes, we sent over a contract earlier last week, please sign it." the matriach points at the contract on your table.

"yes well, it is a marriage contract, a legally binding one. i need time to think it through."

"what is there to think through? you get to marry into the minatozaki group, and solidify your business with the backings of our family, i see no reason that it's empty now."

you frown at that, those were the exact words your own father told you over the phone, you called him immediately after receiving the contract, he told you the same exact thing, ending the call immediately after.

you dont disagree with the benefits, you would just rather marry someone else. someone that you could be in love with, not sana minatozaki.

"mrs. minatozaki, as much as i understand the power and backing of your family. i am rather old-fashioned. i only believe in marriage out of love." you nod solemnly to the older woman.

she lets out a trained laugh and holds her daughter's hands like they're her prize and tool. "love? you don't think that you could love my daughter?"

"mrs. minatozaki, i didn't mean it in that way-"

"so, what way did you mean it? my daughter sana," you say, watching as her daughter stands up from the couch, tall and proud, just like her mother, and smiling at you in that coy smile. "she has a line of suitors far longer than you could imagine; you should reconsider."

"mrs. minatozaki' please if i may-"

she holds her palm up, completely stopping you from speaking. "enough. here's what we're going to do: a three-month commitment. truly court my daughter for three months, and if you can honestly tell me you aren't in love with her, then i won't bother you with this matter for any longer."

"mrs. minatozaki, i think this is a completely archaic idea!" you exclaim, shocked to hear her say these plans. how quick she is to decide for her daughter's life.

"watch your tone. do not forget that your mother and I are well acquainted." she points her finger at you, and in a split second, she's back to that trained smile that is always so unnerving and threatening.

"i'm very sorry mrs. mintatozaki, please forgive my rudeness." you bow deeply at the woman. you return to your trained demeanor, letting mrs. minatozaki run your life for the next three months. who knows what she'll say to your mother if you decline?

both women get up promptly at the matriarch's signal, and you rush to walk them out of the manor. their resounding footsteps echo through the halls. the matriarch continues speaking of the three months of "dating," and you nod at every word in appeasement.

you assist them into their car, and soon they speed away from your manor. leaving you frustrated in your own driveway. by the time the sun has set, you finally return to your room.

the thought doesn't bother you anymore, while you were nervous at the idea of the minatozaki's pressing you on this marriage, you had gotten way too swamped with work.

in a week's time since the visit, you were giving a big presentation to shareholders and clientele. countless nights spent languidly going through the motions of collecting data for infographics and reports to extrapolate data. all part of your stressful day job.

a job that you take pride in, to take over the family business. dedicating years of your life to build the rapport needed for your father to put the company in your name.

you begin to wrap up on your final slide, indicating the prosperous quarter that your company has been seeing. beautiful graphics that display profit margins through the roofs. in every chair of that conference room sat a wide smile at your future projections.

"we expect to see a projection of 33% from our previous annual profits, along with more assets, and with the likes of a possible acquisition, this company will continue to flourish. thank you all for today." you conclude your presentation and smile to the many shareholders. they all stand and applaud you; you take a deep bow and shake hands.

the shareholders hound you, all gathered around in suits that costed more than the average house. they only bowed to the sound of money dropping into their pockets. so they push you, push your boundaries of how much you'll let them take.

mr. seki has always been the most persistent, asking for more money than he knew how to spend. so he stands before you, eyes twinkling and his grubby hands rubbing together like he found a gold mine.

you listen to him speak of the golden days with your father, business had little to regulations, making money was easier than breathing, but now he breaths down your neck for bonuses. the words travel in one ear and out the other, he forgets that you were a young child listening in to his discussions with your father.

before you know it, you hear that sharp clicking sound, the sound of sharp hard rubber hitting the tiled floor, you hear heels. short confident steps of a woman, and then you see it through the frosted glass, a womanly figure.

she's walking right into the conference room. then you notice the details: long brunette hair in waves, branded sunglasses atop her nose, a light pink suit adorned with blinding diamonds. behind her are bodyguards that tower over everyone. everyone's conversation stops at the sight of her, she stops right in front of you.

eyes strong and daring, she slips off her glasses and you recognize her, the woman of all your friend's dreams: sana minatozaki. more confident than ever, not being guided by her mother, she smiles that smile that you know your friends swoon over. delicate fingers slip off her glasses as she hands them to her assistant. eyes still focused on yours.

then she does it, grabs ahold of your tie, and slams her lips against yours. and you can hear it faintly, the sound of the shareholders all gasping, drowned out by the sound of your own heartbeat. the searing kiss lasts so long, like a time loop. when she pulls back, you gasp for air, choking and doubling over coughing like you inhaled chili powder. all your presentation material spilling on the ground.

"sorry to cut the festivities short, gentlemen." she bows lightly, an amused smile underlying her sarcasm. "my fiancé and i have things to attend to, i'm sure you know how demanding your wife can be". she giggles at that, letting them all nod, and disperse.

"fiancé?" you cough out, still catching your breath. sana grabs ahold of your hand and drags you out the conference room, and out to the elevators. you watch her two bodyguards at your feet, ready to intervene with broad and thick builds.

they remind you much of your father's bodyguards. but you never wanted them because it just felt so unnatural to be followed by men who protected you.

sana stands before the elevator, and without missing a beat walks in, at the sound of the door opening. you get pulled by the two bodygaurds into the box. now you stand next to a smirking sana and two men who could break your spine ten times over.

you exit into the lobby, all the staff rising to their feet at the sight of you and miss minatozaki. greeting you all, as you rush to follow after sana. you have a sinking feeling if you don't that those two men behind you are going to toss you right into the ocean. right outside of the lobby, is the sight of the signature black marked sedan. a true sign of a minatozaki. like the fortress of a family, this car is far than capable of withstanding a nuke, how true this statement is? you never want to know.

sana is quick to sit herself inside, being guided by her chaffeur. you nod to him before sitting inside, seperated by the middle seat. the door closes and suddenly you feel claustrophobic.

the last time you spoke to sana was years ago, back in law school, you never did like her clique but they were everywhere. so you have interacted with her through case studies and presentations, steering clear of the intimidating minatozaki group. so much for avoiding them, now you're stuck in a car with the exact person you were avoiding all your life.

"mother is furious." she comments, grabbing her heels off her feet, tucking them into a compartment. you stare at her for a while, confused with what she means. "well?"

"miss minatozaki, i thin-"

"sana. just sana please." she corrects you.

"miss sana, please, you cannot barge into my shareholder meetings and attack me like that. that was unacceptable on all levels." you continue. loosening the tie that felt like it was choking you when she grabbed it. you slip it off your neck and into your pocket.

"i thought mother made it clear her expectations. you sign that marriage license, and we're good." she continues to correct you, disregarding your frustrations.

"sana. i apologize but i have been swamped with work, i cannot even begin to think about marriage." you complain.

"work? you marry into the minatozaki group and you'll never lift a finger. those infographics you put together were cute, but the minatozaki's never put themselves through work they can pass off to others. marry in, and we'll find a suitable ceo the second you say so." she is everything you stand against, a figurehead as the ceo is the last thing you want for your budding company.

"i think you are mistaken, miss sana. this company is me, i am this company, that will not change if i marry into the minatozaki group." you don't waver for a second, conviction running through your blood.

she smiles at that, "you are one of those. the ones that are married to their work before anything else." she takes a second to contemplate this thought, what would you bring to the minatozaki group? profit, drama, not a headache that's for sure.

"i'm going to let you in on a secret," she leans her head towards you. "like how you are married to your work, i am married to wealth. doesn't matter if you have a million mistresses, or a thousand bastard babys. as long as you don't smear the minatozaki name, you will fit right in."

"i do not think so miss sana. the minatozaki's are adamant about blood purity, they don't let bastards live." you explain. she smirks at that, you've clearly done your research about the minatozaki clan. "miss sana, please, me marrying into your family would not beneficial to you. i am too concerned with my own self to be a pawn for your clan." you finish, hoping they will let this issue to rest.

"you seem to know a lot about our family for someone who isn't interested marrying in." her eyebrow shoots up and with the snap of a finger, the bodyguard hands her a manila folder through the slit of the window.

"once again, we urge you to sign this. i hope we become lifelong partners, fiancé." she winks and steps out of the car. speaking to the chauffeur, and soon you're being driven by the minatozaki car, another car ready for sana in an instant.

now you're left with a manila folder, weighing heavier than anything else in the world. when you are sit in your armchair with the manila folder, nursing a nice drink to unwind, you finally untie the manila folder. opening the contents, you find the same contract on your coffee table. signed with sana's signature in the bottom, and another paper.

in a written letter from your own father, you nearly crumple the paper in your own hand. the clauses of placing your company in the hands of your father, all shareholder signatures at the bottom. indicating the removal of power. in another line it reads in big bold letters, date sana for three months or your company will be absorbed by your father.

you call up your father.

"father, this is ridiculous, you cannot do this to my company. why are you meddling now?"

"you insolent child, given the opportunity to grow your business, you choose instead to be selfish? i present to you the opportunity of a lifetime: marriage into the minatozaki group. and i've been told you're pushing their patience." his deep voice rumbles into the phone. "my final words are these: you want your company so bad, prove that you are committed to the minatozakis, then i will transfer the power back." he firmly states.

"i don't even have the time, father. my schedule is busy with the new year and final changes with new clientele."

"i've already spoken to your assistant, all work for you the next three months have been transferred to my coo. he will take over for the time being, i trust him to run my own company, so don't you go spouting nonsense about his credibility." you bite your tongue at the sight. how dare your father meddle in your company? one that you built up with your own hands. the only piece of yourself that wasn't controlled by your father.

"do not forget who raised you. i can take everything away." his voice booms through the speakers. he ends the phone call there. and you throw that phone like a baseball, shattering the device into pieces.

so you do date sana for three months, finding it absolutely absurd in the beginning. often visiting her wherever she traveled. when she was busy, you would send out bouquets in your absence. you tried your best to date her, devoting time to getting to know her better. she's like you remembered when you were younger, loud rambunctious and had an eye for all things expensive. you spent trips all over the globe within those three months.

it's a strange feeling. letting yourself rest, you can't remember the last time you went on a vacation other than in law school. here you are, lying in a lounge chair on a private beach in santorini. drinking mai tais while you stare into the horizon. confused with your own life right now.

it should've been the merger. you get antsy just at the idea of your father's coo leading the merger, but what can you do. that company is not "yours" right now. while you are trying to enjoy the sight of the bright sun and clear waters, you watch out of the corner of your eye as sana flirts openly with a resort worker.

hand on his bicep, leaning in to show more cleavage, all the while keeping a sultry smile on her face. you're done letting your life be decided for you. you walk over.

"hi honey, how is it going?" you smile towards her, leaning in for a quick kiss. holding her neck in place, as you watch the man walk away. you let her go.

"jealous?" she smirks.

"no. i need answers." you sit down in front of her. "why me?"

"what do you mean why me?" she sips on her cosmopolitan, not provoked by the question.

"why marry me? my father is well known, but we are not a conglomerate group, why do you wish to marry me? i provide nothing to the minatozaki group, it doesn't make sense. there's the watanabe clan, the abe clan, the ito clan. i really don't understand why my family."

"it's not your father or his companies, it's you." she points at you. still sipping her drink. she doesn't skip a beat, no hesitation in her words.

"i hold no power on the world stage, you would be well off marrying any clan." you try reasoning with her, beyond perplexed on why she chose you.

"the watanabe clan are dirty: plagued with dirty lust, the abe clan are ruthless killers, the ito clan has been known to kill their woman. so tell me, how much better off i will be marrying them?" she continues. face hardened.

"i see...they are not as great as their name." you stare at her. less perplexed but definitely confused.

"we all grew up together, all the heirs, i know them better than they know themselves. and i do not like what i see. but you and i didn't speak to each other." she signals for another cosmopolitan, thanking the staff member and digging through her bag. pulling out photos of you two when you were children at the annual balls.

"you are worlds better than all of them combined. i could see it in the way you never vied for my attention. they all were intact dogs, hoping to hump something by the end of the night."

"sorry for the assumptions," you offer. the way she looks away from you, watching the ocean. and letting out a long and heavy sigh. she tucks the photos away. "so, marriage out of convenience? is that all this is?"

"yes." she nods.

you grab the contract from your bag, signing it in front of her. and then placing it in her hands, "to a happy marriage sana minatozaki, i hope you can handle my snoring." you laugh.

she grins at the contract, and tucks it into her bag. "then i hope you can handle my kicking. you groan jokingly and laugh loudly, her joining you.

minatozaki weddings were no joke. halls lined with marble pillars with gold accents. dishes made out of the finest and purest porecelin. waiters dressed in their finest, not a single hair out of place. global leaders and their children attending, even if they had no ties to the minatozaki.

the grandiose hall with beautiful mirrors dating centuries ago. recovered artifacts from the edo period, adorning the shelves. the giant minatozaki family crest on the back wall. with long tables lined with wedding gifts. you stand next to sana as the reception procession continues into the night. many notable figures congratulating the marriage. as well as the intricate gifts being handed off to you. each gift being placed and documented by the minatozaki security team.

the minatozakis look happy, wearing traditional kimonos and inviting all the guests to talk about their daughters marriage.

even though the place is filled with laughter and happiness, you can't help but feel like you just entered a loveless marriage. where you are destined to avoid sana, she smiles at everyone, showering in the attention, while you can't wait to get back to work.

you had explained to sana you wanted a quiet honeymoon, one that was peaceful and relaxing. so you both went puglia, to enjoy the rich Italian culture and the beautiful greens and blues of the water.

sana spent nearly ever second of the day buying herself clothes while enjoying pestering you. often times dragging you along to carry her bags, and be at her beck and call. she calls it "conditioning for a happy marriage." you had rolled your eyes when you heard it, but you wanted a happy marriage too so you complied.

now you stand in the middle of puglia, taking photos of sana, at her request. for the third time that day.

"how many photos do you need sana?"

"as many as i want. stop talking, more clicking!" you get back to taking photos and letting her enjoy the scenery. it's quite nice being with sana, she may be a bit high maintenance, but she doesn' t overstep when it comes to your boundaries. letting you enjoy your own alone time and venturing through the city alone.

sometimes you bring back flowers or a small gift to her, all of which she happily enjoys with a warm smile.

after the honeymoon, its back to the real world. in which your father happily returned the company back to you. the merger had been successful, but you're still catching up on paperwork that only you could sign. in the coming months, sana has moved in.

living together has become a routine. when she moved into your manor, she claimed it was a nice change from her home. you were confused because her house was far more amenities, but you let her move in.

so, every morning and night, you spend time with her, sleeping in the same bed, drinking the same coffee, and sitting at the same dining table. you don't share more than a few words with her, but her presence has become a nice addition to your life.

she's made herself comfortable, her makeup products all lining your sink, heels filling the floor of the closet. her closet so big that she ordered construction to build her own walk-in.

often times you see her out lounging in the sun room doing yoga or pilates. or when she's in a good mood, she'll join you in your study room to do work herself.

she goes out at night frequently, so you make it a habit to stay up until she gets home. you know she's protected and safe with her trained bodyguards and chauffeur.

it just brings you a sense of comfort to bring her inside in case she's unwell. some nights she gets home with love bites all over her body, other nights she comes home drunk falling into your arms. you never comment on it.

she comments on your life first.

"do you...have someone special in your life?" she asks with a glass of wine in hand. you look up from your table, eyeing her in the doorframe.

"no, i'm married to my job." you look back at the work laid out for you, pushing glasses back up the bridge of your nose.

"have you slept with a woman before?" you stop your work, putting the pen down.

"sana, are we asking about each other's sex lives now?"

"well i can be curious, cant i? you always look so proper." she walks in to sit by you.

"well, yes in the past i have." you comment, a little thrown off with the line of questions. she nods her head and gives you her wine, you sip it and place it on the desk. "why do you ask?"

"we've never consummated our marriage, don't you think it's time?" she leans over, eyeing the work on your paper.

"what happened to marriage out of convenience?"

"marriage out of convenience could mean we're sex partners out of convenience," she smirks. she stands up, pushing the paper off to the side. you raise your eyebrow, trying to get her to stop messing with your work.

"sana."

"yes?" she takes the glasses off your face. a coy smile on her lips.

"we don't have to do this."

"i want to. do you?" she stands in your way, eyes trained on yours. a playful smile on her face. you get up to set your mind straight, no way were you sleeping with your non-wife.

"sana, please, you must be drunk." you walk past her, calling out to staff. "hi, could you please assist sana to bed." sana scoffs at you, flipping you off and pushing past the maid.

you return to your desk, eyebrows pushed together and a headache forming. but you can feel that spike in your stomach, you're sexually frustrated.

you've been actively avoiding being too close with sana. whenever she circles around, you scoot further away. opting for open spaces where she won't make sexual advances. rejecting her isn't fun either, she gets all pouty about it, but the way she makes you feel lately, has been dangerous. so you try your best to exercise restraint.

in the coming weeks it's harder and harder. some days she visits with your dress shirts tucked into a pencil skirt. walking in like a wet dream into your office. you will yourself to have self control but you can feel it slipping. the way you want to grab her, feel her skin under your fingertips, wanting to wrap around her.

today she manages to get under your skin. "darling, you must be so tired." she slides behind you. and starts massaging your shoulders, pressing the knots away.

you let her, feeling the tension release from your shoulders. her hands move expertly, and soon you feel more relaxed than ever. her hands begin to wander, sliding over your torso and frame. you turn to look at her, playful eyes staring back at you. you pull her into your lap, grabbing her neck for a kiss.

"i think it would be rather impolite of me to have our first time here in my office. maybe later?" you offer, playing with her pencil skirt.

"i don't care where we do it, as long as we do it now." she smirks and plays with your hair. you pull her up and place her atop your desk. walking quickly to close the door and drop the blinds.

she laughs when push her back, back hitting the desk, and then you lean over her. giving her a long kiss, before sliding your hands up her legs.

"come take what yours." she grins. you begin unbuttoning her shirt, hands trailing down until they reach her hips.

you kiss her fervently, moving towards her like a magnet. "yes miss minatozaki."

you might have to label yourself a sex addict, maybe a sana minatozaki addict actually. after sleeping with sana, you can't keep your hands off of her. often messaging her and taking days off to be around her.

it's unlike you, so unfocused and nonchalant about work. but you can't help it, sana feels like a drug and you need your supply. so here you are in your study, trying to clean up the smell of sex before your mother-in-law arrives. sana's an absolute vixen and trying to coax you into another round, but you know at any second her mother will walk into the house like its her own.

you spray a scent over top of the room urgently before closing the door behind you. a clingy sana kissing you deeply, trying so very hard to get you in bed with her.

"sana, no. your mother will be here any second." you force yourself to be the bad guy, pulling her arms off of you. to which she flicks your forehead.

"sana!" the sound of her voice booming like it's through a speakerphone. sana immediately tenses up, posture straight like a board.

"hi mother."

"glad to see you still recognize me." her mother chastises her. you watch the two woman, and you stay quiet. letting sana speak to her mother in a hushed tone, while you stand nearby.

it's hard to get a gauge on sana's mother, she's fierce and demanding. you also can't tell if she likes you, she keeps her distance. but you also can't tell if that's a good or bad thing. oftentimes she shows up requesting your presence at her events. but you play the part well as much as you can.

the older woman walks towards your living room, where she was months ago, and requesting you to marry her daughter. now she moves around your home like it's her own.

"now that you two have been happily married, it's important to discuss the next step." she starts. "we need heirs, multiple."

you and sana look at each other in horror.

"sana was the only heir in her generation of minatozaki's, i need you two to produce more than a single heir. to protect the minatozaki clan." she states firmly.

you groan into your hands, horrified at the conversation. and for the first time you see the matriach smile as she shows off photos of sana as a baby, cute as a button.

it does make you wonder about having a little sana running around, so you take the conversation topic in stride. letting the matriarch discuss traditions, schooling, extracurriculars and education to maintain the minatozaki standard.

sana is horrified to hear all this from her mother, but when she leaves, a light bulb turns on in her brain. then she smiles at you in that knowing smile.

"honey, come on, you heard my mother. we have to produce heirs. you know what that means?" then she wiggles her eyebrows as she drags you upstairs.

and you let her.

a/n: sana, sana, sana. she's been plaguing my mind recently. hope you enjoyed, proofreading is difficult work so i didn't do it. stay safe and stay healthy everyone!

#sana #twice #twice sana #sana twice #sana minatozaki #minatozaki sana #sana x reader #sana x you #kpop imagines #twice x reader #twice x you #neoplatinum

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