#might as well post it here too | Explore Tumblr posts and blogs

eowynstwin · 4 months ago

Text

Blackbird, Fly - Two

Cowboy Gaz x mail order bride—only, not his. After exchanging letters for half a year with ranching man Hans König, you finally travel out west to marry him. - It becomes clear to you that something is bothering him—perhaps it has something to do with you. - ao3

Kyle Garrick—who instructs you to call him Gaz, explaining it as a nickname—drives you out of town in a two-horse wagon. The countryside is dyed in pastels by the softening light of a just-setting sun, every bit as beautiful as Hans had written when he told you about it.

Like a painting, he said. Everywhere you look could be framed in gold. I wake up every day in this land and thank God I have the fortune to live in it.

Here now, as the wagon rattles down the wheel-carved trail, you understand his words. You feel that if you brushed your fingers against the sky overhead, towering with lavender-bottomed clouds as thick and soft as cotton on the stem, that they might come away smeared in blue and pink and violet. The surrounding landscape is a cornucopia of vibrant greens, rich browns of trees and soil, and clusters of orange, yellow, and white wildflowers.

You keep looking all around you to take it in, jostling your driver beside you, but Gaz seems not to mind. At least, he doesn’t say anything.

You’ve been trying not to feel so aware of his presence, but the endeavor is impossible. He is a solid weight beside you on the driver’s seat, exuding warmth where your shoulders brush against each other, and the earthy, masculine scent of him is inescapable. Every time his elbow or knee or thigh nudges yours during the natural sway and jostle of the wagon ride, you have to keep yourself from leaping out of your skin. Ever since you stepped foot off the train, you’ve felt like a lightning rod set out in anticipation of a storm.

You ascribe it to displaced longing for your husband-to-be. You’d spent the whole journey west imagining how you’d meet, longing for the moment he took you into his arms for the first time. Gaz is a handsome man—it’s only natural that your unfulfilled anticipation would transfer onto him. Especially considering he said you were perfect.

But then said very little after that. He’d seemed—well, not friendly, but at least amicable on the train platform, so you wonder if your manners have offended somehow. He’s spent most of the drive now with his eyes ahead, partly obscured by the brim of his hat. Occasionally he glances at the letters in your hand, but otherwise does not acknowledge you.

After one such glance, your discomfort with the silence becomes too much to bear.

“I read my favorites every night,” you tell him.

If Gaz is surprised when you break the silence, he doesn’t show it. “That so,” he murmurs.

All you have is his profile, very handsome in the light. The line of his mouth is taut.

“I know it’s silly,” you continue nervously—you have a bad habit of rambling when you’re uncomfortable. Adjusting your carpetbag in your lap, you go on, “but you must understand, this is the most exciting thing that’s ever happened to me. I never expected to marry, you see.”

He grunts.

“Much less to be a mail order bride,” you say. “I always thought I would be an old maid, for lack of available suitors if nothing else. Mama and Daddy thought I ought to learn to read and write, to improve my prospects, but most folks where I’m from don’t care much about all that.”

“I see,” replies Gaz. He still does not look at you.

“Sometimes I think it even made them like me less, like I was putting on airs, being smarter than them.” You realize immediately how arrogant you must sound. “Oh, but I don’t mean any offense! I don’t mean to suggest I have ideas above my station. It’s only just that, I wondered for years and years why no one offered for me, and it was the only thing I could think of. Why would a farmer’s daughter need to read and write? And why would a wife need to, if her duty is to tend to her children and her home? So that must be why no man has ever been very interested in me.”

You realize with horror that words are pouring out of you faster than you can keep up with them. And your driver’s attention has not shifted; his eyes remain on the road.

You look at your lap, face burning. “I’m sorry, I’m just annoying you, Mr. Garrick. I’m sorry.”

Shame grips you, tight and awkward. If you’d wanted to endear yourself to this cowboy at all, you’ve already failed.

But Gaz finally says, “Most men are idiots.” You look at him; he does not look at you. “I’ve only just met you, and I like you fine.”

He says it matter-of-factly, as if no more need saying on the subject. Simple and to the point; an economy of feeling you imagine must be characteristic of men in this part of the country.

Hans was like that too, in his letters. Communicating feeling without dancing around it, with a bluntness that ends up soft in its honesty.

It eases the tension frothing poisonous in your belly. “Thank you,” you say.

You ride in silence for a stretch. A cool breeze catches the free-floating ends of your hair, rustles along in the tall grass by the wayside. The steady thump thump thump of the horse’s hooves, and the creak of tackle and leather, are the only sounds populating the air.

Home was quiet like this, too; the fields stretching endless and green beneath the sky, the silence there so blank and open that birdcall traveled for miles, and the lowing of the family milk cow sounded sometimes like the trumpet of God.

You peek again at Kyle Garrick. There’s a furrow to his brow, the kind a man gets when he’s in a mood and won’t admit it if asked.

“I’m sorry,” you say again, quietly, because he made you feel better about things, and you’ve done little more than whine.

He finally looks at you, the edges of his face lined and glowing in the evening light. Studies you, for a moment. The furrow eases.

“No,” he says, “I’m sorry, Miss. I don’t mean to be short with you. I’m afraid manners are secondary on a ranch, without a good woman nearby to remind about ‘em.”

You give him a small smile. “Have you worked for Hans very long?”

He turns his gaze back to the road. “Six or seven years, now.”

You toy with the clasp of your bag; you’re brimming with questions. “Is he really all that tall?”

“Oh, yes,” Gaz says. “Like a giant.”

“What’s he like?”

Gaz gives a great breath through pursed, full lips. “Fair, I guess. Asks a lot of us—but then most bosses out here will. Worked for his father for a few years before him, too.”

“You must be a good hand then,” you say.

“I work hard,” says Gaz. “That’s all that matters.”

“I’m sure Hans is grateful,” you reply. “He must trust you very much, to send you for me.”

The furrow returns. “He must.”

It becomes clear to you that something is bothering him, and it’s nothing you will resolve between now and when you make it to the ranch. Perhaps it has something to do with you—a new face, an unknown quantity that threatens to knock the balance of his livelihood askew.

You sigh a little. Of course, you should have expected to have to win Hans’ people over. Their loyalty to the late Mrs. König will inevitably be challenged by your arrival.

Neither of you speak again—you decide not to push what little grace Kyle Garrick has given you, and he does not volunteer any more conversation. The rest of the ride is unremarkable, leaving room for anticipation to grow in your stomach; soon the wagon crests the slope of a hill, and your destination comes into view.

Long Mask Ranch sits at the base of a range of mountain foothills, fed and watered emerald green by spring runoff. You’ve been on Hans’ land for a while now; opening up before you is the ranch proper. A collection of buildings form a semicircle around a large corral in the valley: stables, a barn, some cabins, and a large two-story gabled manor, painted white.

The sun sinks further toward the horizon as you approach, painting the world in liquid orange. Figures resolve themselves, people moving tables and chairs around, and on the manor’s front porch, observing the proceedings, stands a tall man in a rancher’s coat and hat.

Lightning suddenly bolts through you. You sit very, very still as Gaz pulls the wagon through a cast iron archway adorned with LMR at the apogee. Your heart thrums in your throat like a picked guitar string. When you finally come to a stop, the man’s head turns to toward you.

At the worst possible moment, shyness grips you. You look around, at anywhere but him, at the house, the corral, the cowboy beside you.

You startle to meet Gaz’s eyes. The expression he wears is a mask of seriousness.

“This is it,” he says.

Your voice leaves your chest trembling. “Thank you, Mr. Garrick.”

“Just Gaz is fine, Miss.”

“I couldn’t possibly,” you reply. Propriety feels like the only solid thing to cling to just now.

He looks away. The line of his mouth tightens. “Of course,” he says.

He dismounts the wagon in one smooth motion, boots hitting the packed earth hard. Out of the corner of your eye, you see the tall man start his way over to you. Gaz rounds the back of the wagon, and you give your bag to him once he’s at your side. He offers his hand to help you down.

You’re dazed as you take it, lightheaded as suddenly the present moment becomes very, very real. It’s warm, his hand; rough in all the places you expect a cowboy’s hand to be. Yet there’s something soft in the way your palms meet, how the dips and contours align with each other and fit together. You’re shaking very hard as you ease your way from the seat, gripping him tightly until your feet meet the ground, and his grip circles yours with a solidness to it in a way unlike any man has ever held you.

You meet his eyes again when he hands you your bag. Gaz gives your hand a squeeze, averts his gaze, and lets you go.

“There she is!” an accented voice announces.

You pull your gaze from Kyle Garrick and the mystery of his tension with you, and turn to face your intended husband.

Hans König has loomed large in your imagination for half a year. He’d described to you what he looked like, of course, as best he could, but you find as you look upon his face that no written word can convey what it means to meet for the first time the man you will marry. You’d fallen in love with someone formless, absent, but inscribed in other ways with enough distinction to nurture your tender feelings.

Looking upon him now, though…his appearance offers nothing to that distinction. He’s neither ugly nor handsome. As he comes to stand before you, you think he rather looks like every other middle-aged man you’ve met in your short life, although certainly much taller. You meet his eyes—pale blue, as he’d related—and the rush of love you’d expected to feel, once you knew who he was, simply does not come.

This man is a stranger to you.

You reprimand yourself immediately. He isn’t a stranger. You’ve known him for six months. His face is simply not one you have attached any love to yet; the measure of his character is contained in the stack of paper in your hands. In the promises he made to you to make your quietest dreams come true.

So you smile the way you’d dreamed you would—like watching the sun crest the horizon after a long night of darkness, seeing the bounty of the near future coming toward you. Summoning joy by making room for it to exist.

“Hello, Hans,” you say, “it’s me.”

Hans König steps forward. He looms over you truly, now, eclipsing your vision. “It is you, indeed.”

Without another word, right there in front of Gaz, Hans grips your shoulders, bends down, and kisses you on the mouth.

Your brows shoot upward. It’s the first time anyone has ever kissed you. His lips are…hard, and motionless against yours. Almost perfunctory. You are so shocked he’s done it that you don’t think to respond, and then as suddenly as it happened, it’s over. He pulls away, pats your shoulders with a little smile, and then looks at Gaz.

“Get that wagon put away and then go help the others,” says Hans to the cowboy, slinging one arm around your shoulder.

Your brows lift further. Is that all he has to say to him, for delivering you safe and sound?

Gaz doesn’t seem to share your feelings. “Yes, sir,” is all he says, even and toneless.

But he looks between you and his employer for more than just the span of a heartbeat. Eyes going from him, to you, to the arm around your shoulders. Then he meets your gaze, expression stony.

If Gaz is wary of your presence here—if you’re going to win him over—the best time to start is now. “Thank you very much for seeing me here safely,” you say. “I was so glad of your company, Mr. Garrick.”

To your dismay, his expression only tightens. Gaz looks at Hans again, then back at you.

“You’re welcome, Miss,” he says.

Then he climbs back into the wagon, gives the reins a snap, and drives away.

a/n: fun fact, the ranch and neighboring town are based off Valentine and Emerald Ranch from rdr2 :) the ranch layout is more like Pronghorn Ranch however.

#gaz garrick #gaz x reader #gaz x you #gaz x y/n #kyle gaz garrick #kyle gaz x reader #kyle gaz x you #gaz cod #gaz call of duty #cod x reader #cod x you #cod x y/n #blackbird fly #mwritesgaz #madi writes #was gonna schedule this to post tomorrow but realized if it's up on ao3 it might as well be up here too #oh well

391 notes · View notes

otome-dissection · 1 month ago

Text

Idk man I just think that mizu/ena5 and its progression was really beautiful actually. I just think that the release of the ena5 song was also really beautiful and kind of the nail in the coffin for me and I haven't been able to get the event(s) out of my head all week and that I kind of want to talk about it, actually.

It's about being hurt so deeply and continuously that any kindness that could be offered to you manages to feel like a sin, that it makes you crumble and shatter but for all the wrong reasons, not because of the newfound safety, not out of relief, but something worse and more deeply ingrained in you than kindness ever was. It's about carefully measuring the distance at which you keep others away from yourself, to ensure that it never happens again ("To save yourself the trouble", if that makes it easier).

It's about realizing that the people you've been spending all this time with are drifting closer, that they just might bump up against the unsightly parts of yourself that you've tried to keep locked away, it's about turning around and sprinting at full speed and slamming the door shut and holding onto the handle behind you to stop it from turning, because you're as frightened of the possibility of another wound being inflicted on you as you are of the possibility that kinder, gentler hands will reach out and smooth over the exposed scar. It's about hating eyes that judge and silently condemn you as much as you hate eyes that simply see you and take all of you in without scrutiny, because no matter what they're looking and they're looking at you and they know that your hand's on that door handle and they know that you're hiding something because, as much as you try to keep it shut, they've seen through the crack that you foolishly left open.

(The prominence of eyes in Bake no Hana, specifically eyes looking and searching, and finally landing on you, the viewer, Mizuki, is so fucking. Visceral in my opinion. Every character in the MV stares at the viewer in a deadpan, almost judging way. Even though Mizuki knows deep down that niigo won't really hate them, won't judge them, she just can't stand their kindness either; any gaze directed at her is a loss, another prick in their skin. It screams "don't look at me" while making sure that you know, with horrific certainty, that they're looking for you, that you're being watched. You can't go outside, can't leave your room, because they're searching for you, and while that should be reassuring, to you it's anything but).

It's about not wanting to be dissected, whether it's with hands that want to pull your organs apart or stitch them back together because no matter what they're there, and they're getting frighteningly close to your heart. It's about blinding yourself and covering your eyes to it all because seeing means exposure and exposure means they're taking something from you and you can't do anything about it, much less take it all back, much less have a say in the matter. Everyone's just taking and taking and taking and you wish you could just be alone. You wish everyone would just disappear and you could live in a world all to yourself, for only yourself (but is that really what you want?).

It's about the way that, near the beginning of the Yoka ni Mitoreta MV, Mizuki and her loneliness is represented as a dark, splotchy stain in the shadows. No colors, no patterns, no way to clean it or wash it all away, just raw ugliness marring a blank canvas. It's about the way that Ena reaches out to it anyway, the way she startles when the glass shatters just when she finally starts reaching forward, the way that the rest of the MV/song represents her searching for and reaching only further out to Mizuki, even if the broken shards of glass will only cut her fingers, potentially leaving scars.

It's about how, in every way, subtly, directly, consciously, and subconsciously, Ena shows that she fucking cares.

It's about the way that Ena lets Mizuki have autonomy, despite the situation being so horribly out of their control. And it's such a delicate thing: If she really wants to, Mizuki can take the opportunity to just run away, keep running forever, repeat the cycle over and over, and maybe she'll just destroy herself with it again, but it can't be denied that it's something important to them, something she can't quite live without just yet, their means of survival. Mizuki's autonomy is their identity, it's her tailoring her own clothes and choosing her own ribbons and styling her own hair the way she does. Ena letting them have that is as much about trust as it is about understanding that Mizuki of all people should have this right, when control was something stripped from her throughout so much of her life. She couldn't control how she was born, how people look at her or why, can't control what they think of her; lacking control has only left Mizuki vulnerable to the cruelties of others, has only caused them to suffer, which is why it's so important that it's given to them now.

She had the control to make the choice to see niigo's welcoming love and run away instead of staying, and she has the control to make the choice now whether she wants to keep things the way they are or take a step forward to be at their side again. She has every right to have it, and I think the fact that Ena realizes and respects that, even if it's subconsciously, is really beautiful (there is an entire fucking Verse about this in the new song and just. God Look at this. It's so caring, unconditional, and for fucking What. I think there is something to be said about how much Ena is willing to put aside for Mizuki, and maybe deep down it isn't healthy, but for now I'm just kind of in awe)

It's about how insanely patient Ena has been this whole time. Mizuki says that she basically lied to Ena's face about telling her their secret, even after Ena said with such conviction that she would wait for Mizuki as long as it takes, and Ena is just kept waiting and waiting and worrying like this seemingly indefinitely. It's about how Mizuki danced around it, avoided it, kept the distance, straight up ran when she was finally pushed, but Ena still chased anyway when she saw that she couldn't wait anymore, kept chasing just enough to intervene and get a straight answer out of Mizuki when she really needed to, but still leaving her enough space to leave if that was truly what she wanted. It's about how relieved Ena is the moment that Mizuki finally says outright how much they want to be with her and niigo, how much she wants to try, how much more light Ena's voice sounds when she grabs her hand, relieved, the way that the relief she feels can be felt through the music, throughout the entirety of Yoka ni Mitoreta, the way that warm colors always follow her when she chases after Mizuki, just to hold onto her and stop her from running away completely.

It's about how that careful combination of Ena's directness, Ena's persistence, Ena's warmth, her patience, her bluntness about her feelings, the way she chases and holds on but not too tight and her regard for how unsafe and exposed Mizuki feels actually works and breaks it all down. It's about how she really did reach through to Mizuki, despite the thorns and broken glass shards and nearly-unfulfilled promises, the way that Mizuki did finally let her turn the door handle and step through to see what she'd been hiding all this time, the way that Mizuki's hand, limp, when Ena first grabs onto it, shifts to hold hers back as they cry in the face of Ena's gentleness.

Despite how harsh Mizu/Ena5, and even Ena herself as a character can be (or at least was in the very beginning of pjsk), everything is somehow gentle and warm in the end, blindingly so. And you know what, I think that's beautiful. And what's even more beautiful than that is how Mizuki allows themself to crumble and shatter under that kindness, that warm light, but this time, finally, out of relief.

On a final note, I just want to say that I also appreciate how all that didn't have to solve everything. The scars haven't disappeared, haven't gone away, and Mizuki knows that their desire to run hasn't gone away forever, and maybe it never truly will. But for now they've calmed it, at least a little. She's learning to allow herself to be seen, learning that when someone's fingertips brush over their scars the way Ena's did that it's only out of care, and that maybe taking in that care and allowing herself to feel kindness and safety is okay. They're safe, for now, somehow. They're learning. They're trying. And I think that's cool :)

#txt #pjsk #project sekai #mizuki akiyama #akiyama mizuki #ena5 #ena shinonome #shinonome ena #25 ji nightcord de #niigo #n25 #mizuena #i'll tag it for the shippers too bc why not they'll enjoy this #closing my eyes and hitting post because on one hand i want to keep editing this because it's a mess but if i spend another minute on this #I Will explode #physically i have moved on mentally i am still staring at that damn card on my monitor while the music swells and mizuki is wailing out #that damn image has like actually rearranged my brain chemistry it's not even funny #i'm so fucking weak for this specific character dynamic/relationship yeah it might be cliche yeah i'm lame whatever #but like. FUCKKKK THEY DID IT SO WELL. THIS IS ACTUALLY INSANE. they put so much care into mizuki as a character it's crazy #oh mizuki. i hope you find peace and happiness.#i hope you look around you and the people you've surrounded yourself with one day and realize that you've found safety #anyways yeah sorry this is incomprehensible nonsense also sorry if the pronouns were confusing i hc she/they for mizuki #y'know partway through writing this i half considered turning this around into a fic but like. nahhhhh. tumblr text word vomit it is #sorry about the *checks* 1.4K word text ramble. but thanks for reading if you got here B))

183 notes · View notes