#since he’s not japanese and he started art later than the rest

[levbolton]

The problem with blp canon x reader is that there’s none with Hachiro Kenji

[blessedbucky]

we tried the world, good god, it wasn't for us! (part 3)

pairing: autistic!satoru x suguru x autistic!reader

word count: ........14k? oops?

summary: a glimpse at your first year in tokyo jujutsu high

tags: autistic!reader, autistic!satoru, bisexual!reader, bisexual!suguru, ableism, internalized ableism, mentioned child abuse, light bullying, satoru has some identity issues, actually EVERYONE has identity issues here, jealous and protective boys, JJK typical violence

beautiful people who asked to be tagged 💕: @ichikanu, @iceheartsice, @anders-is-being-a-simp-again

author note: um.....so....this was meant to be all three of the high school years in one chapter........but i lost control of the plot. and here we are...FOURTEEN THOUSAND WORDS LATER...and THIS WAS ONLY THE FIRST YEAR of them in high school? help me.

translation note: jiheishō is the japanese term for autism

chapter links: ONE, TWO, AO3

[YEAR ONE.]

Graduation comes.

Finally.

In the months since you and Suguru were offered scholarships with Jujutsu High, word slowly spread around the school. Suguru and you have to sit on the roof for lunches to escape your growing popularity. You have no idea why these people have started to crawl out of the woodworks, but Suguru said he kind of expected it. It’s not only you two that want out of the village and you two are going to live the life that everyone else dreams of. They think they can worm their way into your lives now and leech off any future success or have an in inside Tokyo.

Still, you can’t believe how many addresses and phone numbers you’re given. There are a few that you keep, people from the art club that you joined who have always been cordial enough to you. You felt a little obligated because they pitched in to buy you a relatively nice art supply kit to continue your craft in Tokyo. The rest of the contact information is tossed in the trash, some right in front of their faces out of spite.

Meanwhile, Suguru is almost suspended.

No one can prove that Nakayama Izuru was attacked by Suguru, though. It’s not possible for a human to leave the claw marks on Nakayama’s arms. You can only imagine that saccharine smile that Suguru was wearing when he told the school staff that he saw a tanuki attack Nakayama. The only crime he committed was not getting help sooner and, for that, he apologized. Nakayama himself even admitted that he didn’t see anything or that Suguru didn’t put hands on him, but he knows Suguru was responsible somehow.

You, obviously, know better.

“Idiot,” you hiss when you and Suguru are at your usual afterschool hangout spot by the river. “That wasn’t very heroic of you. It could’ve costed you your scholarship if word got back to Tokyo.”

Suguru rolls his eyes. “It wasn’t even that bad. A cat could’ve done more damage than I did.”

You sigh. “I know we’ve always teased people with your collection, but we’ve never drawn blood. You don’t like him, never have, but I didn’t think it was that bad.” You throw a rock, trying to get it to skip across the water, but it just gives a sad plop and sinks. “What happened?”

“Remember when you and Endo got in that fight a few months ago?” You nod slowly. “It was something like that.” He’s not looking at you, but his rage still lingers. He’s usually good at skipping rocks, but not today. “Which means you can’t judge me because if you knew how to fight, you definitely would’ve. Don’t even try to pretend you wouldn’t.”

“Yeah, but I suck at keeping my mouth shut and can’t control my emotions for shit. I know I’m gonna struggle when we start high school because of that.” This isn’t a scolding. You’re just really worried because, “You’re good at letting that stuff roll off you.”

Suguru’s frown deepens. “Not about you.” If it wasn’t so quiet here, you’d have missed him whisper, “Never about you.”

“People have made fun of me before.”

“It’s different.” He presses a thumb against his forehead. “Can we drop this?”

“Well, I kinda want to know what he said. I told you what Endo said, didn’t I?”

“I’d rather not.”

“Suguru,” you sing. “I’ll keep asking. Don’t I have a right to know?”

“I was trying to be polite.” His eye is twitching irritably. “He said that he never noticed until now how nice your tits are. The nicest in our class.” You burst out in a fit of laughter. A vein throbs at his temple. Maybe this is why he didn’t want to say anything. “It’s not funny, Squid. It was disgusting. He tried to act buddy-buddy with me while I was waiting for you to get done with art club. He wanted to know if you were still a virgin or not.”

You shake your head, wiping a stray tear from your eye. “Nakayama thinks because his father owns the biggest farm that he’s worth something. Not even Endo would date him and she’s the most popular girl in school.” You crouch down to rummage for some skipping stones. “Hey, if we’re still virgins by the end of high school, want to take each other’s virginities?”

It’s like all the fight rushes out of him, the way Suguru sighs and how his shoulders slump in defeat. “You shouldn’t say things like that.” His neck, the tips of his ears, his entire face…it’s all so red. It’s rare to find, but there are some things that go too far. You open your mouth to apologize, but he interrupts. “You promise?”

“I promise.” You give one of the stones you find a few tosses, making sure it’s light enough. “I kind of always thought it would be you, anyway. Now that we’re leaving the village, you’ll get super popular at this new school, so I doubt you’ll be single by the time we graduate, but this is on the off chance that you are.” He tilts his head back, staring up at the skies. That’s his existential crisis face. “I’m sorry. Was that too far?”

“I always thought it would be you, too,” he admits quietly. “I guess…you’re making it sound so transactional.”

Right. Girls say that the first time is supposed to be special. “I can try to make it special for you, if it happens. I don’t really understand what special means, but I’ll try.”

Suguru shakes himself out of his thoughts. “I’ll make it special, don’t worry.”

“Don’t think about it too much. You’ll definitely get a boyfriend or girlfriend.”

“It could be the other way around, y’know.”

You scoff. “Where we’re going…seeing the spirits is normal. So, everyone there will be normal. That’s when my weirdness is really going to shine. You’re used to it. Do you think someone is willingly going to deal with my stupid habits and quirks? How do I even explain to another person that even seeing cotton balls makes my teeth hurt?” You shake your head. “I’m already high enough maintenance for you and you’re my best friend. It’d be worse for a boyfriend or girlfriend, wouldn’t it?”

Suguru says your name. You look over at him and he’s sad. “You’re not high maintenance.”

“You’re my best friend. You’re obligated to say that.”

“No, I’m not. You know I’m honest with you. Would you like an example of my honesty? Here’s one—you’re so blind that, sometimes, it amazes me.”

You throw a rock at the vicinity of his feet. He moves to dodge it. “Rude.”

***

Non-sorcerer students are required to move on campus two weeks before school starts. There will be some informal classes on the most basic of jujutsu basics to give you somewhat a foundation. In yours and Suguru’s cases, Yaga lies to both your parents and has someone come pick you and your things up three weeks before school starts.

At the nearest relatively big city, Yaga makes the driver stop. He practically shoves food down your throats, lecturing the entire time about the importance of eating to make up for the massive amounts of energy that you’ll be burning by using cursed energy and fighting spirits.

Then, he forces you both to choose cell phones.

You and Suguru, obviously from very humble means, protest. None of them are cheap. Yaga shuts you down and declares this as yet another requirement. Essentially, you’ll always be on-call, especially as you become a more seasoned sorcerer. You need a way to communicate with others and be communicated with in return. Yaga mutters something under his breath before he heads outside to take a smoke break with the driver.

“He’ll probably yell at us if we go for the cheapest thing,” Suguru mutters as he looks around the store.

“Something in the middle, then,” you agree.

In your defense, you do get something that’s not the most expensive. There wasn’t any mention about the design or color. It called to you, okay? You could take or leave the color, but the almost metallic shine of it. It’s so sleek and smooth. The number keys are nearly flat and it’s satisfying to run your fingers over the slight bump of them.

Yaga doesn’t even bat an eye when you hand over the hot pink flip phone. He simply takes what you’ve chosen, takes Suguru’s chunky option, and goes to the counter to pay for them and set up your new numbers. You and Suguru stand there, almost with bated breath.

It’s hard to believe that the school is investing so much money into you both already. Yaga didn’t even mention this coming out of your monthly stipend. A stipend, by the way, that you and Suguru weren’t aware of until you were on the road. You’d asked if you needed to tell your parents because that seemed like a pretty important thing for Yaga to forget. Yaga had shrugged and, casual as anything, said, “it’s your money now. Tell whoever you want about it.”

And, as easy as it was then for him, it is now because Yaga hands you your phones back, numbers on some paperwork, and that’s it. He walks out of the store and gets in the car. You and Suguru share a look of disbelief before you scramble to follow after him and climb in the back of the car.

It’s still a drive to a train station that will take you the rest of the way to Tokyo. The driver turns the music up. You and Suguru immediately duck your heads down, heads knocking together, voices hushed as you marvel over your new phones. You can’t stop rubbing your thumb over the smooth surface. Suguru isn’t the type to get distracted by something like texture, so he’s already clicking through it to add your phone number.

“Add me,” he demands. “What? Were you blinded by that gaudy color?”

“Like you have room to talk,” you shoot right back at him. “That’s got a MP3 built into it.”

“Are you the only one here that can be an enjoyer of the arts?”

“You could’ve kept using the radio.” You’re already a little sad. It’s a favorite pastime—you and Suguru, sprawled out on the floor, listening to the radio. Maybe you can save up for one. “Whatever. You better share the headphones whenever you figure out how to put music on that thing.”

“You better use your phone as a SOS if we’re ever lost.”

The only response to that is your harrumph and grabbing your backpack off the floor. Suguru goes back to his phone as you pull out your pencil and sketchbook. It’s a bumpy road. You already have a sketch of Hong, but maybe you’ll just do another rough one to fill the time. You flip through the pages upon pages of new and old cursed spirits that Suguru now holds, trying to find an open spot. There’s not much room left. Mother hates to buy you sketchbooks, seeing it as indulging your abnormality.

“You’re a talented artist,” Yaga commends. You pull the sketchbook against your chest instinctively. Yaga doesn’t acknowledge the action. Just asks, “Are those the cursed spirits that you’ve seen?” You lower the sketchbook back down in your lap, nodding shyly. “May I?”

You usually hide your sketchbook away from the eyes of others because classmates and adults were easily disturbed by what they thought were figments of your imagination. It’s going to take time to get over this surrealism that comes from everyone seeing the things you can and treating it as if it’s normal. So, you hesitantly hold out your sketchbook for him to take. You’re nervous as you watch him flip through the pages.

“These notes…you study them?” Yaga correctly assumes.

“Yes.”

“How?”

“Um…they can’t see me unless I want them to,” you explain slowly. “I can make them calm, too.”

“How have you been destroying them?”

“We don’t,” Suguru answers on your behalf. “I eat them.”

Yaga’s eyes widen. “You…eat them?”

“Maybe a better way to say it is that I absorb them,” Suguru corrects. “After that, I can summon them whenever I want.”

Yaga tries to hide it, but he seems…shaken. He glances back down at your sketchbook, quickly thumbing through the pages. “Is this all that you’ve taken down together? Is this how many you’ve swallowed, Geto?”

Suguru takes the sketchbook back from Yaga. Suguru is a lot more familiar with your sketches, but he skims through the pages once again. “I think this is about right,” he finally answers Yaga. “There might be more in my arsenal. Sometimes, we find spirits on our own or she doesn’t want to sketch whatever we find.”

“Right.” Yaga is nodding to himself. “We’ll explore your individual techniques more when the term starts.”

***

You’re allowed a few days to unpack and acquaint yourselves with campus before you’re taken to be fitted for your new school uniforms.

“Whatever I want?”

The tailor nods. “It’s important that you be comfortable and be in clothes that are easy for you to move in. It goes without saying that you’re a representation of the school, so you can’t be indecent, but that is your only condition,” she explains. “I’ll check-in with you after your first assignment to make sure your uniform doesn’t need any further adjustments. Also, the uniform expenses aren’t deducted from your stipend. This is on the school’s budget.”

The second that the tailor shows you the standard uniform, you turn your nose up at it. You rub the fabric between your fingers, examining it critically. The fabric, you think you could deal with, but if you can throw out the blazer then you’ll immediately jump on that chance. You’ve always preferred baggy clothes, so you shop a size or two too large. Your mother never complained because that meant your clothes lasted longer. So, you think about your wardrobe. Think about what your go-to clothes are when you’re not in a stiff school uniform.

After giving it some thought while your measurements are taken, you decide on a skirt, thin tights, and a hooded sweatshirt.

It’s an outfit that you can justify. The skirt will allow for freer movement. Tights, if they’re thin enough fabric, don’t really bother you because they’re like a second skin. The sweatshirt won’t have the same restrictive sleeves that the blazer does. Lastly, if you’re overwhelmed after assignments then you can hide under your hood.

The tailor accepts the design and tells you that she’ll call when the uniform is ready.

You’re thankful that Suguru is so tall because you’d have panicked otherwise if you stepped outside the tailor shop and couldn’t see him in front of a shop across the street. Your brows raise when you see that it’s a small tattoo shop. Outside the door, there’s a binder on a stand that must have their services and examples from their portfolio. Suguru isn’t looking at the tattoos. No, he seems to be carefully considering the section with ear piercings.

And, honestly, you’re not surprised.

“That school trip to Osorezan really left an impression on you, huh?”

It’d been the first year of middle school that your class went on a trip to Osorezan, believed to be the entrance to the afterlife. It was a religious, historical, and scientific field trip all wrapped into one since the Bodaiji temple is inside the caldera of an active volcano. The high amounts of sulfur gave the waters varying shades of blue. The land was gray and barren. But there was also a hot spring. Statues were littered around the area to represent the souls of the dead.

Just going off the limited knowledge that Yaga gave you, it makes sense that there were so many cursed spirits there. It’s a place of reverence, sure, but people probably go there out of desperation, too. On some level, it might be feared—whether because of the lore or the volcano near it.

It was an overnight trip. You and Suguru hadn’t slept a fucking wink. It was amazing. You’d adored it because of the nature and science. Suguru fell in love with the history and spirituality.

“Shut up.” The tips of his ears are red. “The tailor said there’s no dress code. Yaga said the only rule is to not bring too much attention to the school.” He rubs at his ear lobe. “It looks really cool, doesn’t it?”

“I think you’re being a stereotypical smalltown kid that’s going wild in the big city,” you deadpan.

“Well, I’m doing it. If it bothers you so much then stay out here,” he says primly.

You’ve started to flip through the pages of piercings. “No, no.” There’s one thing that caught your eye. You touch the picture of a tongue piercing. “Just think it’s a little funny that as soon as your feet stepped down in Tokyo, you went running.” Do your eyes glaze over when you think about running the little metal ball of a piercing across your teeth? Maybe. “I want this one.”

“Eh? I’m just getting gauges. You’re getting way wilder than me. You understand that, right?” Suguru is grinning as he grabs your wrist. “Let’s go.”

***

A week later, your tongue has healed enough that you finally learn to talk around it. Just as you suspected, the urge to roll it between your teeth is hard to pin down while you let it fully heal. It’ll be another three to five weeks. Yaga never said a word about it when you both showed up to a classroom the next day. All he did was throw some textbooks at you both and got to lecturing.

You guess you need to start thinking of him as sensei.

Suguru talks about you being a huge nerd, but he’s the one that’s in the school library, trying to dive deeper into…everything that you’ve learned, basically. Despite the fact that you’ll be spending the next three years gaining more knowledge about the jujutsu world. He’s always been like that—impatient when he’s eager. Well…maybe he picked that up from you.

Anyway, you left him behind to enjoy the weather and view. If you’re not with Suguru, you’re enjoying the view. The campus is nestled on a mountain outside Tokyo. It’s got the kind of scenery that inspires a person. This is the first time, probably ever, that you draw things that are not cursed spirits. That’s what you’re doing now. You have an urge to draw the contrast of the bright red torii gate against the lush, green foliage.

You almost lose your art supplies to gravity when someone rushes in front of you. Not that you’d say anything, but you can send them a shitty look. You’re a little more forgiving when you see their vision is blocked by a big box. Another person follows with another equally big box follows after that person. You blink and look in the direction of where they’re coming from.

A group has made their way to the top of the staircase that leads up to the school.

They are…very bright.

Almost everyone in the small group has blinding white hair and blue eyes. Not only that, but they are also dressed in traditional clothes that you know are expensive. The colors are vibrant. Just from here, you can tell just one of those kimonos probably costs more than your childhood house. Every woman in the group has a gold kanzashi in their hair with a dangling charm in the form of a…is that a dragonfly?

Off to the side of this group, though, is a boy your age. Same white hair and blue eyes, yes, but he’s dressed so casually that it’s almost obscene next to the rest of his people. Just a white shirt, pair of basketball shorts, and some sneakers. Thismust be one of your two classmates. Yaga said there would be another boy and girl enrolling. And…he must be moving on campus early. You wonder why. Clearly, those people are his family and they’re loaded. Why on earth would he want to leave home early?

The classmate stops and turns to stare at you dead-on. Don’t come over here, don’t come over here, don’t come over here, you silently plead. You weren’t prepared to deal with other people yet. It’s still a new place and new information is constantly getting thrown at you and you just don’t have the mental energy to deal with strangers.

Fate is not on your side, though, and your classmate closes the distance between you and him.

You’re wary when he’s right in front of you. If you weren’t desensitized by Suguru, this guy’s height would definitely intimidate you a lot more. You’re still nervous which could be because he’s really close to you physically. Your body tenses, instinctively preparing for unwanted touch.

“Show me around.”

“Huh?”

“Show me around,” he repeats.

Okay. You’re not sure what you expected. Normally, people give a little context when you question what they say. “I’m new, too. Our sensei is here, though. His name is Yaga.” You tilt your head slightly. “I can go grab him instead.”

“I asked you. You’re one of those shy types, right? Probably not good with talking to hot guys? I figure you won’t talk while we walk around the place.” He says all that…so casually. “I’ve had that hag back there in my ear all day. I got a headache. If you wanna keep talking, though, I’ll just go find someone else.”

“The only other person here will tell you to fuck off if you go around making demands like this,” you state bluntly. Actually, you wouldn’t be surprised if he ended up punching this guy in the nose. “Look, I come off as rude, too, but you should maybe think a little longer before you speak.” Oh, no. You sounded like Suguru just now.

The guy squints at you. “Who the hell are you? Where you from? Do you not know who I am?”

Oh. Yaga warned you and Suguru about this in a roundabout way. The jujutsu world is super traditional. There are these three clans that have been around for hundreds and hundreds of years, so they’re really respected. They’re competitive with each other and try to pump out more talented sorcerers. They tend to turn their nose up at people like you and Suguru who have no hint of sorcery in your family or ancestry.

You give him your name, the prefecture you came from, and then answer with a curt, “No, I don’t know who you are. Should I?”

He clicks his tongue and rolls his eyes. “So…you’re a hick. That’s what your deal is?” Hmm, well, he’s technically not wrong about that. “Whatever. I’m Gojo Satoru. You can ask the Yaga guy about how important I am later. Can we go now?”

You could not follow Gojo when he walks past you, but his…family or whatever is taking up the space that you were going to use for your art. Also, you can sympathize with needing an excuse to get away from a large group of people, especially when you’re overwhelmed. Not saying that Gojo is, but he did mention a headache.

So, you and Gojo take a stroll.

It’s quiet, aside from the sounds of nature and your footfalls. Out of the corner of your eye, you can see his head turn in your direction. What? Is he shocked that you respected his wish to be quiet? You don’t want to force a conversation.

After maybe half an hour of walking, you declare, “I think we’re far away enough that you don’t need me anymore.” You point at the bench in front of a pond that you purposely led yourselves to. “So, I’m going to do what I was going to do.” You give a polite half-hearted bow. “It was nice to meet you. I look forward to working with you in the future.”

Suguru texts as soon as you sit down, asking where you went off to. You’re terrible with directions, so you send him a shot of the pond and the building closest to it. You don’t mention Gojo. You’ll tell him about it later. Your fingers glide over the hard cover of the new sketchbook and the fresh, crisp, blank page that you turn to. You treat this sketchbook carefully because it’s the nicest you’ve ever seen.

Yaga said that it was very important to nurture your curiosity in understanding cursed spirits, so it was a more than worthy investment to get you sketchbooks. The more knowledge that you gain about the jujutsu world, the deeper your understanding of them goes, and that can be helpful to the jujutsu world. No one has ever had an ability like yours that he knows of, Yaga had told you privately. Knowledge of cursed spirits is only gained in the heat of battle or the aftermath of death. Your pacification abilities allow the study of cursed spirits without the bloodshed.

In that meeting, you’d tried to make Yaga see some sense. You’re some nobody from nowhere with a weird fixation on drawing the cursed spirits. He has all these big aspirations for you, but you highly doubt that you can live up to them. It wasn’t even about the sketchbook at that point. Suguru’s technique is the one that will change the world.

With you and Suguru, I think your techniques have skewed your worldviews. Suguru has shown me some of his higher-grade spirits. Exorcising those would be bloody work for anyone else. Your technique is more suited for a supportive role, yes, but don’t dismiss your power. It’s a trickle-down effect—you’ll save the lives of fellow sorcerers who will go on to exorcise spirits that saves the lives of current and future non-sorcerers.

You’d definitely cried after that conversation with Yaga. No one has ever wanted to…foster your interest like this. Setting aside how disturbed they were by the content that you drew, they saw no use in it. It was fine as a child, but in the past year or so, they had outright started to scold you for not putting the pencil down. You were the daughter of farmers and would never be famous for your art, so you needed to invest in better skills. Even your art teacher wanted to censor you and told you that any drawings needed to be school-appropriate.

More dedicated than ever, you’ve been almost obsessive with drawing.

“Oi.”

You’ve literally only drawn the rough shape of the pond. You try not to sigh or let your irritation at being interrupted show on your face when you tilt your head up. “Yes?”

“What if I did want a tour?”

It was obvious from the get-go that Gojo is a blunt person, so you don’t lie out of politeness. “I still get lost, so I’m the wrong person to ask. Like I said before, go ask Sensei.” You drop your attention to your lap and start sketching again. “Besides, I’m not good at talking to people.”

“It’s not like we have to chat. Just tell me the buildings.”

“Didn’t you say you have a headache?”

“Yeah, but I always have a headache.” That’s…alarming. You look back up at him, concerned. He shrugs and says, “Six Eyes,” as if you have any idea what that is supposed to mean. “Ugh. Right. Small town girl or whatever.” Then, he tries to dismiss it all with, “It’s a Gojo clan thing. I have special eyes that make my technique better, but the cost is migraines.”

Oh. It’s like Suguru’s technique, then. In the sense that there’s a massive blowback. Suguru has told you about the taste of curses and how disgusting doesn’t even come close to describing how awful it is. He tries to pretend that the taste is the only bad thing about it, but there’s a reason why he would wait until night to eat them where he could lay down immediately after. He’s even admitted that he would eat them to make his body forget about its hunger.

You’re sympathetic to the sensitivity. There are days when an overcast is still too bright. You bought a pair of sunglasses while you were out with Suguru, but…you can always get more. You have a whole monthly stipend now. Also, you got your uniform and you’re wearing it, so you can use the hood if the light is too much.

“Here.” You pull the sunglasses from where they’re perched on the top of your head. They’re a simple pair with thin silver frame and blue, circular lenses. Gojo looks between you and the sunglasses that you have held out. You hesitate. “What? Are they too girly or something?”

“Uh…no. I…” He looks genuinely perplexed. “You don’t know who I am. Why are you giving me these?”

“My senses are stupidly delicate, too. I know what having a bad day feels like. I don’t need these today, so you can have them. I can go buy new ones if I need them.” Oh! You remember something important and inform him, “I’ve worn them inside and Yaga doesn’t care, so you’re good on that front.”

Gojo takes the sunglasses from you but doesn’t put them on yet. “Inside?”

Oops. “Sorry. I forgot that people are weird about sunglasses inside.” You tap your pencil against the sketchbook, trying to figure out how to say what you want to. “I don’t really understand what the issue there is. Sunglasses are designed to help when it’s too bright. Inside can be as bright as outside, so I’m just using them for their intended purpose. That’s how I see it.” Oops again. You started rambling. “I’ll take them back if you don’t want them. You didn’t seem like the type to care about the opinions of others, is all.”

“No, I want them.” He yanks them away when you try to take them back. “I—”

“Hey!”

Suguru’s normally soft voice raising like that makes you yelp and jump in your seat. You whip your head around to see him storming toward you, fists and jaw clenched. You’re alarmed to see him so visibly angry. You scramble to stand up and meet him in the middle. “Suguru?”

“Aren’t you too old to be picking on people?” Suguru asks with narrowed eyes. He’s looking over your head, at Gojo. “Give those back to her.”

Oh! Now, you understand. To someone else, it would look like Gojo stole your sunglasses and is trying to keep them away to be a bully.

“Suguru, no. It’s okay—”

“Heh!” Gojo’s cocky laugh makes you angle your body so you can look between them both. He smirks smugly and makes a show of putting on your sunglasses. “Who are you? Mommy?” Gojo shoves his hands in his pockets, feigning nonchalance. “I didn’t steal them, so calm down, mama bear.” Gojo points at Suguru while asking you, “This the guy that’s gonna tell me to fuck off if I don’t find some manners?”

“I’m certainty thinking about it right now,” Suguru sneers. His anger simmers back down and he goes back to his polite yet cool indifference. He ignores Gojo’s obvious baiting and moves his attention to you. “Is that true? Did you give those to him?” You nod. Suguru frowns. “You just bought those.”

“I was trying to be nice to our new classmate.” Suguru’s brow twitches in irritation—probably over the knowledge that this is one of your two classmates. Gojo has not made a good first impression, to say the least. “It’s no big deal. I can buy some new ones when we go to the konbini.”

“Eh? I want to go!” Gojo whines.

Suguru forces a polite smile. “You should stay here. I’m sure that Sensei will have some things to go over with you.”

“I don’t know how to get back. Sketch here was showing me around.”

“Sketch?” Suguru and you repeat, in unison.

“Yeah! Sketch!” Gojo motions towards your sketchbook that you left on the bench. “Because you’re an artsy girl.”

“You should know someone longer than an hour before you go giving them nicknames,” Suguru lectures.

Gojo cocks his head to the side, genuinely confused. “Should you?”

“Yes. Otherwise, it’s just being presumptuous.”

“Ask the lady, then.” Gojo hunches over, prowling toward you with a mischievous grin, getting very close to your face with his. “You don’t mind it, do you…” He lifts his head, purposely baiting Suguru when he adds, “…Sketch?”

Now, you may not be the best at social cues or reading the room, but even you know that whatever you say is going to be the wrong thing. Do you actually care about the nickname thing? No. Also, is Suguru forgetting that he literally gave you the Squid nickname only after a week? Sure, you were both six and he forgot your name, but the point stands.

“I think I’m in the middle of a dick measuring contest,” you muse aloud. Suguru sighs in exasperation while Gojo gives a delighted laugh. “I’m going to walk away now.”

“Yes. We should go,” Suguru agrees through gritted teeth.

As you and Suguru are walking away, after you’ve gathered all your things up, Gojo loudly asks, “Aren’t you gonna introduce yourself?”

Suguru understands, on some level, that it would be beneficial to get along with your peers since there’s only going to be four of you in the whole class. That’s why you’ve indulged Gojo’s…neediness? Entitlement? Whatever it is. And Suguru won’t be as nice as you—which is ironic because he’s usually the polite one—but he does turn around and introduce himself with a curt, “I’m Geto Suguru.”

“Gojo Satoru,” Gojo shoots back cockily. “Aren’t you going to tell me how much you look forward to working with me?”

“No.” Ah. Suguru’s patience has reached its end. “We’re leaving now.”

***

It’s not until about a week later, one week before the term starts, that you actually see Gojo on campus. This isn’t to say that you’re not painfully aware of what Gojo has been up to. Because what his purpose in life seems to be right now is to dig his way under Suguru’s skin. While in separate rooms, they still share communal spaces—kitchen, showers, laundry. Suguru tries to stay in his room, but they’re bound to run into each other, and when they do…

Well, you learn that there are alarms imbued in the protective barrier around campus that blare when a cursed spirit is detected within. Spirits from Suguru’s collection are no exception. That unexpected noise had you in a panic. Suguru and Gojo had an extremely long lecture and were forced to clean the already pristine classrooms as punishment.

You’re making your rounds on the track. Sensei recommended it since you’re not nearly as in shape as Suguru. He was trusted to work in the fields back home way more than you were. The most that you were trusted to do was wash picked crops. You weren’t even allowed to pick out the bad crops because you took too long. You’re a perfectionist and kept questioning if you should let a crop slip through or not.

Gojo plops down on the stone staircase that leads down to the track and field. You feel like you should ignore him out of loyalty to Suguru, but you can’t do that here. You have to try and get along with your classmates. You leave the lectures to Sensei and hope that Suguru’s temper will cool down with time. Also…Gojo is waving a second popsicle in the air to get your attention and it’s really tempting. Too tempting.

You wordlessly take the popsicle and examine the flavor. It’s red bean. You’re instantly wary. “Did you get the same?” Gojo flashes the reddish tinted popsicle in answer. He shoves it back in his mouth before you can get a good look. Fine. You’ll just ask outright. “Does it have pieces of red beans in it?”

Gojo scowls. You think you’ve offended him for asking too many questions about his gift, but it turns out that he’s actually upset about something else entirely. “No! Ew! What am I? A heathen?” His nose scrunches up in disgust. “Dude, that’s so gross. Who like chunks in their ice cream? The whole point is for it to be creamy and smooth!”

You almost sigh in relief. “I think sprinkles are okay, but…yeah. Everything else is too much.”

“Ugh, no. Sprinkles are too chalky. They leave this…eh…it’s like a film kind of feeling on my teeth. I hate it. I have to scoop it off any desserts which pisses me off more because I love whipped cream and I’m losing it to fucking sprinkles.”

You nod sagely. “A waste of good food.”

“Thank you! You get it!” Gojo sighs dramatically. “You’re so much cooler than your boyfriend, Sketch!”

“Because I agreed with you about dessert preferences? Also, Suguru isn’t my boyfriend. He’s my best friend. We’ve lived in the same village all our lives. There was no one else like us. People that could see cursed spirits, I mean.”

Gojo is still wearing the sunglasses that you gave him. You can’t tell that he’s looking you over until he allows them to slip down the bridge of his nose. “Really? He acts like a possessive boyfriend, though.”

You rub the back of your neck. “We’re protective of each other because of…other private stuff.” You know not to put Suguru’s relationship with his parents on blast. “Oh, and he says he’s not, but I think he’s protective because of my diagnosis.”

“Diagnosis?”

“Jiheishō,” you answer casually between licks of your popsicle. “I was always weird as a baby and a toddler. Then, I talked about seeing things, and that pushed my parents over the edge. They took me to a doctor, and I got diagnosed.”

“Huh. What’s that like?”

“I don’t know. It’s who I am. How do you explain being?” You pause. “I would say that you could ask Suguru since he’s on the outside looking in, but…you’re being an annoying dick to him.”

Gojo cackles. “But he makes it so easy!”

“I’m not one to assume because it’s hard to know what people think or I don’t understand them the right way, but…have you ever tried to make friends before? If I didn’t already know that you have to go to a school, I’d ask if you’ve even been around other people your age. This isn’t how you get along with your peers.”

He scoffs. “Why do I need to get along with my peers? Why do I need friends?”

“Because it’s lonely and miserable without them?”

“Ha! You ever stop to think that it’s lonely and miserable with them?” There’s a bitter twist to his mouth. He nudges the sunglasses back up the bridge of his nose, hiding his eyes away. “I mean, you said it, didn’t you? It’s such a chore to figure out how other people work and what they’re thinking. Normies are too…normal. Clan kids are only sucking up because my clan is the most powerful. It’s stupid and complicated. Why bother?”

Oh. That’s…sad…and also way too relatable. Your expression softens. “Those aren’t friends, though. You know that, right? I guess my opinion might not count because I only have one friend, but…he’s made my life better. I like to think that I’ve made his better, too.” He sticks his tongue out in disgust. You shrug. “It’s true. He’s been the only person that listens to me when I can’t shut up about art styles or cursed spirits because I’m really interested in those. I can be me around him.”

“You’re probably not as annoying as you think you are,” he dismisses. “Now, I’m annoying. I can’t shut up about Digimon.”

“You’re probably not as annoying as you think you are,” you repeat mockingly. He flips you off and you smirk in response. “Do you want to talk about it with me? I’ll listen. It sounds like you’ve been around shitty people that don’t want to hear about things that make you happy.”

Gojo is actually…hesitant. That makes you even sadder. You know this all too well. “I yap a lot. Seriously.”

You make yourself laugh past the hurt you feel out of sympathy for him. “I’ve got my sketchbook with me. I’ll show you what real yapping is.”

It’s the right thing for you to say. Putting a competitive spin on it makes it easier for Gojo to be open, it seems. “Oh, you are so on, Sketch.” He rises to his feet with a renewed excitement. “You should come help me finish unpacking! I have a lot of Digimon stuff, so it’ll be easier to explain everyone with that!”

“Eh? Are girls allowed—”

Gojo doesn’t hear you. He snatches you by the wrist and you stumble to keep up with him. You’re halfway to the boys’ dorm before he finally listens when you tell him that he left your sketchbook behind. You watch him sprint back toward the track, still trying to figure out how the hell you ended up here.

Suguru loves to read, but not manga. There was only one television in your house that your parents always had control of, so they never let you watch anime. Obviously, you know that Digimon is a manga and anime. It’s big like Pokémon. You know there are little creatures, but that’s about the extent of it.

Gojo changes that.

It’s a little confusing, sure, but you like hearing people talk about the things they like. Maybe it’s because you’re so used yourself to the rejection of being shut down because you’re boring people by talking about the same thing or overwhelming them with talking too much or liking weird things. You don’t want other people to feel like that. It was obvious from Gojo’s demeanor that it’s something he’s experienced, too.

As you look at all the figurines and manga and plushies, you wonder if his family threw money at this thing he likes and left him alone with it all. You don’t think he would be so cynical about other people if he had support from his family. Would you be okay if you parents paid for the most expensive art supplies in the world and left you to it? You prefer to be alone, but…isn’t this special interest more special when you can share it with someone?

“Squid?”

You and Gojo are both in the middle of his room, on the floor, and currently have your faces shoved against his little plushies that are shaped like the first evolution of the original Digimon set. It’s so soft and squishy. Gojo is really proud of finding them and you can’t blame him. It’s cool that he’s not afraid to have cute things like this like a lot of guys are.

“Oh. Hey, Suguru.” You look over your shoulder at him, a little nervous. Before he can grill you about being alone with his unofficial rival, you quickly explain, “I’m getting informed about Digimon.” You spin around on your ass, shoving the plushy out. “Come feel this. It’s so soft.”

Suguru scowls. “No.”

“No is right!” Gojo loudly agrees. “He’s not allowed to the nice stuff!”

“Girls aren’t allowed in our dorm,” Suguru says more to Gojo than you.

“It’s fine until dark. I already asked Yaga.”

Suddenly, there’s a tension in Suguru’s shoulders. His jaw clenches and his eyes narrow at Gojo. “Why do you know that?”

“Shouldn’t you be happy about this news?” Gojo shoots back, a clear deflection. “You can hang out with her now.”

Suguru presses a thumb to the center of his forehead. He holds that position, trying to calm himself down. When he does, he moves his attention back to you. “He didn’t pressure you to come in here, did he?”

Before Gojo can open his mouth, you swing the plushy back to hit him. The way he sputters and Suguru’s proud smirk is a sign that you hit him right in the face. “I can make decisions on my own,” you tell Suguru which wipes that little smirk right off his face. “We’re doing a show and tell…kind of. You should bring your headphones and let us listen to your music!”

“I didn’t consent to this!” Gojo complains.

This going back and forth is a little annoying, so you angle your body to face them both. To Gojo, you say, “Okay, that’s your call. This is your stuff, after all.” To Suguru, you ask, “Um…I’ll meet you in an hour? We can listen to your music then. Does that sound good?”

Gojo groans. The excitement to share outweighs his need to annoy Suguru because he concedes with an exasperated, “Fine! He can come hang out!”

“Fine,” Suguru agrees with the same amount of annoyance.

But, hey, a win is a win.

***

The last of your class moves in a few days before the semester starts. It’s early in the morning when she does, so the noise in the hallway startles you awake, and you go stumbling out of your room without a second thought to how you’re dressed. Your door opening catches your roommate’s attention and she’s looking in your direction when you walk in her line of sight.

Both of you stare wordlessly at one another. There’s a beauty mark under the corner of her eye that catches your attention before anything else. Her brunette hair is cut short, barely past her chin, and her bangs are swept to the side. You’re watched by curious, brown eyes. At first glance, you think she’s got a cigarette in her mouth, but it doesn’t have the filter on the end. It might be one of those chalky candy sticks.

“Oh! You’re so pretty!” You blurt the words out before your sleep-addled brain can catch them. Heat crawls up the back of your neck and the tips of your ears. “Sorry!”

She laughs good-naturedly. “What? Should I be offended by a pretty girl giving me compliments?” And how…do you react to that? No one has ever called you pretty before. She unintentionally throws you a bone by moving the conversation somewhere else with her name. “I’m Ieiri Shoko. Nice to meet you.”

You give her your name, bow, and the same polite, “Nice to meet you, too. I look forward to working with you.”

“We’re living together now. You don’t need to be all formal.” It’s a force of habit. You learned quickly as a child that the world revolves around politeness and manners. “Sorry for waking you.”

“That’s okay.” You hesitate. “Do you need help?”

“Please. My parents bailed. I’m lucky they even had the time to drop me off. Not sure how they even had the time to pop me out with how busy they are at the hospital.”

You’re rolling up your sleeves as you walk over to her door. “They’re…doctors?”

“Surgeons, yeah,” she answers casually. “Makes sense that I ended up with the technique that I did, even if no sorcerer in our family has ever had it. We’ve always been big on healing, or so my parents have told me.”

“What’s your technique?”

“Reverse Cursed Technique, but I can use it on myself and others. It’s rare to extend it to other people.” Your blank expression has her chuckling. “You’re from a non-sorcerer family, huh?”

Your face is back to being hot again. “Sorry. Sensei…um…I don’t think he went over that yet.”

“I’m not sure that he will. It’s advanced. Even among the best, strongest sorcerers, it’s a rare skill. Baby sorcerers only know about it because it’s a thing to aspire to, y’know?”

Whoa. “What is it? You must be really powerful, right?”

Ieiri laughs. “No way. Reverse Cursed Technique alone is healing yourself. Like I said, I can take it further and heal others. Oh, and I have this…ability to find disturbances in the mind and body.” Then, she puts her ability in practice. “I know you got your tongue pierced.”

Your fingers fly up to touch your lips. “And you think that’s not powerful?”

“Flatterer.” Between all your back and forth with her, you’ve both gotten all the boxes inside her room. She flops down on the bare mattress. “What’s your technique?”

“Nothing as cool or useful as yours, I think.” You rock back and forth on your feet nervously. “They don’t see me unless I want them to. Also, I can pacify them. Nothing more than that. I only make them calm.”

“Guess we’ll both be saving lives.” There it is again. Someone can see more purpose in your technique than you can. Your brain just can’t compute with that. You’ll just…stand there and pacify spirits. It seems like so little to save actual lives. “Are our other classmates here yet? Have you met them?”

“Yes. One of them is my best friend, actually. His name is Geto Suguru. We came from the same village and he’s from a non-sorcerer family, too. Please be patient with both of us. And our other classmate is Gojo Satoru—” Ieiri groans loudly. You smile meekly. “I guess you know that his family is important?”

“If you have even a hint of sorcery in your family, you know about the big three clans, so, yeah, I know. My parents have never been active sorcerers, but they’re in the know of the community. No one has been able to shut up about the Gojo heir since he was born. I think my parents said it’s been…hundreds of years since someone was born with the Six Eyes?”

You nod. “Right. He said something about that. They’re special.”

“That’s an understatement.” There’s a lull in the conversation and, in the silence, you hear a familiar noise. It didn’t come from you. Ieiri laughs, no hint of shame at her stomach outing her. “I guess since I woke you up that you haven’t had breakfast. Want to grab something to eat? My parents didn’t give me time to eat.”

Your brows furrow. “They’re doctors. Shouldn’t they be more worried about your nutrition?”

Ieiri just starts laughing.

***

The school term starts.

Suguru and Gojo still aren’t getting along well. It almost seems worse because when actual schoolwork starts, they’re essentially tied on their marks. In regard to their techniques, while Gojo has more cursed energy, Suguru has more refined control. Suguru also takes to martial arts extremely well and Gojo, who you’re sure has been touched even less than you have, is almost always overcome when they spar. Gojo is faster than Suguru and is learning to use that to an advantage.

As for you and Ieiri, you hope that she likes her as much as you like her. It’s…easy to be around her. You admit that you had a lot of issues with her deadpan sense of humor, but she seemed to catch on quickly and now will usually tell you if she’s joking or being sarcastic. There are also some hiccups with food because you two share cooking duty, but she starts learning what textures you hate and which you love.

In your studies, you do okay, but you’re last in the class. If Ieiri wasn’t so lazy, she’d give the guys a run for their money. You are a lot more in shape than her despite your larger size and you lay her out flat in sparring. Yaga declared that you and she would be mostly non-combatant sorcerers due to the nature of your techniques, but he insisted that you and she learn martial arts for self-defense. Actually, you’re more in shape than Gojo even. Suguru is leagues ahead of you, obviously, because he’s so much more coordinated and stronger.

About a month in, you’re given your first assignment.

And by you what you actually mean is yourself and Gojo.

In the last few years, the number of cursed spirits has been steadily increasing. There are two separate incidents with relatively low-level curses and all the higher-grade sorcerers are occupied with higher-level curses, so you and your classmates are split up in teams of two.

Suguru was not happy about the pairings, but Yaga said that you and Suguru know how to work well together already. Then, kind of bitchily, Yaga explained that if Suguru and Gojo got along better then Yaga would’ve simply had them handle both batches themselves. Later, you try to reassure Suguru by reminding him that there’s going to be a more seasoned sorcerer with you—the newly graduated Kusakabe Atsuya. You don’t think it made him feel better.

Kusakabe will meet you there. On the way to meet him, you ask Gojo, “Should we…come up with a plan?”

“Why?”

You fiddle with the metal aglet on the ends of your hooded sweatshirt’s drawstrings. “I would feel better if we did.”

“We don’t even know the layout of this place,” he points out.

“Right,” you mumble. You’d forgotten about that, honestly. “You’re right.” You slip the aglet in your mouth and chew on it nervously.

Gojo huffs. “You stop it. I blow it up. Simple as that.”

“Can I draw it first?”

“Hah?”

You squirm uncomfortably. Hesitantly, you show him your old sketchbook. You kept it in case you come across a similar cursed spirit and need to compare notes. You’ve also got your new, blank sketchbook to start a new, more official record. “I like to study them,” you explain timidly. “It’s…kinda like my Digimon…I guess…”

Gojo takes the sketchbook from you, casually flipping through the pages. “Why cursed spirits, though?”

“Why’d you pick Digimon instead of some other anime?” You shrug nervously. “It’s hard to explain. At first, I thought some of them looked really cool. I made myself get better at art so that I could draw them, in case they were exorcised somehow. Then, I wanted to know how they got those shapes. It became about their behavior next. I’ve always loved mythology and animals, too, so maybe that influenced the interest a little.”

“Hmph. Alright. I’ll try to hold off on blowing it up.” Before he turns his head away, you notice a pinkness on his cheeks. “You can talk about them with me, if you want. Like…how I talk about Digimon and stuff.”

You duck your head, face hot. “Thank you.”

The assignment doesn’t take long at all. It may take more time for you to sketch the spirits than it does for Gojo to blow them away. There were a lot of them. They all took the same form which was vaguely pufferfish shaped. You know that the weaker, tinier spirits tend to group up, and these were no different.

Their behavior around Gojo was the odd thing, though. Unless the spirit is a higher grade, spirits never reacted to Suguru when you were around. It’s not like that with Gojo. He’d held back to let you sketch, but when he stepped toward you, the group started to shift restlessly in their places. Then, when he got too close, they shot their spines out. If Gojo hadn’t dashed forward and tackled you to the ground, covering you with his Infinity-lined body, you would be a porcupine.

“It was fascinating!”

Suguru looks faint as you recount your assignment to him over dinner. You made sure to pick up something light for him since eating curses fucks with his stomach. You got him some onigiri for the morning when he’ll be ravenous, making sure to mark them as yours before you tuck them in the communal fridge. Hopefully, it’ll succeed in tricking Gojo because you have no doubt that he’d eat them to antagonize Suguru.

“I wonder what it is about Gojo that freaked them out like that,” you mutter to yourself. “You’re as strong as him. Do you think you have some sort of calming effect on them because of your technique? Or what if they can sense the spirits inside you and it confuses them?”

“No more thinking tonight, Squid,” Suguru declares and closes your sketchbook. “We have three years to figure out both our techniques.”

“Fine.”

“Well, now you just sound like Gojo with that bratty attitude.”

“It’s not bratty! It’s called being a nerd.”

Suguru gives a shake of the head as he laughs. “You can be a nerd and a brat at the same time.” You watch him start to clean up the empty food containers. His face is doing something…weird. You can’t pinpoint this particular emotion. “Squid…are you up for touch today?”

“Yeah. Why?”

“Can I hold you?” Suguru, uncharacteristically vulnerable, goes on to admit, “I was worried about you today.”

“If anyone was worried, it was me. You didn’t have me there to calm the spirits down.” You two ate while sitting in the floor, so you hold your arms out to him like the brat that he accused you of being. “C’mon. I never get Suguru hugs anymore. I really miss them.”

He smiles, a little shy. “Brat.”

“No. I’m Squid, remember? You never let me forget.”

For some reason, your brain replaced hold with hug. You’re fully expecting him to help you up and give you something quick, but he doesn’t do that. He drops in behind you, wrapping an arm around your waist to pull you back between his open legs. You squeak at the manhandling and your heart starts to beat faster. When your back is against his broad chest, he slips both his arms around your middle, and leans his chin on the top of your head with a happy sigh.

“Oh,” you whisper unthinkingly.

Suguru mistakes your tension with overstimulation. “Is this okay still?”

“Yes.”

Why are you so nervous? You’re not being bombarded by stimuli, so it can’t be because of that. Actually…it feels really good to be in his arms. He’s always so warm. You feel as if his arms are all-encompassing. It makes you feel safe. It makes you feel loved. And Suguru should be feeling that way, too, so you need to push away this weirdness inside you. You twist around in his arms, putting yours around his waist, shoving your face against his hard chest.

“Squid hugs are the best hugs,” Suguru whispers.

***

“Do you know how to help with a broken nose?”

You’re in the library when Sensei appears in the doorway and asks that almost ominous question. Slowly, you put the book back on the shelf, eyeing Sensei warily. He simply looks back at you, exhaustion seeping from every pore. The resignation you see in him is familiar, too. The pieces quickly add up. The air around Sensei paired with the cryptic text that came from Suguru with only a simple apology…

Oh, no.

“I can plug up the nosebleed and make an ice pack,” you answer with an equally tired sigh.

Sensei nods and gives a curt thanks. Before you and he go your separate ways, you sheepishly ask if you can talk to Suguru before he does, but Sensei shuts that idea down immediately. You’re then held up by being given a quick yet scathing lecture about needing to let Suguru face the consequences of his own actions and to stop coddling him. You bow profusely in apology as he’s leaving the room.

Ieiri is away on a research trip of sorts. Being taught the human body and putting her technique into use. Thankfully, she said she’ll be back today, but not until later tonight. Gojo is stuck with your shabby patchwork until then. So, you grab a first-aid kit, fill up an ice pack, and meet him in the classroom that Sensei told you he’d be waiting in.

Gojo has an arm against his face, likely trying to stop the bleeding since it’s stained. You wordlessly get to work. Unfortunately, you have experience with nosebleeds and broken nose. Noses? Can a nose be broken twice? Suguru’s nose still sits crooked from his father’s rage.

“Pinch,” you order softly after you take Gojo’s hand and move his fingers to the bridge of his nose. You reach for his face, pausing as he flinches when you get close. You give him a moment to prepare before you guide him to tilt his head back with gentle hands along his jawline. Blood is smeared all across his lower face and still dripping down from his nostrils. You cringe at the sight. Suguru got him good. “This might hurt,” you warn before you pack his nose with gauze.

“No lecture?” Gojo’s voice is high and nasally.

“You don’t think you’ll be getting one from Sensei?” You grab a damp, warm cloth and start wiping away the blood. “Besides, whatever you did, you got a broken nose for it. What else do I need to say?”

“Might prefer the broken nose over your disappointment,” he says with a pout.

“I’m not disappointed.” You pause. “I don’t think I am, anyway.”

Gojo leans his head back even further, sighing dramatically. “Your BFF is scary when he’s angry.”

“Suguru does this thing where he’ll hold all his emotions close. They sit there, building up pressure, and then one day, he’ll just explode. So, yeah, that’s a little scary. Not so much for me, though. I only worry.” He pouts more. “What’s that face for?”

“No worry for me?”

Your hands hesitate. “Maybe kind of?” Should you say what you want to? Eh. Gojo rarely cares. Why should you? “I’d love it if you two could get along, so I worry that this might keep that from happening forever, but…you probably pushed him. I could be wrong, but you probably deserved this.”

Gojo throws his clean arm over his eyes. “Yeah…I did…” Oh? That’s certainly a change of heart. “No one has ever touched me like that before…” There’s a redness on his cheeks now that doesn’t come from the blood stains. Is he embarrassed that he lost or something? “Why aren’t you and Suguru scared of me?” He tries to lean his head back down, but you keep him in place with a hand gripping his chin. “See? See! Not even my family touches me so casually!”

“What? Is your family actually scared of you?”

“Yeah. Always have been, even if they pretend not to be. They treat me like a god to hide it, but I learned. Everyone is scared of me. Maids apologized for touching me by accident when I was a kid and needed help getting dressed.” Your incredulousness must make him self-conscious because he shrugs. “C’mon, you’ve been around long enough now to pick up on this, Sketch. I’m the jujutsu world’s weapon.”

Normally, you’re immune to being shocked by Gojo’s directness. Not this time. “It’s stupid if you believe that.” Ugh. You’re so pissed off right now. You want to punch someone. That was his mother on the first day that he came to campus, right? Can she come back? Does she have Infinity? “You’re bleeding and breathing right now, aren’t you? Weapons don’t do that. Gods don’t get migraines because of their special eyes. You’re a human. You’re Gojo Satoru.”

“But who is Gojo Satoru if he’s not those things?”

“A sugar-addicted brat who pushes when he shouldn’t,” you intone. He giggles, taking it as the joke it’s supposed to be. “Aren’t you too young to be having an identity crisis? I can’t tell you who you are. I’m not even sure I know who I am. Don’t they say you’re supposed to figure that out in high school or something?”

“Dunno,” he mumbles.

The blood is cleaned from his face. You reach for the icepack but falter. You don’t feel like you’ve said anything helpful. If anything, you feel like you’ve put him in a bad spot. So, you try to reassure him. “It’s okay to take time to figure out who you are, Gojo—”

“Satoru.”

“Huh?”

“Call me Satoru…please…”

“Ah.” You can understand why he wants to be so informal. If he wants to distance himself from his stupid family, you’re more than happy to oblige. “Okay.” He yelps when you press the icepack against his nose. “Let’s all try to get along from now on, okay…Satoru.”

Later, you have Suguru’s big hand in yours while you carefully dab antiseptic on the cuts all over them. You know that this isn’t solely from punching Satoru in the nose, but you don’t press Suguru about it. He hasn’t spoken since you knocked on the door to his dorm room and you’re okay with that. You’ve been through this routine before. It’s what you two do. You patch each other up, being a silent and steady presence until whoever is upset wants to talk.

When you’ve cleaned all his cuts, you try to clean up all the pieces of paper from the band-aids, but Suguru stops you. He slips his fingers through yours and your entwined hands hover in the air between you two. You watch as he intensely studies your hands, so you do the same. When did his hands get so much bigger than yours? How do your hands feel to him, you wonder, because his are so rough. You like the difference, though.

“I’m sorry,” Suguru finally apologizes. “I broke the sunglasses you gave him.”

You huff in amusement. That’s what he’s worried about? “It’s okay.”

“They were your first purchase in Tokyo.”

Ah, you sometimes kind of hate how well he knows you. You do tend to assign some importance to seemingly unimportant trinkets. “I think I’m more attached to the piercings that we got together. I’ll probably keep this somewhere when I finally have to get a new barbell.” You stick out your tongue, as if he’s forgotten the piercing.

“I would’ve given you that first set of earrings if that was the case,” Suguru grumbles. Shoko had used you and Suguru as guinea pigs for her technique and healed your piercings, so Suguru quickly started the process of stretching his ears. As he said, he’d thrown away that first set of earrings.

“I know it’s weird to ask that sort of thing.”

“It’s you, Squid. Nothing is weird anymore.”

“Hmm, sounds like a challenge. I need to find something to disturb you.”

“Please don’t.”

“I’ll be nice for now because you had a bad day.”

“Bad day doesn’t even begin to cover it.” There’s a tired slump in his shoulders now. “He was playing around too much. Instead of exorcising the curse or letting me absorb it, he kept taunting it. The spirit threw me out a window trying to get to him, so I got pissed. I absorbed it and punched him in the face.” He pauses before lowly confessing, “I punched him a second time when I saw the sunglasses broke because I thought they were special to you. I was upset at myself for losing my temper and mad at him for not being careful with them even though it was my fault.”

You hum. “Is that guilt, Suguru?”

“Guilt for the sunglasses.”

“Right.” Again, you’re not pushing, but you doubt he doesn’t feel bad in some way. Otherwise, he wouldn’t be as melancholic as he is right now. “I’m going to let you sit on this, but…I think Satoru actually feels bad, so he might apologize. I didn’t tell him to, by the way. Just like I’m not telling you to forgive him. But I thought you should know.”

Suguru’s brow twitches. “You’re on first name basis with him now?”

“Yeah.”

“Ugh. He’s just doing it to piss me off.”

You’re the one to feel a flash of irritation now. “Doing what exactly? Being my friend? Are you saying that he can’t actually want to be my friend without some ulterior motive?”

Then, he rolls his eyes. Rolls his eyes! “Squid, you’re just reaching now. You know that’s not what I’m saying—”

“What are you saying, then? Has he said something bad that I don’t know about?”

The corners of his eyes are tight. Through gritted teeth, he answers, “No.”

“Okay. So, what’s the problem?”

“I just don’t trust him around you, okay?”

“You just said that he hasn’t done anything shady other than wanting to be my friend.” You yank your hands away from his, baring your teeth. “Am I not allowed to have those? Are you going to say that you don’t trust Shoko around me either?”

Then, he has the audacity to look hurt. “No! That’s not what I’m saying at all! You’re allowed to have friends!”

“Okay! Satoru and Shoko are my friends, too!” Are you overreacting? Tears prick at the corners of your eyes which makes you feel even more stupid. Why are you about to cry? Stupid, stupid, stupid brain. “I’m going back to my room. I’ve got blood under my nails and I fucking hate it.”

“Squid, I’m sorry—”

“Save it, Suguru.”

When you’re woken up by tapping against your window at one in the morning, you seriously debate shoving a pillow over your head and ignoring him. There’s a part of you that wants to let him stew in his guilt. You can’t keep forgiving him as soon as he comes running.

This seems like an insignificant thing to stay mad over, though…

After you take a deep breath, you roll out of bed, walk over to your window, and open it up for him to climb through.

Suguru genuinely does look miserable. More than punching Satoru or breaking your sunglasses made him. When he apologizes, you accept it. And when he shyly asks if he can sleepover, you let him. It’s been years since you guys have shared a bed, but your parents aren’t around to send him home.

Suguru said your hugs are the best hugs, but you have to disagree. You know you’ll wake up in the morning, skin slick with sweat, because he’s a furnace, but you’ve missed this. It’s always been so easy to let Suguru touch you. It got to the point where even the touch of your parents would make you wince, but not his. He asks, but you always say yes. You’re never overwhelmed by the way his big body curls around yours.

“I’m sorry,” Suguru apologizes one last time before you both fall asleep. “I’m scared to lose you,” he slurs sleepily.

“Never,” you mumble right back. “You’ll never lose me.”

***

Five months into the term, it’s time for the annual Goodwill Event.

This year wasn’t the best for Tokyo recruitment, so it’s only your class in the entire school. It’s not the same for Kyoto. They only have one person in their third year, Iori Utahime, but the rest of the years have more students. Normally, first years aren’t allowed to compete, and Tokyo would simply forfeit this year, but because of Suguru and Satoru’s strength, an exception is made.

Kyoto brings a total of eight students—three girls, five boys. Two judges come with them, too—their principal, Gakuganji, and a Grade 1 sorcerer, Mei-Mei.

It’s been about two months after the big Suguru-Satoru Blowout. As you predicted, they apologized to each other not long after the incident. Dare you say, they might be more than simple acquaintances now. Dare you say, they might actually be sort of friends. They’ve really bonded over being assholes, actually. They’re still stupidly competitive and bicker, but it’s no longer malicious. They can exist in the same space as you and there’s no more awkwardness. You spend time with them together and it’s so much fun.

The Goodwill Event reminds you of that deep-rooted fear of Suguru’s, though. A fear that you had before you left the village, you remember suddenly. It finally happens. Suguru is adored. Fawned over. Truly seen for the first time in your lives. The same is done to Satoru, too, but you banked on that happening. And, technically, it makes sense. Guys want their power and girls just want them period.

It was stupid to pretend that your school exists in a bubble. In the back of your mind, you’ve known that you’d eventually have to meet other sorcerers and that not everyone will like you. You’ve prepared yourself for that, haven’t you? It shouldn’t bother you that the Kyoto students barely even acknowledge your existence when you’re in the same space as Suguru and Satoru. You get it, right? They’re admirable. Shoko is awed at for her technique, too, and that’s great! It’s wonderful!

Just four days, you remind yourself as you’re sitting under a tree by yourself and shoving food in your mouth. Four days, and then the Kyoto students will be gone. It’s okay, you chant to yourself. No one noticed you leave, but you wanted some air, anyway. And, hey, you even made a friend! Sure, Shoko had to introduce you to her and break the ice between you two, but Iori has a sharp tongue and awesome sense of humor. A senpai to truly look up to. If you can get along with one new person then you can get along with the rest.

“Yo! Sketch!”

You pause right before you take a bite of your tamagoyaki. “Satoru?” Fruit sando and melon soda in hand, he easily flops down next to you at the base of the tree. “What are you doing here?”

“It’s exhausting dealing with all those brown nosers.” He takes an aggressive chunk out of his sandwich. “Ugh. I can’t believe we’re gonna have to share a dorm with these assholes for four days. I don’t need a bunch of strangers in my business.” His lip curls in disgust. “Suguru lecture you about playing nice?”

“Yes.” You take a grumpy bite out of your tamagoyaki. “I’m trying not to stress about it, but they were already talking about breakfast, and I can’t imagine the mess they’ll make.” It’s a struggle not to snap your chopsticks from the death grip that you’ve got on them. “Suguru says that I need to learn how to handle my routine being interrupted better.”

Satoru huffs. “Easy for him to say.”

Well, it makes you feel a lot better to know that someone else understands your pain. “All we can do is our best.”

“Or we can make their lives hell.”

You duck your head, trying to hide your smile. “It wouldn’t kill you to play nice with others, Satoru.”

“Naw, I think it actually would.”

“You’re nice to me.”

“Sketch is different.” Heat explodes in your cheeks. You outright turn your head away, not giving him the satisfaction of seeing how much he flustered you with that. Since he doesn’t tease you, he didn’t see. “We should stay in a hotel. We could do one of those capsule hotels, y’know?”

“And have my knees and elbows bumping against the sides? No way.” You stick your tongue out in disgust. After the third bump of a limb, you know it would drive you insane. Besides, “Would you even fit in one of those?” Ah. Wait. Were you supposed to take that seriously? “Were you joking?”

You look back over at him and he’s scratching the bridge of his nose. “Not really.”

“Ha. Okay, so, a couple of things—I think we’re too young to book a room, and a girl and boy in the same room? Scandalous.”

He gives an exaggerated sigh. “Fine.”

Sympathetic to his plight, you reach over to pat his knee. “Hang in there.”

These days, it’s a little easier for you to pick up on the kind of mood Satoru is in. It’s the second day now, early in the morning, and you’re dragged by Shoko to the designated gathering spot of Tokyo and Kyoto students. Just by the way that Satoru lashes out at people, purposely baiting them with taunts and cruel bluntness, you can tell that he’s in as bad a mood as you are. And you can’t blame him.

The other two girls on the Kyoto side are Ota Juri and Takata Tenka. They cleaned up after themselves, but they moved everything around in the kitchen and didn’t put it back in the original spot, so you got pissed off trying to find where something went. You could live with that, but they’re also…invasive. After they went looking for Suguru and Satoru yesterday and found the boys with you, their attitude toward you quickly changed. They think they’re slick, subtly probing about your friendship with Suguru and Satoru. They try to act familiar now, getting touchy, thinking that’ll warm you up to them faster.

To say that you’re on a wire’s edge today would be an understatement. You don’t know which one suggested it, but you want to deck whichever one of these girls suggested shopping as a way to build comradery between the sister schools and the people you may be working with in the future. They just want to experience the Tokyo scene like they probably couldn’t get permission to ride a train here on any other day.

At the mall, Ota and Takata take the lead. They have very domineering personalities, so their classmates allow the girls to drag them along. You try to sneak away, sometimes with Shoko and Iori behind you, but Ota and Takata hunt you down—probably trying to show off how caring they are to Suguru and Satoru or something. Eventually, you stop trying. You shut up and linger at the back of the group.

You try to do that, anyway.

Shoko, as equally over this trip, drags you into the beauty store because if she’s going down, you’re going with her.

“Aren’t you going to get anything?” Ota questions as you’re just passively glancing over products. You almost miss the question because you’re teetering on the edge of overstimulation. Why do beauty stores have to use so much fluorescent lighting? You forgot your fucking sunglasses.

“I’m not big into makeup. I don’t like how it feels on my face.”

Ota laughs obnoxiously. “You’re just using the wrong product, silly.”

You force a smile. “My mom already tested a bunch out with me. I just really don’t like any of it.”

Takata has been eavesdropping. She takes up Ota’s side, smiling as predatory as Ota is now. “Was it the foundation? I know the liquid can be heavy. Have you tried powder?” You lose control of your temper a little and roll your eyes. Don’t these girls know how to take no for an answer? “Don’t be like that,” Takata scolds. “Look, you could stand to use some makeup. We’re trying to help you.”

“Help how?”

If Satoru hadn’t spoken up ahead of time, you’d probably tip over when he practically drapes himself on your shoulder.

Ota and Takata perk up at his presence. You can almost see the hearts in their eyes. “Satoru!” Takata chirps.

“Oi, oi, oi, you’re getting awfully familiar there. Who gave you first name privilege, huh?”

Her syrupy sweet smiles falter. “Oh, I’m sorry. I thought—”

“Don’t hurt yourself. Steam might start spewing from your ears. It’s obvious you don’t have a lot going on up there.”

Takata deflates at the insult. “Sa—Gojo—” her gaze flickers to you. Pleading for you to intervene. When she gets nothing from you, she scrambles. “I’m sorry if we offended you somehow—”

“Not me you should be apologizing to.” Your eyes widen. Is he doing this for you? “Y’know, Sketch, it’s good that someone has some sense around here. Make sure you don’t get attached to these idiots, okay? They’ll be so busy thinking about makeup that they’ll up as bloody smears on the wall pretty soon.”

You frown as you look up at him. “What if I do want makeup?”

He brightens. “Can I buy you something?”

Try to make the favoritism less obvious, you think with a twitch of the brow. “Find an art store and we’ll talk.”

“Eh? I already did,” he says as if it’s the most obvious thing in the world that he would go scouting for art supply stores. “Can we leave now? I’m bored,” he whines. You hope you’re not gawking when you nod. “Awesome! Let’s go! I found a shop that sells sweets, too!”

Suguru is hovering at the entrance of the store, brows furrowed in concern, but he steps out of the way for you and Satoru, who is practically dragging you out with a grip on your wrist. Suguru isn’t allowed confusion or shock because Satoru is snatching his hand on the way out.

“Satoru, you’re going to rip my arm off,” Suguru complains when the other students are out of sight.

Satoru stops dead in his tracks, so sudden that you and Suguru almost crash into him. He looks over his shoulder at you both. The angle you’re in allows you to see the wideness of his eyes. He still hasn’t let go of your wrist. Actually, his grip tightens, which makes Suguru get huffier.  

“Satoru,” he calls out exasperatedly.

Oh.

You’re not sure if Suguru has realized it himself, but he’s using Satoru’s given name now. No wonder Satoru is stunned. It’s so odd. What changed between this morning and now? Because Suguru was definitely referring to him as his surname earlier. You won’t ask because Suguru might clam up and this peace may shatter.

“Oh. Uh. Sorry,” Satoru mutters as he finally releases his hold on you and Suguru.

On the fourth and final day of the Goodwill Event, something…weird happens during your individual match.

Tokyo easily won the team battle. The individual battles are where Kyoto can even the odds. The thing is that Satoru and Suguru are going to win their individual match. As much as you adore her, you expected that Shoko would lose hers, and she did. You couldn’t hear what was happening, but you think that she flirted with Iori more than fight, but Iori didn’t allow herself to get too flustered, and took the win.

You think that Kyoto expects you to lose your match because plans were already made about the tiebreaker. There would be a random draw for one last individual match to decide which school wins the day. There was no word on what would be done to break the tie if each school has their own point.

So, your win is an upset.

If you’re honest with yourself, you didn’t think that you’d win, either. It didn’t look good. It was your luck that you were pitted against the biggest guy on Kyoto’s side. Not as tall as Suguru and Satoru, sure, but the guy is built like a literal tank. During the team battle, if Suguru hadn’t summoned a cursed spirit in time to cushion the blow, this guy would’ve knocked him out with a single punch.

You didn’t stand a chance at winning, you’d told yourself as you were running through the forest, but after the whole mall fiasco, you wanted to try to last long enough to not be the laughingstock of this year.

As soon as the siren sounded, you went running. Your opponent supplemented his lack of technique with shikigami use, so you had time while he channeled energy into an intermediary to summon his shikigami. You’re trying to think of a plan on the fly, not sure what to do since your technique is useless against people.

This would be easier if there weren’t still so many fucking cursed spirits left in the forest. You’re pacifying them, obviously, but you still have to duck around them. Ugh, why can’t you control them like Suguru can? No, at this point…

I wish you would just die, please. Bloody and painfully would be preferred.

And, as soon as you have that thought, the big curse that you were dashing past moves. Your body freezes on instinct. The spirit shouldn’t be moving around you. Your technique is still active. At the most, this curse is Grade 3. It raises a clawed hand, and you throw your arms up, ready to protect yourself from a whole new problem.

There’s a sickening crunch and the curse screeches in pain. Purple blood splatters across the front of you. When you drop your arms, confused as to what attacked the spirit and saved you, you watch the gruesome scene of the curse slowly ripping limbs away from its body. It still has that dead-eyed look that spirits get when you’ve pacified them, but it moves with an urgency to tear itself apart.

Once the curse has only one arm left, it proceeds to push its arm through its own chest, grabbing its heart. That heart is thrown at your feet. Then, as its final act, it slowly twists its head around until it’s the opposite way, pulls its head off, and the curse finally crumbles to pieces.

What the fuck happened?

From your left, there’s more of those crunches and high-pitched screeching. A curse in the shape of a centipede is trying to crawl toward you between picking legs off with its pincers. At your feet, the curse keeps gnawing at itself, screeching in pain every now and then, until it, too, finally dies and crumbles.

If you didn’t hear the loud roar of your opponent’s shikigami, you’d still be standing there in shock. Your mind runs faster than your legs. That’s not normal behavior. Self-preservation is ingrained into a curse…unless it’s forced like with Suguru. You asked them to die. Moreso, you wanted it to be bloody and painful. The curses listened.

You purposely seek out another spirit now. Die, you mentally scream at the first spirit you see. Unlike with the others, this one doesn’t take time to mutilate itself. It tears its head clean off and that’s it. Blood splatters across your shoes briefly before it fades away with the cursed spirit.

A plan slowly takes shape.

Didn’t you and Shoko stumble across a pack of fly heads yesterday? You’d split up because you knew Kyoto would try to follow Satoru’s presence and get to the winning Grade 2 before you. The fly heads weren’t a bother and the bell had rung sounding your win, anyway.

Where were those? By the river, right? Yes!

You’re getting tired from running and burning cursed energy. You’re pretty sure that you only have one shot at this because you’ll either pass out from exhaustion or get your ass beat by a shikigami. So, yeah, you need to make this count.

The fly heads haven’t moved far.

Kyoto Guy and his shikigami aren’t far behind you.

Just as they’re running out of the tree line, you look at the pacified fly heads. Protect me, you plead them, but that’s too much to ask. It was a test. The fly heads don’t move, but you’re forced to when the shikigami lunges. That thing is sporting some nasty fangs that catch on your arm as you narrowly dodge it.

You play this game of cat and mouse, luring the shikigami away from the sorcerer. All you need is for Kyoto Guy to get close enough to the fly heads. He’s an asshole, laughing cruelly as he watches you scramble away from his shikigami, getting bloodier as you get sloppier from fatigue. Iori was gossiping with you and Shoko, and this guy has a crush on Takata. You figure he’s not happy about Satoru’s cruelty which was a result of him defending you.

Explode! You plead the fly heads when Kyoto Guy steps in their range. Explode, explode, explode!

They do.

The shikigami immediately drops the fight with you, thinking the fly heads are the more immediate threat. Like little paint bombs, the fly heads splatter their blood across Kyoto Guy when they force themselves to combust. There are so many of them that he’s continually being splattered.

While he’s blinded by the blood of cursed spirits, you pour cursed energy into your fist. Sprinting past the shikigami that’s snapping at fly heads, you give this asshole a ferocious kick to the balls to get him to hunch over.

You slam your fist square in the center of his face. There’s so much force in the punch that he goes flying back, landing in the shallow river with such a painful sounding thud, and he doesn’t get up. You’d think you killed him if it wasn’t for the subtle rise and fall of his chest.

The alarm sounds.

Tokyo wins.

Later, you’re walking out of the infirmary behind Shoko who proudly announces, “She gave him a concussion!”

Sensei gives you all a lecture on good sportsmanship after Satoru, Suguru, and Shoko break out into applause and cheers.

[derekscorner]

Fated Rantings: Heaven's Felt

I have finished Heaven's Feel (all three films)

And hot damn what a story that was. As early as the first movie I found myself enjoying the route more than I did with Unlimited Blade Works.

It wasn't that strong a notion at first due to the first movie having to set up the story which means it had to retrace some moments from Fate or UBW. I was even disappointed that it just skimmed over Shirou meeting Saber for the first time.

I did expect it to skim some moments due to the nature of Fate/Stay Night. I said it previously but Fate/Stay Night was originally a visual novel (one that is getting a remaster for Steam/Switch as of me writing this) with multiple routes and endings. A staple of the visual novel format.

As a result each route has the same starting point. Some may feel it wear on them if they watch these back to back like I've done since last year.

Even so, I can't say it bothered me that much. Yes, Skimming over the summoning of Saber let me down a tad but the rest of the first movies opening act was decent. I liked seeing the different perspectives of the scenes I had saw in Unlimited Blade Works just a week ago.

It is also fair to mention that movies of a series typically expect you to have seen the thing it's based on to begin with.

Then the second half of the movie kicks in. The changes began rather quickly which I was thankful for. As soon as Kirei mentioned Kiritsugu's previous occupation and the 4th war I realized the story would shift- THEN BAM!

That Berserker battle. It was brief but that movie budget made it so good. It was then that I also noticed another change, the movies are more graphic than Zero or UBW.

In this movie, when Shirou takes a hit for Saber from Berseker, you see his guts fly out as he rolls around like a busted toy. It doesn't escalate to high but you do see inside of large cuts or severed limbs. And I am only praising it because it actually added to the horror-like atmosphere Heaven's Feel has.

All three movies feel like they were drawn to be a horror film in many scenes. The way the shadows bend or literally come alive, the way servants are mercilessly hunted by Angra Mainyu, or even the Sakura dream sequence only to learn she's eating people.

The gore just makes it hit harder how terrifying the situation is in Heaven's Feel.

Down 'n Dirty

The gore and horror presentation aside there was another factor I was curious about, the romance. Now some reading this may wonder why and others will think they know why and that has to do with Fate's reputation of hentai.

The original visual novel had hentai scenes in it, that is an objective truth. So did its canonical sequel Ataraxia. This was done because Nasu thought it would help sell the story and...well they were right.

The whole initial reason King Arthur was gender bent into a woman was also for this logic. He knew his native Japanese market and appealed to it.

Once Type-Moon got going those hentai scenes were removed. Later stories lacked it at all. Yes, the artwork and designs for characters is definitely made with sex appeal in mind but it's a far cry from where it started.

To be honest I find the whole thing fascinating because the series tendency for gender bending and "coomer" art is based in a writer just trying to appeal to the broadest audience.

They even use this for in-lore jokes quite often. For instance, the original draft of Fate/Stay Night, the world in which King Arthur is still a man, was reworked into Fate/Prototype years later.

They even do this fun thing where the voice actors for Merlin and female Artoria swap roles in Fate/Prototype. Female Arthur voices the female Merlin and the male Merlin now voices the male Arthur.

Some gender bends are literal jokes such as the female Nero Claudius (seen in the gif above^) who was gender swapped just to trick Fate fans into thinking Saber (Artoria) was in Fate Extra.

And others are that way because that historical figure was believed to be a woman or it was left ambiguous such as Nagao Kagetora.

Aka Nasu is very self aware of the Fate gender bending and porn jokes and plays into it.

Back to Romance

I went a bit off tangent there but I needed to explain that bit to focus on why the romance between Shirou & Sakura was a curiosity for me. In my desire to learn Fate lore I saw more than one video or fan comment quoting Nasu and others at Type-Moon.

One thing that stuck in my mind was that the initial Saber and Rin scenes were added just to balance it all but the scenes with Sakura were considered crucial to her plot.

I now understand why. No, before you ask, you do not get a hentai scene in Heaven's Feel. However, Heaven's Feel does fully commit to the physical nature that Sakura & Shirous relationship grows too.

Yes dear reader, Shirou gets laid. Get your middle school snickering out of your system, I'll wait.

The whole film just hammers home just how much Shirou existing means to Sakura. For them to go that far only seems natural, for her to hold on despite her horrible life makes sense.

This poor girl was violated years on end by crest worms as Zouken warped her into a fake grail. Her adoptive brother raped her for years on end just because he's a little shit with inferiority complexes.

Hell, Sakura is still traumatized by her father giving her to the Matou's in Fate/Zero.

Despite all that, even though she believes Shirou wouldn't want her for being so...um "damaged", he sticks by her side anyway. All together it makes that bond very genuine.

There's no forced melodrama or silly misunderstandings, just two kids trapped in a mess with no idea what to do.

A more complete Continuation

Even now I sit here in awe of it. I have sit through Fate 2006 and Unlimited Blade Works, two works in which Sakura is barely a passing note. Hell, even in Fate/Zero she's barely there but Heaven's Feel made me care.

It goes beyond that though. I found Heaven's Feel to be a better or more complete resolution to the mess left behind by the 4th Grail war depicted in Fate/Zero.

There are some questions I had throughout such as;

Why did Zouken summon Assassin in this route but not others?

Did a fragment of the grail survive in every route or is that a Heaven's Feel thing only?

Why didn't Rin have Shirou make the jeweled sword in UBW?

Why did Gilgamesh attack Sakura? Is he not for Kirei's plans in HF?

Small things like that. They don't break anything at all but I felt that I should mention them because I still think Heaven's Feel is a better continuation of Fate/Zero than Unlimited Blade Works despite such questions.

There is no grand reasoning for my feelings. I just liked that Heaven's Feel addressed things left behind in Fate/Zero more than Unlimited Blade Works did.

Such as Illya. She got so little time in UBW that I was a bit shocked. Even Fate 2006 gave her some attention. I mean, know each Fate work is a timeline of it's own but UBW and Heaven's Feel both heavily reference Zero.

All three were made by ufotable after all so it makes sense. Anime only fans may even see ufotable's adaptions as their own pocket in the Type-Moon multiverse.

I was sad her happy ending was to die but I can't help but feel slightly happy for her since she was shown running to Irisviel who's soul has been in the grail since Fate/Zero ended.

They even went out of their way to animate a scene that I can only assume was a minor one in the visual novel. It's a scene in which Illya over hears Fujimura talk about Kiritsugu's many trips to Europe. He failed her in many ways but he never stopped trying to see his daughter.

Then there was Rin. The story gave her less attention as I'd expect but I feel that it compliments how she's portrayed in UBW or even Fate 2006.

It was a nice touch that the one who made it possible to save Sakura was Rin. She has her own baggage about Sakura's life and while blunt and unable to relate to her trauma (by her own admission) she still got through to Sakura and all it took was letting her know that she loved her.

That's fucking beautiful man. Shirou even mumbles that they won due to Rin's actions.

There's also the aforementioned Kiritsugu. Shirou gets more insight into his fathers life and previous actions than other routes. It played into Kirei's obsession with him and Shirou's.

Shirou himself has a much more compelling arc in Heaven's Feel than UBW or even the Fate Route. Thanks to what he learns about his father he focuses on being a hero of justice but this time for Sakura.

His ideals aren't as foolish, they're focused. When he is focused on being one person's hero over everyone's he becomes a much more interesting character to me.

Hell, Zouken tries to convince him to kill Sakura at one point thinking that he'll do it because Kiritsugu would but no. Shirou acknowledges that he would betray his ideals for her .

That not only helps Sakura later but grows him way further than his fight with Archer in UBW did.

Seeing this I can understand why the "Miyuverse" Shirou is so loved.

I know I'm comparing routes but I can't help it. I'm sitting here conflicted because I liked this more than Saber's route. I am a Saber shill/simp at this point but I can't help but feel that Heaven's Feel is a better narrative conclusion.

Shirou is more compelling, I was made to like an ignored character, the story tackles some remnants of the 4th Grail such as Angra Mainyu whom we only saw hints of at the end of Fate/Zero, the grail system being destroyed at the end, etc.

It just feels tighter as a narrative to me. Although the reasons listed aren't the only explanations as to why.

No, the biggest contributing factor by far was Kirei himself.

Opposites

This man, this fucking monster, once again became far more interesting than he should be. I talked about him when I finished Fate/Zero which I'll link here: https://derekscorner.tumblr.com/post/737296248042815488/fated-rantings-ground-zero#notes

This man's obsession with Kiritsugu persisted for ten fucking years. Even now he can't accept him nor can he seem to accept the fact that they weren't as parallel as he believes.

All Kirei really gained from the 4th Grail War was realizing that he enjoys making others suffer. He's known from the start that he was broken inside but was cursed with the common sense to know it.

That contradiction is shown in his occupation. His whole tussle with Zouken and Assassin is badass to be sure. A 500yr old mage and a heroic spirit are fended off by this man, this fucked up preacher.

A badass to be sure but what caught my eye was him using scripture to harm Zouken. As far as I know, you can't just throw around scripture in Fate, you have to fundamentally believe in it to some degree.

Kirei is shown often genuinely reading his bible or kissing his cross. Actions that seem stupid when he makes it a hobby to ruin lives.

He goes on about how Angra Mainyu deserves to be born or about how something is neither good nor bad until it's gained knowledge. A solid argument but only when normal life is concerned.

Angra Mainyu is a man-made god, a devil, a focus of humanities evils into a spirit. All at the sacrifice of some unnamed boy centuries ago.

It was active during the 3rd Grail War, it's been very self aware within the Grail since then, and it's shown tormenting Kiritsugu and Illya.

Angra Mainyu is very much aware. It has knowledge, it is evil.

No, what Shirou calls him out on here saying "that's bullshit" is Kirei just wanting to see Angra Mainyu cause as much harm as possible...or so he thinks.

Personally I think that's half of it. The other half is Kirei's question. Although he should logically see that Angra Mainyu is evil by it's nature alone he still wants to know it's thoughts.

How does it feel to be born this way, how will it feel once it's fulfilled it's purpose, does it consider itself evil when humanity made it evil.

He feels compelled to know these things because he himself was born broken. Kirei knows deep down that nature is very much as real as nurture. No matter what he's done he's been broken.

He tried to love a woman but only cried because he felt that he should've killed her if she was meant to die. He had a loving father for whom no tear was shed when he was murdered.

He killed his mentor and aided Kairya just to see their torment. He told Shirou about Kiritsugu to see his reaction because he, like Zouken, thought Shirou was the same.

He fully believes that witnessing Angra Mainyu be born will answer his own burning questions about his nature when there is nothing to answer.

Angra Mainyu is man-made, nothing it can say can truly rectify Kirei's broken soul.

His Parallel was a Boy

The point, as I understood it, was that Kirei couldn't get his answers from Kiritsugu. His obsession, how he talks about him to Shirou, he never got over that.

Then he saw the grail. It even revived him from death but that won't give him the answer either. Even if he had witnessed its birth.

It is only at the end when he fighting a child that Kirei finds his true opposite. Shirou has nothing due to the 4th war, he considers his survival a sin.

Kirei considers his entire existence a sin yet he says it himself. They're opposite extremes of that same emptiness. I was frequently reminded of Fate/Zero because Kirei was.

Kirei died in that last war and was stuck in time in more ways than one. There is no way to answer or fix him.

It's damn poetic that both Kirei and Shirou realize something by admitting how unlike Kiritsugu Shirou has become. A fitting finale to a compelling monster.

This whole time Kirei's true opposite was a boy.

Finale

I'm sure I had more to say but I don't think this can get much longer. Plus some things weren't worth whole paragraphs. Such as my love for the battles and animation.

The small things like Shirou calling Archer a dick when he chucks him down like a sack of potatoes. Hell, Archer's entire arc this film is neat to see due to how passive he is. When Shirou is willing to be Sakura's hero or save Illya Archer's attitude changes on a dime. To the point that he'd even give up a literal arm.

I loved seeing Rider get more lines and screen time. She has a decent character that I now wish I got more of in other Fate works.

Then there's the whole Saber Alter and her battle....I can't. The fight is fucking amazing but just picturing Shirou ending her hurts me. TuT

Oh well, I'm ranted out now. Bye~

=======================

For my other experiences with Fate go here: https://derekscorner.tumblr.com/tagged/fated-rantings

[yuechihua]

fic: one hundred paper stars

this fic is a product of my sudden, intense, and all-consuming obsession with harumasa, and i'm glad it's finally done! ever since i saw a piece of art of him on twt, i haven't been able to think about anything else since, so i wrote this to exorcise my demons, so to speak. unfortunately, i may be more obsessed with him than ever now...

originally, i had three different ideas (the star jar, hurt/comfort with reader taking a hit for harumasa, and sharing a bed together) that i ended combining into one larger project, which i really enjoyed! i've really liked writing longer pieces lately, and i wanted to make these three ideas into something cohesive. throughout, i was worried about not having a clear throughline to follow, but it turned out much neater than i expected!

i did have some difficulty bc i didn't have a clear sense of reader and their feelings towards harumasa, only some plot points and emotional beats i wanted to hit, so it really felt like i was discovering reader's personality and history and individual quirks as i was writing. i also had a hard time with the action scenes, but i knew i needed the build up they provided so the emotional scenes would hold more weight... the things we do for love...

the story about one hundred paper stars is also something i heard as a child through word of mouth! i'm not sure if it's based on any actual story, or it's just something my friends made up, but i always thought it was a cute idea. i actually don't know how to make origami stars myself, though, haha.

i think the section six dynamic is really cute! granted, i'm not super far into zzz yet, but section six is important to both harumasa and reader. it's family to both of them, so i wanted to include some interactions with all the different members, though i ended up shying away from writing a one on one moment with miyabi and reader as i wasnt sure i could capture her voice properly... sorry, miyabi...

additionally, i wanted harumasa's and reader's feelings to remain ambiguous. i find actions to be more impactful than pure confession, and i think their feelings for each other transcends language. they're both lonely people, so i think that's part of what lends to their intimate understanding of each other. if harumasa ends up staying over at reader's place more and more until he essentially moves in, then yanagi will try not to comment on them accidentally wearing each other's clothes...

i also found the idea of opposites super cute! harumasa, who likes to slack off and acts carefree with a more serious and responsible reader... it makes for amusing scenarios when their personalities clash, though i think harumasa probably always liked reader from the start, and only teased them to see their reactions, which he thought were cute (something he won't reveal until much later on in their relationship lol).

i noticed that section six has weapons inspired by traditional japanese ones, so i kept that in mind when i was deciding on what weapons reader should use, just so they could fit the rest of the section! that, and i personally love daggers way too much. the exact weapon reader uses can be left up to interpretation, though i like to imagine reader would be an ether attack unit, so the daggers are probably imbued with ether for an extra kick.

[dyemelikeasunset]

would you be able to include flag country names for the dom&mor characters lineup? ty!

(i love how diverse all your art and characters are, i wish i could read thru all about your ocs and stories like browsing through a wiki in an autism way)

THANK YOU!! In fact I can do you one better and write little blurbs for everyone! Including our leading ladies too of course Under the readmore:

Mor's side

Morgan: Jamaican American Lesbian. Mor's parents came from Jamaica but she was born in the US, where she grew up with her mom in Boston before moving to NYC. Mor went to university for a BA in Graphic Design and met most of her friends there. She works from home these days. Mor doesn't really realize she's the resident Pretty Girl in her group of friends (she has bad self esteem)

Lexi: American Nonbinary Lesbian. Lex met Mor in high school when they both played on the softball team, and they both came out to each other. They've been able to stay friends all these years cause their tastes in girls are wildly different. Lexi belongs to a different group as the rest of Mor's friends since they didn't go to the same college, but they're Mor's very annoying ride-or-die

Panos: Greek Ethiopian and Bisexual. Panos met Mor through their shared degree and has been a mentor and big brother figure for her since. They help onboard her to a lot of projects, and the two of them rely on each other professionally. He never really stops talking about his wife and daughter-- it's the price everyone has to pay, since he's so reliable and understanding and helping everyone all the time

Ryan: (Sansei) Japanese American and Gay. Out of Mor's art friends, Ryan is the one who's most practical about his job. Instead, he puts his energy into being a menace in his dating life. He loves to gossip about his and Mor's very messy love lives and is convinced Morgan is just as much of a heartbreaker as he is behind her innocent facade. She has unfortunately told Ryan all her dirty laundry so he teases her relentlessly every chance he gets

Barjis: Malay Trans and Bisexual. Barjis came to the US with their boyfriend to pursue their degree and also start their transition. They have a surprisingly cute illustration style and work with Panos and Mor often. They love to talk animated movies with Morgan, and it's one of the few things that gets them to talk a lot. Very skittish and tired all the time, and has a bit of a fear of "normies"

Elsa: Norwegian Lesbian. Elsa is Mor's unwitting rival in love because they always crush on the same girls (Ryan loves to tease her about this). Elsa is currently losing (Mor: 7, Elsa: 2) but she's not bitter, just single and sad. She's currently working in web journalism even though she wants to publish her novel. Friendly and considerate, but awkward

Dom's side

Dominique: Korean/Chinese and Asexual. Dom was born in Beijing but grew up in Seoul with her mother. She started working as a model at 16 and moved to the US alone when she was 18. She's currently coming back into the modeling world after a 2 year hiatus. She's charming and good at socializing, but she doesn't really know how to make friends, which frustrates model coworkers who want to be closer to her

Farid: Afghan French and Gay. Farid became a model in his late father's footsteps, so he's often accused of being a nepo model. He's fussy and annoyed easily, but he can never refuse helping people. One of Dom's only real friends, he's a bit like a little brother to her and relies on her a lot. He has a bad habit of dating married men and acting like it doesn't matter to him (it matters. A lot.)

Maithili: Indian Canadian and Pansexual. Maithili is breezy and easy-going, but behind her dreamy facade is a very level-headed personality. She works with Dom often for body diversity shoots, but she'd really like to do more high fashion. Very flirtatious, calls Dom and Farid her "work boyfriends" all the time

Wynter: British Trans woman. Wynter started modeling a little later than her peers. She was scouted after a big transition point, so modeling has brought her a lot of euphoria. She's one of the more mature personalities in Dom's life, and looks after her and the other models a lot. She lives with her boyfriend and is hoping he'll propose soon

Evita: Argentine American and Bisexual. Evita started as a social media influencer and has been able to make her way to the runway as a petite model. Despite their nonchalant persona, they work very hard and are very passionate about their job. Her current romance hangup is how oblivious Dominique is, and she knows she needs to move on

Inessa: Russian (and no fruity business). Inessa met Dom backstage at a Fashion Week while having a breakdown that Dom helped her through, so she's been attached like an inprinted duckling ever since. The type of straight girl who is obsessed with pretty women in a platonic way, so she really wants to get to know more about Dom's cute new girlfriend

[60berry09]

🍓DANGANRONPA OC🍓

His name is Tatsuo Moreno. He's 18 years old and is half Japanese, half Puertorrican, but mostly raised in Puerto Rico.

Ever since he was a kid, he saw his father getting many tattoos, and he would draw on his own skin, giving himself tattoos, just like any regular 6 year old. But his drawings were different, the art was of much higher skill level, and he drew illustrations and tattoo ideas that a 15 year old could have drawn at only the ages of 6-8.

Tatsuo told his father he wanted to take art classes and tattoo classes. He wanted to be a tattooist as soon as possible. His father took him to classes, and Tatsuo was doing art with the big kids and adults.

He went to Japan one day to visit his aunts and grandmother and did not return until two years later, when his father finally had enough money to go search for him. Tatsuo was already 14, he was shorter than the rest of his peers and was quite chubby at the time.

When he was 14 and in Japan, he was a tattoo artist assistant behind his parents' back, so when he came back to PR with his father, he decided he wanted to go to tattooing classes. His father took him to the classes, and they went together. Everyone thought his father was who was taking the classes, but it was Tatsuo.

He started a tattooing business in his garage. Anyone 18+ could get any tattoos they wanted from Tatsuo for $50 bucks. His designs spanned from being very small and simplistic to beautiful works of art that look as if they belonged in a museum. People all over the island started visiting his home, and then this information spread to many other countries.

At age 17, he visited Japan again to see his family, but this time, he got cornered and almost mugged. By this point, Tatsuo had a couple of tattoos on his arms that he would cover around family and friends. He was stopped by Yakuza. They thought Tatsuo was one of them because of his appearance and tattoos.

After a back and forth, they made a deal on how to settle the misunderstanding: Tatsuo did some of the Yakuza's tattoos, including the Ultimate Yakuza himself, giving him a beautiful yellow and red tattoo design on his shoulders and back.

That story was the reason he got asked to enter Hope's Peak Academy. That summer, his Japanese family and his father discussed the possibility of Tatsuo finishing high school in Japan, as they deemed him to be an ultimate based on how amazing he is at his craft.

(This isn't ALL his lore, cos you might be asking, "Where's his mom?" Yeah, that's a whole other can of beans I didn't wanna open. This is his back story like use compressed)

[reverthestarryeyed]

My Demon Slayer oc

I named him Jitei (慈涕) I'll color him later

So basically, he's Rui's biological cousin from his mother's side (that's why he kinda looks like Rui). He's Rui's favorite since Jitei is the last remaining member of Rui's real family.

For the pattern on his kimono, I took inspiration from this spider

As for the spots on his face, I took inspiration from this guy

And the spots around the mouth area are supposed to be reminiscent of the fang things that are on a spider (can you tell?).

I tried giving him eye bags and make him squint a little to show exhaustion (mentally). I also tried making his hair longer but I'm not sure, what do you think?

As for Jitei's personality, after becoming a demon his mental state started declining, he started to get weaker mentally (imagine Mirror Monarch from The Flash) I kinda thought it would be ironic given his backstory (more on that later). He's one of the more deadly members of the "family" but ironically also the most compassionate, at least compared to the others. He always has a tired smile on his face, his eyes squinting like he's sleepy

Backstory time: Jitei was a few months younger than Rui, and he was stronger than the usual boys his age, this I'd due to carrying Rui around along with other stuff constantly.

He didn't want Rui to feel confined in the house so anytime his family would come over to visit, he would take Rui everywhere (without their parents knowing of course, they'd kill him if they found out 😆) it was a little secret between the two children. Fast forward years later when they were both 13 Muzan came, and you know the rest.

Rui would give Jintei specifical privileges like having his own house to stay in, allowing Jintei to revert back to his original appearance once in a while, forgiving him for any mess ups, etc. anytime Rui is in the house he'd ask for a story about their human life, it's getting more and more difficult as time passes since Jintei is slowly losing his memory, his declining mental state isn't helping either. Thankfully he has a bunch of diaries he keeps to remember. This was Rui's way of apologizing for all the years Jintei was taking care of Rui and not the other way around, now the roles have reversed, now it's Rui carrying Jintei around (instead of Jintei being physically weak, it's mentally)

Now for his Blood Demon Art: Electrostatic Charged Bristles (静電気 電荷 剛毛 Seidenki Denka Gōmō) please give me a better name for this, I beg thee, I don't know if this is good or not, also forgive me if I didn't spell it right in Japanese, anyway about the BDA:

As the name suggest; it's bristles (or hairs) that are electrostatically charged. Basically Jitei is able to shoot out his hairs to hit opponents, and since his hairs are electrostatically charged the bristles can actually have a sort of homing signal to attack other people (I sorta mixed together a Tarantula's hair and a spiders web).

When the bristles pierce someone's skin it'll inject poison into them, causing both mechanical and chemical harm to the skin and membranes. It will cause the victims body to swell and start getting similar symptoms to that of the Edema at a rapid pace.

Jitei is also able to use longer hairs (this is kinda why I'm conflicted on using longer hair for him) to detect other people around the area (similar to a spiders web) and the hairs on his body is also able to detect danger around him

[zappyjoan]

NSR AMA FILE 2 (part 1)

How did you find your voice talents? In Malaysia the usual pattern is to go to a voice recording studio and have them find an actor for you, but they wanted to open opportunities so they on facebook, twitter, etc.

Differences between English and Japanese VA? According to Daim, the biggest difference is the Japanese VAs are punctual (though Su Ling was very punctual). Japanese VAs are also super professional. Ayane Sakura (Mayday's VA) finished the recording by 8 PM on the dot, every single line done. Steven and Su Ling helped coach less experienced VAs as well.

Did the game Jet Set Radio influence NSR's game design? Not so much as just the style of it. It's hard to draw the line between what affects game design and game experience. One of the ones that count is the grafitti that starts showing up the more you progress in the game.

Can Neon J dance? Yes, he is actually a dancer. He was in the Navy but his true passion has always been dancing. In the 1010 fight, what they wanted to do on the final phase was him dancing on the factory as well, so the factory is mocapped by him. Unfortunately due to limited resources they couldn't afford to include that. If you beat 1010 and talk to Kayane again she will say that Neon J is the best, so she actually saw him dance.

What do you look for in a concept artist? A good concept artist must be able to problem solve for what the story and the game needs. Good basics and a sense of lighting. A concept artist must understand what the final result looks like, so the art is also a communication tool not just for art's sake.

What do you look in a musician/music associate? Hazmer wanted Falk on board not just for good sense of rhythm and music, but also technical know-hows. The music isn't just for soundtrack, but the experience must fit the music and vice versa. Having a musician that understands looping and dynamism was the key.

What is the nature behind DK's shadow puppet powers? Is it passed down in the family? Does Zuke have it too? It might have (Daim doesn't want to lock the lore in) been a family thing, so Zuke might have it too. But what they wanted to do in the game is to showcase how despite the two brothers going different paths, they both dabble in percussions (Zuke drums, DK West handclaps). There is a hint of similarity in their craft. The idea to make DK Zuke's brother came from a staff member a few months into the production, previously he was just supposed to be some random guy who came and left.

Is Neon J added in the midst of 1010's development? Neon J and 1010 were both designed way later than the other bosses. So no, 1010's boy band concept was the idea since the beginnning, it's just that they took a while to finalize. There was a sequence in early development where you had to platform up towards the factory while fighting 1010/NJ. Compared to other NSR artists, 1010 was a mix of a lot of ideas from many people in the studio, which also means that many of their themes were added in later including their army theming. Their development is a reflection of manufactured boy bands, the studio members are like the manufacturers of the characters.

Yinu's animation style is different from the rest of the 2D commercial segments. Was this on purpose? Yinu and DJSS's commercials were originally done by someone else (Jerry?) before LZBros came and did the rest.

Any favorite OCs? There's so many… but they were very touched when seeing the end product of the Citizens of Vinyl City project. The fact that they were able to inspire OCs at all is extremely humbling and they didn't think it would have this much impact.

Why is the 1010 stage a moving limo? When Hazmer was thinking about NSR before they even started, he listened to music and tried to imagine what the action stages would be like. Somehow a moving platform is always what comes to mind. Then someone brought up "what if we had all the stages in different directions", e.g. DJSS goes in a circle, Yinu moves upwards, etc. The 1010 stage was troublesome to work with since the side buildings was hard to work with and caused some motion sickness, even within the team. They referred to Uncharted 2 for the tech, a mobius/figure 8 effect where the environment only changes depending on how much progress the players make. There was supposed to be a cutscene where you ride the helicopter to bring B2J to drop them on a moving car in 1010 approach.

How do you feel about speedrunners? Do you prefer glitchless runs or the glitchiest possible run? Early on when discussing the features of the game, they did take into account speedrunners. Haz thinks speedrunners add a flavor into game design and he wanted to tackle the demographic. To be honest glitches cause them a lot of stress (because they have to patch them) but they are also fun to see.

Will we ever get animated shorts? LZBROS WHERE ARE THE ANIMATED SHORTS- (Daim: would be nice lol)

Which NSR character was Ellie's favorite to design/draw? Sayu (very fast answer, but apparently Ellie just really likes drawing mermaids) and Eve.

What is Neon J/DJSS/Mama's real name? Neon J has no real name (they never gave him one). DJSS does presumably have a real name but he insists to be addressed by his stage name. Yinu's mama also has no canon name.

Will there be a sequel? When the opportunity arises! They're definitely considering it, but they also want to explore new grounds.

How did you get the themes for the bosses? They came up with the concept before drawing the characters. Sayu had an interesting story because Ellie designed her like a schoolgirl bunny rabbit, but later Daim realized Ellie likes mermaids so they switched courses. The direction also helped set Sayu apart from Hatsune Miku.

Less obvious symbolisms in the boss designs? Yinu's mama has yellow pupils because Yinu is her life. As the battle progresses, her pupils disappear to symbolize that she's lost sight of what she loves. Hence at the end, her pupils come back to show that she has regained her humanity. Sayu's arena represents going deeper not just into the ocean, but also into geek culture and the deep web.

During the game auditions, it says everything in the world follow music. Is this only for Vinyl City or for the world? It refers more to the game design itself, not the lore.

Was Yinu's father an NSR artist? No.

Do the 1010 members have their own personalities, memories, and ways to express themselves? Personalities and expression is covered in the previous AMA but they do have personal memories.

The game mentions that Eve was the first NSR artist, in what order did the other bosses join NSR? If they had to guess, Eve and 1010 were the original members. Neon J is like the Soundwave to Tatiana's Megatron. They don't know about the rest because it's not actually locked in.

[cleverhottubmiracle]

Daisuke Kiyomizu knows pottery inside and out. His father was a ceramicist and his grandfather before that. He’s trained to know how long, exactly, to turn a lump of ordinary clay on the wheel in order to transform it into a perfectly shaped plate or bowl; he can glaze said plate or bowl into a glossy dish worthy of a Michelin star restaurant. But while Kiyomizu’s well-honed experience and eagle-eye attention to detail certainly serve him well, one could argue it’s his passion and out-of-the-box thinking that’s brought his Kyoto-based brand, Tokinoha Ceramic Studio, international success. Since launching in 2009 with his wife, Tomoe Kiyomizu, the company has grown from a tiny two-person operation mainly working with wholesale clients, to a beloved part of a city’s culture, with a full-time staff and clients around the world. I first met Kiyomizu and his team one rainy October afternoon at his studio in Kyoto’s Yamashina Ward. The space is serene and airy, with meticulously displayed pottery for sale in the front and several working areas in back. His wife, also a professionally taught potter, takes me and the rest of my group down to a spacious white work room where we learn the art of kintsugi, which involves repairing cracked dishes with powdered gold—thus turning imperfections into the most beautiful part. Afterward, we are ushered upstairs to a “library” of cups, mugs, plates, and bowls representing the many custom dish patterns Kiyomizu has created for a who’s-who of top restaurants around the world—Quince in San Francisco, Jōji in New York City, Kuro Bar in Sydney—through his customized “Siro” program for culinary professionals. There is floor-to-ceiling shelving completely filled with color-coded place settings, and we spend a good 20 minutes marveling over the intricacies of each one. The whole establishment seems like a bustling, happy, well-oiled machine—it’s a well-calibrated medium between having a successful company and artistic fulfillment.This was not always the case. At the start of his career, Kiyomizu tells me later via a Japanese translator on a video call, he struggled to make ends meet by following the traditional wholesale model of retail: artist makes a piece, artist sells a piece to a distributor, artist receives a meager fraction of the profits. So while demand for his work was increasing, he couldn’t keep up with the costs of production while also giving up a major cut of his sales. Breaking out on his own to sell direct-to-consumer, he says, was a big risk and terrifying proposition—but one that more than paid off in the long run, especially after landing his first big order for the opening of the buzzy Kyoto-based restaurant Obase, which was helmed by his wife’s former classmate Hideyuki Obase.Collaborating with one famous chef led to collaborations with other famous chefs, Kiyomizu explains—and suddenly he had a lucrative enterprise on his hands to manage. But this, as many creative professionals will attest, brings about an age-old problem for artists: How does one stay true to their craft and vision and still bring in enough money to comfortably live? It’s a conundrum that hits close to home for ceramicists especially, as their field is famously unprofitable despite its enduring appeal over multiple centuries.Kiyomizu becomes contemplative when I ask him about this and tells me that there’s an unmatchable warmth to dishes that have been made from clay. The beauty of the work enhances the experience of eating and, in turn, makes food taste more delicious. This truth, of course, is fully realized when enjoying a multicourse meal at a high end restaurant (a truffle-coated amuse bouche, no matter how decadent, simply would not be as appealing on a paper plate), but also in the simple moments of eating at home. It’s a lovely thought: Want to take your apple and peanut butter habit to a divine level? Consider placing the fruit on a lovingly wrought ceramic dish and mindfully cutting it into thin slices.Indeed, says Kiyomizu, the pottery industry certainly isn’t going anywhere, but it does need to evolve with modern times. For one, he notes, ceramists should be thinking more about the well-being of their suppliers; super inexpensive clay belies that the people gathering it from the mountains aren’t being paid a livable wage. This means accepting that there’s room for both mass-produced pottery and special, custom-order establishments such as his. This ecosystem of diversity means that there are more jobs (and money) to spread around. It also reflects a need for everyone to pay a bit more along every step of the production chain: Much like anything in our temperamental economy (clothing, food, etc), goods that are too-cheap-too-be-true likely means a real person has suffered in the process of making them.Of course, it also helps if you’re selling something that people feel good about shelling out for—and Kiyomizu is quite skilled at this. Besides simply creating items that are a pleasure to look at and a joy to use (think delightful little plates emblazoned with zodiac signs, colorful cups with thoughtful dents on each side to fit one’s hands, and shapely vases with a subtle ombré of glaze), he has turned Tokinoha into a luxurious product in and of itself. He offers exclusive experiences through hotel partnerships (my kintsugi experience was booked through a stay at Hotel the Mitsui), as well as a selection of private pottery lessons. The studio also boasts a playful café menu for special guests featuring a sort of gustatory trompe-l’œil offering. There are beverages, including a refreshing smoothie made to look like raw, mushy clay, plus a fizzy black soda served in a rock-like receptacle—both of which, I can report, were delicious despite my initial skepticism. Meanwhile, the Tokinoha universe is rapidly growing. This January, Kiyomizu is releasing a book with photographer Masako Nakagawa, which will debut at the FOG Design+Art event in San Francisco. There’s plenty to be excited about—but when I ask what gets him out of bed and to work in the morning, he turns the conversation to my five-year-old daughter, who had wandered out of her bed and into our call. Maybe the cup I repaired in his studio via kintsugi might become my favorite, he muses. Then, in turn, it might become the favorite of my children. That, he says, is his eternal motivation: To create a product that will be passed down between generations and cherished forever—even if you have to fill in a few errant cracks with gold along the way. Source link

[norajworld]

Daisuke Kiyomizu knows pottery inside and out. His father was a ceramicist and his grandfather before that. He’s trained to know how long, exactly, to turn a lump of ordinary clay on the wheel in order to transform it into a perfectly shaped plate or bowl; he can glaze said plate or bowl into a glossy dish worthy of a Michelin star restaurant. But while Kiyomizu’s well-honed experience and eagle-eye attention to detail certainly serve him well, one could argue it’s his passion and out-of-the-box thinking that’s brought his Kyoto-based brand, Tokinoha Ceramic Studio, international success. Since launching in 2009 with his wife, Tomoe Kiyomizu, the company has grown from a tiny two-person operation mainly working with wholesale clients, to a beloved part of a city’s culture, with a full-time staff and clients around the world. I first met Kiyomizu and his team one rainy October afternoon at his studio in Kyoto’s Yamashina Ward. The space is serene and airy, with meticulously displayed pottery for sale in the front and several working areas in back. His wife, also a professionally taught potter, takes me and the rest of my group down to a spacious white work room where we learn the art of kintsugi, which involves repairing cracked dishes with powdered gold—thus turning imperfections into the most beautiful part. Afterward, we are ushered upstairs to a “library” of cups, mugs, plates, and bowls representing the many custom dish patterns Kiyomizu has created for a who’s-who of top restaurants around the world—Quince in San Francisco, Jōji in New York City, Kuro Bar in Sydney—through his customized “Siro” program for culinary professionals. There is floor-to-ceiling shelving completely filled with color-coded place settings, and we spend a good 20 minutes marveling over the intricacies of each one. The whole establishment seems like a bustling, happy, well-oiled machine—it’s a well-calibrated medium between having a successful company and artistic fulfillment.This was not always the case. At the start of his career, Kiyomizu tells me later via a Japanese translator on a video call, he struggled to make ends meet by following the traditional wholesale model of retail: artist makes a piece, artist sells a piece to a distributor, artist receives a meager fraction of the profits. So while demand for his work was increasing, he couldn’t keep up with the costs of production while also giving up a major cut of his sales. Breaking out on his own to sell direct-to-consumer, he says, was a big risk and terrifying proposition—but one that more than paid off in the long run, especially after landing his first big order for the opening of the buzzy Kyoto-based restaurant Obase, which was helmed by his wife’s former classmate Hideyuki Obase.Collaborating with one famous chef led to collaborations with other famous chefs, Kiyomizu explains—and suddenly he had a lucrative enterprise on his hands to manage. But this, as many creative professionals will attest, brings about an age-old problem for artists: How does one stay true to their craft and vision and still bring in enough money to comfortably live? It’s a conundrum that hits close to home for ceramicists especially, as their field is famously unprofitable despite its enduring appeal over multiple centuries.Kiyomizu becomes contemplative when I ask him about this and tells me that there’s an unmatchable warmth to dishes that have been made from clay. The beauty of the work enhances the experience of eating and, in turn, makes food taste more delicious. This truth, of course, is fully realized when enjoying a multicourse meal at a high end restaurant (a truffle-coated amuse bouche, no matter how decadent, simply would not be as appealing on a paper plate), but also in the simple moments of eating at home. It’s a lovely thought: Want to take your apple and peanut butter habit to a divine level? Consider placing the fruit on a lovingly wrought ceramic dish and mindfully cutting it into thin slices.Indeed, says Kiyomizu, the pottery industry certainly isn’t going anywhere, but it does need to evolve with modern times. For one, he notes, ceramists should be thinking more about the well-being of their suppliers; super inexpensive clay belies that the people gathering it from the mountains aren’t being paid a livable wage. This means accepting that there’s room for both mass-produced pottery and special, custom-order establishments such as his. This ecosystem of diversity means that there are more jobs (and money) to spread around. It also reflects a need for everyone to pay a bit more along every step of the production chain: Much like anything in our temperamental economy (clothing, food, etc), goods that are too-cheap-too-be-true likely means a real person has suffered in the process of making them.Of course, it also helps if you’re selling something that people feel good about shelling out for—and Kiyomizu is quite skilled at this. Besides simply creating items that are a pleasure to look at and a joy to use (think delightful little plates emblazoned with zodiac signs, colorful cups with thoughtful dents on each side to fit one’s hands, and shapely vases with a subtle ombré of glaze), he has turned Tokinoha into a luxurious product in and of itself. He offers exclusive experiences through hotel partnerships (my kintsugi experience was booked through a stay at Hotel the Mitsui), as well as a selection of private pottery lessons. The studio also boasts a playful café menu for special guests featuring a sort of gustatory trompe-l’œil offering. There are beverages, including a refreshing smoothie made to look like raw, mushy clay, plus a fizzy black soda served in a rock-like receptacle—both of which, I can report, were delicious despite my initial skepticism. Meanwhile, the Tokinoha universe is rapidly growing. This January, Kiyomizu is releasing a book with photographer Masako Nakagawa, which will debut at the FOG Design+Art event in San Francisco. There’s plenty to be excited about—but when I ask what gets him out of bed and to work in the morning, he turns the conversation to my five-year-old daughter, who had wandered out of her bed and into our call. Maybe the cup I repaired in his studio via kintsugi might become my favorite, he muses. Then, in turn, it might become the favorite of my children. That, he says, is his eternal motivation: To create a product that will be passed down between generations and cherished forever—even if you have to fill in a few errant cracks with gold along the way. Source link

[ellajme0]

Daisuke Kiyomizu knows pottery inside and out. His father was a ceramicist and his grandfather before that. He’s trained to know how long, exactly, to turn a lump of ordinary clay on the wheel in order to transform it into a perfectly shaped plate or bowl; he can glaze said plate or bowl into a glossy dish worthy of a Michelin star restaurant. But while Kiyomizu’s well-honed experience and eagle-eye attention to detail certainly serve him well, one could argue it’s his passion and out-of-the-box thinking that’s brought his Kyoto-based brand, Tokinoha Ceramic Studio, international success. Since launching in 2009 with his wife, Tomoe Kiyomizu, the company has grown from a tiny two-person operation mainly working with wholesale clients, to a beloved part of a city’s culture, with a full-time staff and clients around the world. I first met Kiyomizu and his team one rainy October afternoon at his studio in Kyoto’s Yamashina Ward. The space is serene and airy, with meticulously displayed pottery for sale in the front and several working areas in back. His wife, also a professionally taught potter, takes me and the rest of my group down to a spacious white work room where we learn the art of kintsugi, which involves repairing cracked dishes with powdered gold—thus turning imperfections into the most beautiful part. Afterward, we are ushered upstairs to a “library” of cups, mugs, plates, and bowls representing the many custom dish patterns Kiyomizu has created for a who’s-who of top restaurants around the world—Quince in San Francisco, Jōji in New York City, Kuro Bar in Sydney—through his customized “Siro” program for culinary professionals. There is floor-to-ceiling shelving completely filled with color-coded place settings, and we spend a good 20 minutes marveling over the intricacies of each one. The whole establishment seems like a bustling, happy, well-oiled machine—it’s a well-calibrated medium between having a successful company and artistic fulfillment.This was not always the case. At the start of his career, Kiyomizu tells me later via a Japanese translator on a video call, he struggled to make ends meet by following the traditional wholesale model of retail: artist makes a piece, artist sells a piece to a distributor, artist receives a meager fraction of the profits. So while demand for his work was increasing, he couldn’t keep up with the costs of production while also giving up a major cut of his sales. Breaking out on his own to sell direct-to-consumer, he says, was a big risk and terrifying proposition—but one that more than paid off in the long run, especially after landing his first big order for the opening of the buzzy Kyoto-based restaurant Obase, which was helmed by his wife’s former classmate Hideyuki Obase.Collaborating with one famous chef led to collaborations with other famous chefs, Kiyomizu explains—and suddenly he had a lucrative enterprise on his hands to manage. But this, as many creative professionals will attest, brings about an age-old problem for artists: How does one stay true to their craft and vision and still bring in enough money to comfortably live? It’s a conundrum that hits close to home for ceramicists especially, as their field is famously unprofitable despite its enduring appeal over multiple centuries.Kiyomizu becomes contemplative when I ask him about this and tells me that there’s an unmatchable warmth to dishes that have been made from clay. The beauty of the work enhances the experience of eating and, in turn, makes food taste more delicious. This truth, of course, is fully realized when enjoying a multicourse meal at a high end restaurant (a truffle-coated amuse bouche, no matter how decadent, simply would not be as appealing on a paper plate), but also in the simple moments of eating at home. It’s a lovely thought: Want to take your apple and peanut butter habit to a divine level? Consider placing the fruit on a lovingly wrought ceramic dish and mindfully cutting it into thin slices.Indeed, says Kiyomizu, the pottery industry certainly isn’t going anywhere, but it does need to evolve with modern times. For one, he notes, ceramists should be thinking more about the well-being of their suppliers; super inexpensive clay belies that the people gathering it from the mountains aren’t being paid a livable wage. This means accepting that there’s room for both mass-produced pottery and special, custom-order establishments such as his. This ecosystem of diversity means that there are more jobs (and money) to spread around. It also reflects a need for everyone to pay a bit more along every step of the production chain: Much like anything in our temperamental economy (clothing, food, etc), goods that are too-cheap-too-be-true likely means a real person has suffered in the process of making them.Of course, it also helps if you’re selling something that people feel good about shelling out for—and Kiyomizu is quite skilled at this. Besides simply creating items that are a pleasure to look at and a joy to use (think delightful little plates emblazoned with zodiac signs, colorful cups with thoughtful dents on each side to fit one’s hands, and shapely vases with a subtle ombré of glaze), he has turned Tokinoha into a luxurious product in and of itself. He offers exclusive experiences through hotel partnerships (my kintsugi experience was booked through a stay at Hotel the Mitsui), as well as a selection of private pottery lessons. The studio also boasts a playful café menu for special guests featuring a sort of gustatory trompe-l’œil offering. There are beverages, including a refreshing smoothie made to look like raw, mushy clay, plus a fizzy black soda served in a rock-like receptacle—both of which, I can report, were delicious despite my initial skepticism. Meanwhile, the Tokinoha universe is rapidly growing. This January, Kiyomizu is releasing a book with photographer Masako Nakagawa, which will debut at the FOG Design+Art event in San Francisco. There’s plenty to be excited about—but when I ask what gets him out of bed and to work in the morning, he turns the conversation to my five-year-old daughter, who had wandered out of her bed and into our call. Maybe the cup I repaired in his studio via kintsugi might become my favorite, he muses. Then, in turn, it might become the favorite of my children. That, he says, is his eternal motivation: To create a product that will be passed down between generations and cherished forever—even if you have to fill in a few errant cracks with gold along the way. Source link

[chilimili212]

Daisuke Kiyomizu knows pottery inside and out. His father was a ceramicist and his grandfather before that. He’s trained to know how long, exactly, to turn a lump of ordinary clay on the wheel in order to transform it into a perfectly shaped plate or bowl; he can glaze said plate or bowl into a glossy dish worthy of a Michelin star restaurant. But while Kiyomizu’s well-honed experience and eagle-eye attention to detail certainly serve him well, one could argue it’s his passion and out-of-the-box thinking that’s brought his Kyoto-based brand, Tokinoha Ceramic Studio, international success. Since launching in 2009 with his wife, Tomoe Kiyomizu, the company has grown from a tiny two-person operation mainly working with wholesale clients, to a beloved part of a city’s culture, with a full-time staff and clients around the world. I first met Kiyomizu and his team one rainy October afternoon at his studio in Kyoto’s Yamashina Ward. The space is serene and airy, with meticulously displayed pottery for sale in the front and several working areas in back. His wife, also a professionally taught potter, takes me and the rest of my group down to a spacious white work room where we learn the art of kintsugi, which involves repairing cracked dishes with powdered gold—thus turning imperfections into the most beautiful part. Afterward, we are ushered upstairs to a “library” of cups, mugs, plates, and bowls representing the many custom dish patterns Kiyomizu has created for a who’s-who of top restaurants around the world—Quince in San Francisco, Jōji in New York City, Kuro Bar in Sydney—through his customized “Siro” program for culinary professionals. There is floor-to-ceiling shelving completely filled with color-coded place settings, and we spend a good 20 minutes marveling over the intricacies of each one. The whole establishment seems like a bustling, happy, well-oiled machine—it’s a well-calibrated medium between having a successful company and artistic fulfillment.This was not always the case. At the start of his career, Kiyomizu tells me later via a Japanese translator on a video call, he struggled to make ends meet by following the traditional wholesale model of retail: artist makes a piece, artist sells a piece to a distributor, artist receives a meager fraction of the profits. So while demand for his work was increasing, he couldn’t keep up with the costs of production while also giving up a major cut of his sales. Breaking out on his own to sell direct-to-consumer, he says, was a big risk and terrifying proposition—but one that more than paid off in the long run, especially after landing his first big order for the opening of the buzzy Kyoto-based restaurant Obase, which was helmed by his wife’s former classmate Hideyuki Obase.Collaborating with one famous chef led to collaborations with other famous chefs, Kiyomizu explains—and suddenly he had a lucrative enterprise on his hands to manage. But this, as many creative professionals will attest, brings about an age-old problem for artists: How does one stay true to their craft and vision and still bring in enough money to comfortably live? It’s a conundrum that hits close to home for ceramicists especially, as their field is famously unprofitable despite its enduring appeal over multiple centuries.Kiyomizu becomes contemplative when I ask him about this and tells me that there’s an unmatchable warmth to dishes that have been made from clay. The beauty of the work enhances the experience of eating and, in turn, makes food taste more delicious. This truth, of course, is fully realized when enjoying a multicourse meal at a high end restaurant (a truffle-coated amuse bouche, no matter how decadent, simply would not be as appealing on a paper plate), but also in the simple moments of eating at home. It’s a lovely thought: Want to take your apple and peanut butter habit to a divine level? Consider placing the fruit on a lovingly wrought ceramic dish and mindfully cutting it into thin slices.Indeed, says Kiyomizu, the pottery industry certainly isn’t going anywhere, but it does need to evolve with modern times. For one, he notes, ceramists should be thinking more about the well-being of their suppliers; super inexpensive clay belies that the people gathering it from the mountains aren’t being paid a livable wage. This means accepting that there’s room for both mass-produced pottery and special, custom-order establishments such as his. This ecosystem of diversity means that there are more jobs (and money) to spread around. It also reflects a need for everyone to pay a bit more along every step of the production chain: Much like anything in our temperamental economy (clothing, food, etc), goods that are too-cheap-too-be-true likely means a real person has suffered in the process of making them.Of course, it also helps if you’re selling something that people feel good about shelling out for—and Kiyomizu is quite skilled at this. Besides simply creating items that are a pleasure to look at and a joy to use (think delightful little plates emblazoned with zodiac signs, colorful cups with thoughtful dents on each side to fit one’s hands, and shapely vases with a subtle ombré of glaze), he has turned Tokinoha into a luxurious product in and of itself. He offers exclusive experiences through hotel partnerships (my kintsugi experience was booked through a stay at Hotel the Mitsui), as well as a selection of private pottery lessons. The studio also boasts a playful café menu for special guests featuring a sort of gustatory trompe-l’œil offering. There are beverages, including a refreshing smoothie made to look like raw, mushy clay, plus a fizzy black soda served in a rock-like receptacle—both of which, I can report, were delicious despite my initial skepticism. Meanwhile, the Tokinoha universe is rapidly growing. This January, Kiyomizu is releasing a book with photographer Masako Nakagawa, which will debut at the FOG Design+Art event in San Francisco. There’s plenty to be excited about—but when I ask what gets him out of bed and to work in the morning, he turns the conversation to my five-year-old daughter, who had wandered out of her bed and into our call. Maybe the cup I repaired in his studio via kintsugi might become my favorite, he muses. Then, in turn, it might become the favorite of my children. That, he says, is his eternal motivation: To create a product that will be passed down between generations and cherished forever—even if you have to fill in a few errant cracks with gold along the way. Source link

[oliviajoyice21]

Daisuke Kiyomizu knows pottery inside and out. His father was a ceramicist and his grandfather before that. He’s trained to know how long, exactly, to turn a lump of ordinary clay on the wheel in order to transform it into a perfectly shaped plate or bowl; he can glaze said plate or bowl into a glossy dish worthy of a Michelin star restaurant. But while Kiyomizu’s well-honed experience and eagle-eye attention to detail certainly serve him well, one could argue it’s his passion and out-of-the-box thinking that’s brought his Kyoto-based brand, Tokinoha Ceramic Studio, international success. Since launching in 2009 with his wife, Tomoe Kiyomizu, the company has grown from a tiny two-person operation mainly working with wholesale clients, to a beloved part of a city’s culture, with a full-time staff and clients around the world. I first met Kiyomizu and his team one rainy October afternoon at his studio in Kyoto’s Yamashina Ward. The space is serene and airy, with meticulously displayed pottery for sale in the front and several working areas in back. His wife, also a professionally taught potter, takes me and the rest of my group down to a spacious white work room where we learn the art of kintsugi, which involves repairing cracked dishes with powdered gold—thus turning imperfections into the most beautiful part. Afterward, we are ushered upstairs to a “library” of cups, mugs, plates, and bowls representing the many custom dish patterns Kiyomizu has created for a who’s-who of top restaurants around the world—Quince in San Francisco, Jōji in New York City, Kuro Bar in Sydney—through his customized “Siro” program for culinary professionals. There is floor-to-ceiling shelving completely filled with color-coded place settings, and we spend a good 20 minutes marveling over the intricacies of each one. The whole establishment seems like a bustling, happy, well-oiled machine—it’s a well-calibrated medium between having a successful company and artistic fulfillment.This was not always the case. At the start of his career, Kiyomizu tells me later via a Japanese translator on a video call, he struggled to make ends meet by following the traditional wholesale model of retail: artist makes a piece, artist sells a piece to a distributor, artist receives a meager fraction of the profits. So while demand for his work was increasing, he couldn’t keep up with the costs of production while also giving up a major cut of his sales. Breaking out on his own to sell direct-to-consumer, he says, was a big risk and terrifying proposition—but one that more than paid off in the long run, especially after landing his first big order for the opening of the buzzy Kyoto-based restaurant Obase, which was helmed by his wife’s former classmate Hideyuki Obase.Collaborating with one famous chef led to collaborations with other famous chefs, Kiyomizu explains—and suddenly he had a lucrative enterprise on his hands to manage. But this, as many creative professionals will attest, brings about an age-old problem for artists: How does one stay true to their craft and vision and still bring in enough money to comfortably live? It’s a conundrum that hits close to home for ceramicists especially, as their field is famously unprofitable despite its enduring appeal over multiple centuries.Kiyomizu becomes contemplative when I ask him about this and tells me that there’s an unmatchable warmth to dishes that have been made from clay. The beauty of the work enhances the experience of eating and, in turn, makes food taste more delicious. This truth, of course, is fully realized when enjoying a multicourse meal at a high end restaurant (a truffle-coated amuse bouche, no matter how decadent, simply would not be as appealing on a paper plate), but also in the simple moments of eating at home. It’s a lovely thought: Want to take your apple and peanut butter habit to a divine level? Consider placing the fruit on a lovingly wrought ceramic dish and mindfully cutting it into thin slices.Indeed, says Kiyomizu, the pottery industry certainly isn’t going anywhere, but it does need to evolve with modern times. For one, he notes, ceramists should be thinking more about the well-being of their suppliers; super inexpensive clay belies that the people gathering it from the mountains aren’t being paid a livable wage. This means accepting that there’s room for both mass-produced pottery and special, custom-order establishments such as his. This ecosystem of diversity means that there are more jobs (and money) to spread around. It also reflects a need for everyone to pay a bit more along every step of the production chain: Much like anything in our temperamental economy (clothing, food, etc), goods that are too-cheap-too-be-true likely means a real person has suffered in the process of making them.Of course, it also helps if you’re selling something that people feel good about shelling out for—and Kiyomizu is quite skilled at this. Besides simply creating items that are a pleasure to look at and a joy to use (think delightful little plates emblazoned with zodiac signs, colorful cups with thoughtful dents on each side to fit one’s hands, and shapely vases with a subtle ombré of glaze), he has turned Tokinoha into a luxurious product in and of itself. He offers exclusive experiences through hotel partnerships (my kintsugi experience was booked through a stay at Hotel the Mitsui), as well as a selection of private pottery lessons. The studio also boasts a playful café menu for special guests featuring a sort of gustatory trompe-l’œil offering. There are beverages, including a refreshing smoothie made to look like raw, mushy clay, plus a fizzy black soda served in a rock-like receptacle—both of which, I can report, were delicious despite my initial skepticism. Meanwhile, the Tokinoha universe is rapidly growing. This January, Kiyomizu is releasing a book with photographer Masako Nakagawa, which will debut at the FOG Design+Art event in San Francisco. There’s plenty to be excited about—but when I ask what gets him out of bed and to work in the morning, he turns the conversation to my five-year-old daughter, who had wandered out of her bed and into our call. Maybe the cup I repaired in his studio via kintsugi might become my favorite, he muses. Then, in turn, it might become the favorite of my children. That, he says, is his eternal motivation: To create a product that will be passed down between generations and cherished forever—even if you have to fill in a few errant cracks with gold along the way. Source link

[bootychomper]

Okay so some people wanted the head cannons so here😼🤲

Also @neptunxx (whispers these in your ear)

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most of the elemental alliance and the ninjas parents went to the same school since there weren't that many schools in ninjago back then.

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except for cliff gordon,Lou, and coles grandfather (the master of earth that was shown in the season 4 flashback) he was way older than the rest of the alliance,by the time Misako(5) started school he was already in his mid twenties and his daughter(lilly) was 2. while Lou and cliff both went to the marty openheimers school for performing arts.

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Garmadon and Wu only started school in like 7 grade because fsm realised how detached they were from the rest of ninjago.

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Dr Julien and Misako were really close when they were younger because their families lived together, they both had financial issues so they worked together and supported each other.

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They had a small phase were they genuinely thought that they were siblings and sobbed(alot💔) when their parents told them the sad truth (they still see each other as siblings no matter what anybody says)

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Misako is Wasian, her mother was white and her Father was Japanese. but she never met her mom since she died during childbirth, so Misako was only raised by her dad.

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Juliens parents were teenagers when they had him, so he mostly spent his time with Misako and babysitters since both their parents were gone most of the time (Misakos dad was working and Juliens parents were in school/working)

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Julien and Misako are both autistic, Misakos special interest is archeology while Juliens was robots/androids. but they only got properly diagnosed wayy later since they couldn't afford it but also because it was that time were it was very difficult to be diagnosed if you weren't a cis white man.

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Julien and Misako are both queer but 1 it was illegal and super dangerous to be out 2 Misako had really bad comphet and only realised after Garmadon came back in season 2. (Lesbian Misako is actually a 50/50 for me her sexuality HC depends on who I ship her with at the moment yk😔)

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in 8th grade when the love triangle between Misako, Wu and Garmadon was going on, Julien secretly rooted for Wu because he thought Garmadon was an annoying edgelord

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Maya, Ray and Libber were in a grade under the others while the previous master of ice(ice) was a grade over the others

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Ray is filipino and was born in ignacia and was taught how to do blacksmithing from a young age, but he later moved to ninjago city to live with his aunt and her husband so he could go to school since the one in ignacia was closing down due to lack of money.

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Maya is Chinese and was born n raised in ninjago city, her parents were emotionally manipulative and abusive so she ran away when she finished school (16), she stayed on the streets for a while until Wu and Garmadon found her and let her stay at the monastery. when they found out she was the em of water, the whole elemental alliance thing was set into motion.

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Lou, cliff and the rest of the Royal blacksmiths are the same age as Maya, Ray and Libber

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Maya and Ray were high school(not actually High Schoolers but yk in love whatever) sweethearts, Maya caught feelings first and Ray asked her to be his valentine in 8th.

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Lilly is Indian/Persian (dad Indian mom Persian) she was also goth but had to stop later due to her illness. (Goth Lilly supremacy guys)

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Lou is African, his parents died in a house fire and he lived in an orphanage for a couple years until he was adopted by two actors who then enrolled him into the marty openheimers school

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Lou and Lilly met at a music festival, it was one of those festivals where it's just every type of music, Lilly was there for goth music and Lou was there for whatever he listened to idk

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Lou noticed Lilly while she and her friends we're doing their goth dance moves and he just thought it was the coolest thing ever (and that one of them was really really pretty aka Lilly but he didn't know that yet)

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during the break(are there breaks at music festivals???idk I've never been to one) Lou got enough courage to go and approach her (also with some hyping up from the other royal blacksmiths)

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they pretty much immediately hit it off and after around two months they started dating

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even before they started dating they were absolutely adorable, basically music nerd/theater kid x cool goth girl

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Lou researched shit ton about goth music and style etc just so he could impress her (aww fucking nerd)

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sometimes Lilly would take him to goth parties, she tried to teach him goth dance moves but he failed miserably every single time.

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Lilly was a divorced parents kid, she and her siblings were the "one week at dads one week at moms" type of kids.

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Lilly also has 2 older sisters who are twins (around 5 years older thank her) and one little brother 2 years younger than her.

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That's it🤲

Also when it comes to school and grades I just used my own school system as a reference so like a quick guide uh you start school at 6 in like 0th grade(that's just the name idk if its called something else other places and no it's not kindergarten) then you just go up normally 1st 2nd 3rd etc and you're 15 when you finish public school aka after 9nth grade (or I mean the age depends on when your birthday is idfk🤷‍♀️)

Also I might make more of these cuz I wanna go more on Libbys, Cliffs, Ices etc lives but it might take a while😔

[formenis]

Can you do a oneshot of L Lawliet where he is in a secret relationship with Light's twin sister and she finds out she is pregnant so she shows up at Task Force to tell L and just announces it to the whole task force but its L who announces he is the father.

OML I'm so sorry for the delay, Anon-san 😭😭

Lately I'm feeling so overwhelmed and in the dumps that I lost any sort of inspiration. I hope you like it thou.

.

.

TITLE: NEWS

pairing: L x Yagami!fem!pregnant!reader

warning: none.

«See you later mom»

«Be careful dear. You too Light»

«Yeah bye mom»

And the door was softly closed after that answer. The two Yagami twins, Y/N and Light, always left home earlier than their sister Sayu. Light had to take the train for the Daikoku Private Academy while Y/N was a last year high school student at the Gamou Prep Academy, where her twin brother attended supplemental classes in the afternoon. Actually, it was what her family knew. The reality was a lot different.

Despite the two twins had the same age, the same skills and the same perfect school report, Y/N had that extra oomph that Light hadn't. It was thanks to this oomph that ensured her a special, secret job. She was noticed by no less than the greatest detective in the world, L.

Y/N Yagami had everything L needed: intellect, slyness, excellent rhetoric. At first, they had a simple working relationship made of mutual respect and esteem. But as time passed those feelings changed.

Initially Y/N felt strange: L was this mysterious detective with an extraordinary mind and skills, she never saw him in person. She had the impression that what she felt for him was wrong: what if L didn't exist? Y/N was so curious about him that one of their online meetings, she couldn’t wait to ask him thatquestion.

«L, can I ask you something?»

« 𝚈𝚎𝚜»

«Why did you decide not to show yourself? Can you describe yourself to me, please?»

A long pause followed her question. Y/N didn’t know what to say (or to do). She had the feeling she crossed the threshold.

«𝙱𝚎𝚌𝚊𝚞𝚜𝚎 𝚜𝚘𝚖𝚎𝚘𝚗𝚎 𝚊𝚜 𝙻 𝚍𝚒𝚍𝚗’𝚝 𝚗𝚎𝚎𝚍 𝚊𝚗 𝚒𝚍𝚎𝚗𝚝𝚒𝚝𝚢. 𝙸𝚝 𝚒𝚜 𝚏𝚕𝚎𝚎𝚝𝚒𝚗𝚐 𝚠𝚑𝚒𝚕𝚎 𝙻 𝚒𝚜 𝚏𝚘𝚛𝚎𝚟𝚎𝚛»

Such an arrogant person. Y/N expected an answer like that. So she gave up with her wish to see her crush' face.

Sometime later, however, the Yagami girl met someone. A pale, tall young man with a simple white shirt and faded jeans; his hair was moved by the wind and they seemed messy yet rather silky. He was standing there, at the top of the Tokyo Train Station's stairs, staring intensely at her, few steps higher than the girl. This man was blocking the way and Y/N was in a rush.

«Excuse me, I have to-»

«You're Y/N Yagami?» he immediately interrupted her and in the meantime he hid his hands in the pockets of that faded jeans.

«Who wants to know it?» Y/N replied defensive. Unlike Light, Y/N had good skills in many martial arts and she was ready to kick his ass, just in case.

«Me»

Y/N hadn’t the idea that in front of her there was L himself. He introduced himself as Ryuzaki but, for some reason, she couldn’t believe him. For her, it was like he had a good answer for everything as if he planned every single (and possible) question from the Yagami girl. That reminded her of…L. Everything about him reminded her of the detective.

Day after day this Ryuzaki started to appear more and more often in her life: at the train station, on her way home or after school. He told her he was studying for the entrance exam at the To-Oh University, that was why the two of them were seeing each other that often.

«I see, what do you want to study?»

«Criminology»

Y/N and Ryuzaki created a strange bond between them. The Yagami twin felt so at ease with him despite his particular (and rather unique) behaviour: she didn’t mind about the large amount of sugar he ate or the sitting position he took. He was so smart and brilliant…once again she thought about L.

It seemed like that Ryuzaki appreciated Y/N's presence too. He loved listening to her or analyse every single feature of her figure. She would find him staring at her such intensity that she would look away.

Y/N, however, had so much in her mind. She was so convinced that Ryuzaki and L were the same person that she felt so anxious around him. She had to know the truth.

«Ryuzaki, can you tell me something?»

«What is it, Y/N-san?»

«Are you L?»

The two of them were waiting for the train and Ryuzaki was standing (or "slouching" actually) right beside her. His dark hair covered the face and Y/N couldn’t tell what he was feeling or thinking. She was afraid that she crossed the threshold.

Ryuzaki smirked and sighed through the nose as if he laughed silently. Then he turned to look at her. «Yes»

He kept staring at her while Y/N got pale and returned the stare with wide E/C eyes. So she was right…he was L. The real L. She couldn’t believe that this man…with faded jeans and a simple white shirt…was L. The same L she started to love.

That was how their story began.

───────◇───────

Now Light was going to finish his last year of school together with his twin sister Y/N but something else what happening outside the Yagami household: Kira.

This person took the role of judge, jury and executioner of the criminal world not only in Japan. Kira was such a disgusting, immoral human being, Y/N hated him. Nobody had the right to play with other's life regardless of their police record. Light, however, didn't agree with his sister.

«I don't understand your point, N/N. The world would be a better place without criminals, you have to realise that»

«Of course it would be a better place without them, Light. But it's not the right method!»

«And what would be "the right method"?» Light asked her making air quotes with his fingers.

«Uhh…I don't know maybe putting them before a judge?» Y/N simply replied. «Kira is not the solution, Light»

Her brother was so different lately. Since this Kira appeared Light started to act strange, Y/N was the first to notice it. Not even her mother, father and Sayu perceived it.

Y/N was feeling strange too actually. After Ryuzaki's "confession" about his identity the two of them admitted their respective feelings. Y/N was so happy that Ryuzaki felt the same as her, she was so happy. Sachiko noticed it and asked her if her happiness was due to a boy but Y/N didn’t give her a proper answer.

Ryuzaki was investigating about Kira and he booked a suite at the Imperial Hotel and Y/N would pay him a visit from time to time. They talked, played, ate and even made love in that room. And it was since one of those times that Y/N started to feel weird.

«Let's not talk about it, alright Light?»

«Fine» her twin shrugged and kept walking home together. After a while they crossed a konbini, a Japanese convenience store.

«Wait Light, I have to buy something»

«Alright, I'll wait you here»

And Y/N ran inside the shop while Light started to read a book outside. She had to buy few things: a new set of pencils, chips and…a pregnancy test. Yes, a pregnancy test.

She had all the symptoms: swollen breasts, nausea, fatigue. And the fact that she missed the last period was a sort of final proof. But she wanted to be sure.

Once she payed everything Y/N left the shop and kept walking home with Light. He was looking suspiciously at her but he said nothing.

.

> TIME SKIP <

«Positive…it's positive» Y/N repeated in a whisper while looking at her pregnancy test. Her E/C eyes were still glued to the test when she heard someone knocking at the door.

«Y/N! I need the bathroom!»

«Me too!»

Light and Sayu were staying right outside the door, Y/N hoped they didn’t hear what she said before. She hid the test in the pockets of her jeans and left the bathroom.

«Sorry» and she ran downstairs. Light, once again, looked at her with clear suspicious and raised an eyebrow. Sayu took advantage of this moment to lock herself in the bathroom.

«Sayu! I have to go with dad, leave the bathroom!»

In the meantime, Y/N already left the house and was literally running towards the Imperial Hotel, where Ryuzaki had his room (and where the Task-force met L for the first time). He had to know it.

About ten minutes later Y/N arrived at the hotel and quickly went to Ryuzaki's suite. She was bouncing off the walls for the excitement.

«Ryuzaki!» she spread the door open and ran inside. She quickly reached him and made him turn towards her.

«What is it Y/N-chan?» he asked calmly.

«I have to tell you something!»

«And what would it be?»

«I'm pregnant!» she said smiling. It, however, faded quickly when she saw Ryuzaki's lack of reaction to that news. Was he…disappointe-

«What?! Are you serious Miss Y/N?» the young voice of Matsuda echoed in the room making Y/N distract from the man in front of her.

The Yagami girl noticed that her father's entire Task-Force was working in the same room as L and she didn’t notice them when she entered the suite. Excitement was replaced by fear.

«Uhm…well…»

«Congratulations!» Matsuda got up and walked closer to her with a kind smile on his young face. That smile cheered her up a little.

«Thank you Matsuda-san»

The rest of the Task-force congratulated to her too, they were all so happy about that news. The only one who didn’t say anything was L, the father.

Aizawa started to give Y/N some "parental" advices when L's suite room opened again revealing Soichiro and Light at the doorstep. Y/N didn’t notice it immediately and she couldn’t stop Matsuda from rushing towards his boss to give him that important announcement.

«Boss, did you know it?»

«What is it Matsuda?»

«Miss Y/N is pregnant!»

Silence.

Silence of a grave, to be precise.

Nobody dared to speak, to move, to breathe. It seemed only Matsuda wasn’t feeling that heavy atmosphere.

At those words Soichiro walked towards his daughter and placed his strong hands on her shoulders.

«Y/N, is it true?»

She gulped and swallowed hard. «Yes dad, Matsuda-san is right» her voice showed no fear, no embarrassment, no shame. Even if her family didn’t agree, she wasn’t going to give up that easily.

«Who is the father? Someone assaulted you?» he immediately asked sounding rather worried and serious. Y/N was going to answer when she heard some sort of mumbling from behind, where L was sitting.

«Did you say something, Ryuzaki?» asked Soichiro.

«I said, Yagami-san…» he took an ice-cream sandwich and divided it in two. «I am the proud father» he turned towards the policeman and licked the vanilla cream without looking away from the man.

Soichiro couldn’t see her but Y/N was smiling widely at Ryuzaki who smiled back for a mere second before

[brainbuffering]

2023 Most Anticipated Series

The New Year is finally in sight, and with it the hype for new licenced Manga! So here are my Top 5 most anticipated series. 

1) The Invisible Man And His Soon-To-Be Wife by Neko Iwatobi from SevenSeas

[ID: English Book cover of The Invisible Man And His Soon To Be Wife by Neko Iwatobi Vol 1. An invisible man in a pin stripe suit and polka dot tie sits on a plush green leather sofa. He reads a book in one hand, and holds the hand of the young woman next to him with the other. The girl has a red/brown bob cut, and wears a long black skirt with a matching black sweater-vest over the top of an untucked cream blouse. Her eyes are closed, and her spare hand grasps her skirt in her lap]

“Yakou Shizuka, a quiet and bashful woman, works at a detective agency. Her boss Tounome, who owns the company, is the gentlemanly type, kind and dapper, though he has an extra talent—he’s invisible! His special ability is perfect for detective work, but he quickly comes to find it doesn’t work on Yakou, who is blind and always knows if he’s near. Charmed, Tounome is determined to get her to date him and isn’t against using his many skills. Yakou’s quirky coworkers, a contrarian human man and a sisterly beastwoman, kindly watch over her as she stumbles and blushes through the uncharted waters of office romance.” 

This one seems to really be going under the radar at the moment, which is part of why I’m putting it at number one!

I am always hyped for stories featuring disabled protagonists, and the concept for this series really appeals to me! How him being invisible doesn’t matter to her since she wouldn’t be able to see him anyway, but that doesn’t mean she can’t “see” him in the metaphorical sense! It’s that side of romance I’m always more interested in than anything else. Plus it’s always refreshing to see series that feature actual adults and not just high school kids. It’s what makes me love series like “Knight of the Ice” and “Sweat and Soap” so much! And as I always say, series featuring disabled protagonists falling in love are in no way heteronormative.

I naturally have my concerns. Will this be good representation or simply rely on worn out cliches (such as I fear the comedy manga “Love’s In Sight” will be)? Will the gorgoeus art on the cover actually reflect what we see inside? Will Tounome’s desire for her be respectful or harassment? Will we get some cool mysteries to solve along the way, and not just have it as a weird backdrop for romantic hijinks? My limited googling of the series doesn’t throw up too many answers to this, and I’m hesitant to dive further for fear of spoilers...

It could be good. It could be bad. It could just be perfectly average, but needless to say you will be hearing my opinons on it come February 2023!

2) My Girlfriend’s Child by Mamoru Aoi from SevenSeas

[ID: English cover for “My Girlfriend’s Child” by Mamoru Aoi. Two japanese high schoolers, a boy and a girl, are standing in the falling snow. The boy clasps the girl from behind, his hands resting on her stomach. The girl holds his hands in hers, and looks off into the distance with a nervous expression.]

“A poignant and romantic shojo drama about a teenage couple whose lives are changed forever after a positive pregnancy test.

Sachi and her boyfriend Takara are your average high school couple. They go to school together, hang out, and even engage in the more intimate side of dating. However, as time passes, Sachi starts to get the feeling that something isn’t right and decides to buy a pregnancy test. Later, in the bathroom of a family restaurant far from her home, she sees the two red lines that will change both her and Takara’s life forever…”

Now this one I have seen hype for! I know I just said that I wasn’t that into high school romances, but this one is already completely different to your usual will-they-won’t-they. I love series that deal with real life issues, and take mature stances on difficult topics. I went to what was dubbed the “Teenage Pregnancy School”, so these sort of stories have always felt important to me. I’m especially interested to see it from the Japanese perspective, and whether this will fall into the propergander pit of encouraging everyone to get to baby making ASAP to serve the aging population, or actually show the real life social, physical and emotional struggles these kids are going to be going through as young parents!

3) Like a Butterfly by suu Morishita from Viz Media/Shojo Beat 

[ID: Japanese cover for Like a Butterfly Vol 1 by suu Morishita. A manga style water colour drawing of a japanese school girl with very long pink/brown hair. A small butterfly the same colour as her hair sits in the top left hand corner. She has a wide eyed and nervous expression, as though worried over what you’re about to say.]  

“Would you rather wait for love like a flower, or fly toward love like a butterfly? Suiren Shibazeki is often compared to a beautiful flower—but one that grows on the tallest peak of a mountain, forever out of reach. When Suiren develops feelings for the quiet Taichi Kawasumi, however, she doesn’t want to be a distant flower. She’d rather leave her lofty perch and fly toward him like a butterfly. After Kawasumi rescues her from an unwelcome admirer, Suiren finds herself captivated by him. But Suiren is too shy to speak to anyone, much less this reserved boy. What’s more, Suiren isn’t the only one with feelings for Kawasumi! Will a class trip offer the opportunity to reveal her feelings before it’s too late?”

LOOK. Okay LOOK. This has every markings of your usual high school shojo romance with nothing to give beyond some warm fuzzies. But I love “A Sign of Affection” with all my gosh-darn heart and am having fun reading “Shortcake cake”. I will read any Morishita you put in front of me and getting to have another of their early works in print is making me smile big time!

Again, will it be anymore than what it says on the tin? Only time will tell. But know that I will be clicking that pre-order button just as soon as it becomes available in the UK!

4) Do Not Say Mystery by Yumi Tamura from SevenSeas

[ID: Japanese cover of “Do No Say Mystery” Volume 1 by Yumi Tamura. It features a head and shoulders image of a japanese man with large amounts of curly black hair. He is wearing a dark brown turtle neck underneath a light brown/yellow dufflecoat.]

“A quirky, award-winning mystery manga from the shojo powerhouse creator of Basara and 7SEEDS–inspired a live-action series!

Totonou is a young man who stands out–partly for his bushy hair, partly for his finely honed abilities of observation and deduction. When Totonou is accused of murder, he puts his skills to work delving into the lives of the cops investigating him and uses his insights to find the real murderer. After clearing his name, all Totonou wants to do is return to his laidback, mundane life, but he can’t help but be drawn into one mystery after another. In his own blunt but gentle way, Totonou is just trying to make sense of a chaotic world.”

Honestly, I have seen nothing BUT hype for this series! On the outskirts, it doesn’t really have anything to appeal to me beyond some intresting artwork. My Mum’s the one who’ll watch any sort of murder that happens on an island, not me. However, it has been regularly topping the japanese charts for the past five years yet has only just now gotten an english release? And in omnibus format at that! Whether the series will actually hold my personal attention it is yet to be known, but at the very least I’m excited to see what the english speaking internet makes of the series and if it lives up to their expectations.

5) Long Lost Pals Living Their Breast Life by Tamaki Nao from Irodori Aqua

[ID: English cover for Long-Last Pals Living Their Breast Life by Tamaki Nao. An adult man and a woman stand back to back, thir arms hooked together. He has dark hair, square glasses and a strong physique that gives him big tits in the muscle sense. Meanwhile she has brown/orange hair and big tits in the sacks of yellow fat sense. His expression is stoic but nervous, whilst hers is bright and bubbly. In the bottom corner is a small chibi style image of them as children running along hand in hand, him looking like he’s about to cry in fear whilst she is excited and reassuring.]

You’ve heard of meet cute, but reunite cute? Now that they’re both grown up, newly swole Shun visits his old friend Nana after an extended absence hoping to put a (figurative) stake in the heart of his one-time first love. But it looks like neither of these tiddy monsters is ready to let go! Join our hilariously awkward (maybe?) couple as they (hopefully!?) begin to bumble their way into an adorable relationship!

Did I MAYBE include this one just for the shock factor? Perhaps. But you give a series a name like that, and I’m GOING to be interested! I’d love to tell you all about how we should be supporting indy publishers who work directly with creators, and how Doujin isn’t just fanfic and BL, but let’s be honest. This is entirely here for the pun. I’ve also seen a few screenshots floating around from twitter and it does seem like a genuinely cute manga! But honestly, so long as I get some puns and some hijinks i’ll be happy! My anticipation is high, but my expectations are low, which hopefully will only lead to happiness. Right?