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blacknailsandheartbreak · 9 months ago

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Imagine Zuko is working at the Jasmine Dragon and you are a regular :)

I love the small town coffee shop/ cafe feel, and when you throw in a romance trope- I will smother that MF in butter and eat it for my final meal. I love my grump x sunshine tropes, if you couldn’t tell.

This one isn’t really following a proper timeline or story, cuz I’m not using Zuko and Irohs fake names and they really are just chillin in that tea shop for this story, BUT just a fluffy idea I really like. Anywho, fluffy and some steam ;) that gets steamy. (WINK WINK)

WC: ~2100 words

So let’s imagine…

Age of Admission: 18 and Wrinkled

Zuko is a server at the Jasmine Dragon tea shop owned by his Uncle Iroh. It became super popular very fast and you thought you would check it out. You walk in one morning and come to meet the owner, he introduces himself as Iroh. He is very kind and as you two talk, you find it is only himself and his nephew who work there. Iroh points out his nephew and when you turn to look where he motions, a figure disappears into the back. You thank Iroh for his kindness and say you cannot wait to come back. You would end up becoming a regular that would come in and read for a long time when the shop was quiet but leave when it got busy.

When you would come in, Zuko was always conveniently the one to help you. He would take your order, he would give you your tea and come by your table to check if you needed anything. He was nonchalantly cold to you but… not…? You would always smile and thank him and try to make small conversation, but Zuko never really engaged, he wasn’t rude and would agree with you then quickly move on. But over time, you noticed Zuko never stopped at any of the other tables to check on them, only yours.

Over time it is very apparent that Zuko has the biggest soft spot for you but tries not to show it. He constantly stares at you, but glances away before he gets caught. Iroh obviously takes notice fairly quickly and tries talking with Zuko, but it is short lived. Iroh comments “You two would complement each other quite well. Not to mention the smile she brings out of you, now that's quite the achievement.” Zuko only rolls his eyes as he walks into the back.

On another day you had been sitting for almost an hour finishing your second cup of tea, in the last few chapters of your book, Zuko was glancing at you from behind the counter as he dried a teapot. Iroh tried again, “You should talk to her.” Zuko visually tenses, “What?! No! What would I even say??” He said in a harsh whisper. “You are overthinking nephew, she always tries to spark a conversation, just let your conversation rivers flow and intertwine!” Zuko looked at him blandly, Iroh gave a soft smile, “A compliment can go a long way.” Iroh patted his shoulder and went to walk among the tables conversing with the customers.

One day you had stayed particularly later than you had thought as a rush didn’t happen and you were very into your book. Eventually Zuko walks over to you and places down a small dessert, it was some sort of pear tart. You smiled up at Zuko and thanked him for the kind gesture. “Yeah, we are closing soon and there happened to be some left that didn’t sell.” Zuko said. You shot up, not noticing the time, “Oh! I’m so sorry, I didn’t realize the time. Can I take it to go?” You say standing and gathering your things, you start apologizing for holding them up but Zuko was only half listening as he looked out the window at the dark street. He was worried about you being out so late and walking home alone. He cuts you off and insists it's fine and to wait till after they close and he would walk you home. Your heart flutters as it was something you knew you wanted but didn’t realize how badly. You smile and nod your head in thanks, but Iroh had overheard and insisted that Zuko could head out now as he could close himself.

Zuko and yourself walked along the main street, the night was dark but the street lamps lit your way. You hold your book with both hands in front of you as you talk about what happened in the many chapters you read tonight. Zuko and you walk side by side, you smile as you explain the events, Zuko listens but is watching around for anything to be cautious of. You both make it back to your apartment and you thank Zuko for the kind gesture and offer him to come in. To your dismay he declines, you were sad as he turned away and waved goodnight, knowing it was out of good chivalry. After what felt like the longest walk home of his life, Zuko returns to the tea shop. Iroh welcomes Zuko back and asks how it went, Zuko snapped “Do you stick your nose into everyone’s business, or just mine?” Iroh looked at Zuko for a moment, “She asked you to stay, didn’t she?” Zuko scrunched his nose and didn’t reply, he walked back to his room.

You had come down with a cold and didn’t return to the tea shop for a couple days. But little to your knowledge, through those couple days Zuko found himself waiting for you to walk through the front doors. He found himself looking at the door every time someone walked through but disappointment cooling his veins when it wasn’t you.

After almost a week goes by you show up again, Iroh welcomes you back warmly and insists your regular order will be out swiftly before walking into the back. You smile and take a seat, pulling out your book, not long after Zuko is at your table with your tea. Zuko makes a comment about your absence and you explain how you had gotten a cold and then tease him about missing you. Zuko starts to try and back track his comment, you can see a bit of embarrassment peek through as he tries to cover up his feelings that showed through his concern of you missing. You decide to take a leap and try to show him it's ok. “Well, I missed your company too.” you said warmly, as Zuko composed, someone walked in and up to the counter. Zuko added it was nice to have you back before heading to serve the customer.

A rush started that afternoon so you marked your place in your book, paid and left. You spent some time in the market and on your route home you passed the tea shop. You walked by slowly to see Zuko sweeping by the front door, he looked up and questioned why you were out so late. You smiled and explained about the market, told him about the shops and liveliness. While you were talking Iroh pops out from the back mid question for zuko, but pauses when he sees you. He exclaimed how nice it was to see you again with a warm smile walking to you and Zuko. You return the gesture and brief him about the market that you explained to Zuko. Iroh agreed it sounded fun and insisted You show Zuko, all closing was basically done and could finish up by himself.

You and Zuko made your way to the market and walked around, there were many food stands, flower stands, jewelry stands, fabric stands, anything you name it was probably there. As you both walked and you talked, a cool breeze started setting in so you looped your arm through Zukos and walked closer to him, commenting on his warmth. Zuko only hummed and continued on with you, even though his heart was totally a butterfly exhibit at that moment. Once the market was fully explored, Zuko offered to walk you home again as it was very late and he should get you home.

Once again you both ended up on your apartment door step. You thanked him for a great night and him walking you back, you unlocked and opened your door, offering again for Zuko to come in. Zuko starts to insist he leaves but you cut him off with a kiss. Zuko was surprised for only a split second, but kissed you back, placing his hands on your waist. You pull away and look up at him through your eyelashes, “Please, stay for a bit”. He looked at you, “Are you sure?” he asked, keeping his hold on your waist, your shirt parted slightly from your pants and the warmth of his hand hummed against your skin. You held his gaze while you grabbed his hand, taking him inside.

Once you were both in, you handed Zuko the keys, he closed the door and locked it. The second he turned around you moved in, you placed your hand on his jaw and chest. Zuko lavished in your kiss and put his hands on the small of your waist, bringing you in as close as possible. You felt the warmth of his body against yours, but craved more. You grab the bottom of his shirt and pull up, Zuko releases you and grabs his shirt, yanking it off quickly, returning to your lips. But this time his hands didn’t fall on your waist, they reached to the back of your thighs, hiking you up with ease as pleasant yelp of surprise from you as you wrapped your legs around his waist. The kiss was so hot you pulled away, your head falling to the side as Zuko moved to kiss your jaw and neck. “Zuko…~ah!” He hummed in response, “Zuko, bedroom… behind us…” Zuko promptly moves to the door you mention, pushing it open with his foot, stepping in and swiftly closing it with a firm but gentle kick.

Zuko set you down on the bed, you eagerly took off your shirt and you laid chest bare, not having worn underclothing today. Zuko’s hands were immediately on your torso, and chest. As Zuko kissed along your neck and collar bone, you scrape your nails down his shoulders and slide your hands along his arms, feeling the lean build of his muscle. Zuko asks if this is ok, what you both were doing, you wasted no time in confirming you were more than ok with it. You grab the waist line of his pants and pull him close, he grunts and pushes himself further against you, you gasp. Zuko goes to remove your pants, you raise your hips to quicken the process. You now laid bare before Zuko, everything for him to see. You could feel the vulnerability creep in and the natural urge to cover, but you knew you were comfortable and this is what you wanted. Your hands worked his trousers and slid them off. Zuko stood proud as he hovered over you, laying between your legs. Anticipation slid around your stomach, you kissed deeply, you could feel Zuko at your entrance, you gasped. He leaned back and looked down at where you met, grinning. Pushing forward slightly, his head pushing against your kitten. “~mmh… ah!” You moan out as he pushes further in, Zuko lets out a breath as he rests on elbows over top of you. He pushes in all the way and an audible gasp leaves your mouth as you could swear he hit an organ. He pulls out and slides back in, in the most devilish way of feeling like he is hitting deeper with every thrust. Your eyes roll back as his hips move in the perfect way, feeling his skin against yours, his muscles move against your body. Zuko puts his arms under your knees and spreads your legs wide and pushes them up, giving him better access as well as deeper penetration, which is baffling to you in that second until he continues. Now nothing is going through your mind except Zuko's breath and your moans in the air. You felt a knot in your stomach form, you tapped on his shoulder and told him you were close. He groaned and kept going as you fell apart under him, almost reaching his peak as you became so sensitive you couldn't contain the moans coming from you. But before you could think, he was about to climax. Zuko cursed and pulled out, cumming on your stomach. You both are absolutely racked from the events, Zuko takes a deep breath in, kisses you and says he will be right back. He comes back with a towel, cleaning you up and laying next to you.

You lay on his chest and relax, both being out of breath, Zuko said something that shocked you. He exclaimed how he missed you the week you were home sick, and not at the tea shop. You smiled sweetly and cuddled closer to his warm body, explaining how everyday you couldn’t stop thinking about him either.

#prince zuko #zuko #atla #zuko fanfic #zuko x reader #atla fanfic #avatar zuko #fluff #smut #grumpy x sunshine

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ponett · 7 months ago

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Do you have any advice for people making OCs/sonas? Yours are really well rounded and unique and I'd greatly appreciate the insight of someone who got a passion project off the ground!

So this is a very broad topic, and it varies a lot based on your own creative goals, what kind of characters you're creating, and where you want to use them. Creating an OC to be used in furry pinups is a little different than creating one for a dramatic story. But I'll try to give some general advice on how I do things for the types of characters and stories I tend to work with

Heads up: this will be kinda long lol

The germ of an idea

For me, I'll generally be inspired to create a character starting with a small number of core traits. These could be anything. A color scheme, a body type, a job, a hobby, a personality archetype, an outfit, a visual motif, a functional role in a story I'm working on, a noteworthy facial feature, a weapon, a relationship of some sort to an existing character, a single scene or joke I want to use them for. For furries and fantasy characters, species is usually one of the first things I'll have an idea for, which tends to get the ball rolling fairly easily since we have all sorts of cultural associations with different animals and fantasy creatures.

Any standout character trait like this that you find compelling can serve as that initial spark. The inspiration can come from anywhere, but it's often just a matter of knowing yourself and your own tastes. What do you like? What are the people in your life like? What really speaks to you in a character? What's an existing fictional character that you'd like to rewrite and take in a different direction? What's an aspect of yourself that you would like to see represented more often in fiction? It doesn't have to be something super deep or fleshed out right from the start, though. You can start with something as simple as "I want a black cat character" or "I want a character who dresses like an arcade carpet" or "I want a character who looks scary but is actually nice." Whatever it is, it's something that differentiates the new character from the ones I already have, because otherwise I'd just be using them.

Contrast

From there, you can start brainstorming other traits that might go with those core traits. Some of those may be traits that naturally complement each other. Continuing with the black cat example, maybe you wanna play into the common cultural perception of black cats and say that this character brings bad luck, or is associated with witchcraft. However, I often like to give characters contrasting or even seemingly contradictory traits, which can help elevate a character beyond a stock archetype. Real people tend to be a walking ball of contradictions, after all.

I've talked a lot about how I did this with the main cast of SLARPG. Melody is a fox, traditionally a crafty and untrustworthy predator, but she's extremely introverted and gentle. Allison is a bunny, but instead of being a meek and cuddly little prey animal she's an outgoing fighter who loves a challenge, and she has a muscular build. I think this kind of thing gives characters some fun flavor, and can be really effective for both comedy and drama. For an example from something I didn't write, take Senshi from Dungeon Meshi. He's a dwarf, and he embodies certain stereotypical aspects of dwarves - he's a short, buff man with a big bushy beard, he lives underground, he's stubborn and doesn't like elven magic - but he also goes against some of them. Instead of being an expert on mining and blacksmithing, Senshi is a culinary expert who has a deep appreciation for the natural ecosystem of the dungeon. He's a weirdo among dwarves for not caring about the wellbeing of his axe and for using his super awesome shield primarily as a giant wok. And that's what makes Senshi fun and interesting.

So going back to our example, instead of going with the stereotype, we could make a black cat character who has comically good luck, or who's superstitious and afraid of witchcraft, or who's an extremely rational person who always believes in science over superstition. Or maybe you roll with the bad luck angle, but instead make the black cat be the victim of their own bad luck in some interesting way. Maybe this black cat has terrible luck with love and can't hold down a relationship. Maybe this black cat is an aspiring speedrunner who consistently gets the absolute worst RNG possible in every video game due to their own bad luck. Maybe this black cat has accrued a horrendous gambling debt after a long losing streak and has loan sharks coming after them.

These are all just hypothetical examples, of course. I don't exclusively make characters with ironic contradictions like this. The idea is just to build on those core traits you started with in interesting ways, and that's one of my favorite ways to do so. But honestly, a lot of the time execution is more important than the sheer originality of an idea, and sometimes really putting your all into playing a trope you love straight is the right move.

Specificity

Regardless of what direction I take a character in past that initial seed of an idea, the key ingredient tends to be specificity. To give them specific details beyond the most stock possible version of that core idea you started with.

This is something I internalized from Tim Schafer, via a blog post in the behind-the-scenes backer material for Broken Age. Sadly I'm not sure if that stuff is still available, but I did save this particular post about creating characters since it really helped me, so I'll directly quote a chunk of that post here:

No two characters would approach a problem or react to events in the same way. At least, not if you’ve designed the characters well. If you’ve left them too vague or superficial, if they are merely functional elements in your story instead of individuals, then they might react in the same way. And that’s a problem. So to avoid that, I’m going to talk about one the most important parts of character development: specificity. Making sure your character is a specific individual, not a stereotype. A unique character, different from anyone else in the world. It doesn’t mean that they have to have wacky gimmicks, eyepatches and crazy accents. It just means they have to be specific. For example, let's create a new character. Let's say your story has a scene where your main character gets in trouble in school. So you’re probably going to need a school teacher. Imagine a school teacher for a bit. Do you see her in a little red schoolhouse? Maybe a bun in her hair? An apple on her desk? Thick black glasses? Let’s put a ruler in her hand for good measure. Done! We have our teacher character. She’s ready to be in the scene where our hero goes to school and the teacher sends her to the principal’s office for passing notes. Right? I mean, this character doesn’t have too many lines, so why develop her character any more? The problem is that this teacher is a very shallow stereotype of a teacher. She has no specific attributes that make her memorable. She’s the teacher you would get in a set of free clip art. She might not have many lines, but if all your supporting characters are this way, your story will be more bland than it should be. Even if this teacher is only onscreen for a minute, she should be unique and different from any other teacher in the world. Luckily, it's not actually that hard to make her so. You just have to ask some very basic, specific questions.

Tim goes on to explain how simple exercises like filling out character sheets with basic questions about your character (there are a million of these online) can help push a character beyond a stock archetype, even if it's a minor supporting character. Questions about where they're from, their likes and dislikes, their beliefs, their goals in life, that sort of thing. For minor characters especially, a lot of these details may never actually come up in a story, but just asking even a few of these questions and giving them specific answers helps you see them less like an archetype and more like a real person in your head. Maybe you never bring up your character's backstory or their favorite sport or what kind of music they listen to, but just having a specific answer for questions like that might help color the way you depict that character in subtle ways. It makes it feel like they aren't defined by just that one core trait you started with, and helps make the characters and world feel more alive, like there's stuff going on with them beyond the bounds of the story or the drawing.

It's a careful balancing act, though. It's easy for a character to feel like they're a collection of too many unrelated gimmicks and quirks. Again, like Tim said, these specifics don't have to make for the craziest, most original character ever, there just has to be something there.

Let's go back to SLARPG as an example, where I combined broad character archetypes I liked with more specific personal elements that I felt like I wasn't seeing enough in the fiction I liked. Melody is riffing on the common idea of the reserved healer character in the RPG or MMO party and the shy girl archetype, but she's the main hero instead of a supporting player in another person's story, and she's also a fat bisexual trans woman who draws a lot of little details from my own life. Her interests, her relationships, her opinions on things, her personal hangups and dreams, these all set Melody apart from other fantasy healer characters and define her as Melody Amaranth. Specificity!

But it doesn't always have to be super deep, especially if you just want some characters to draw for fun and aren't planning on writing a story with them. Take my fursona. I've always loved dogs, so I made my fursona a dog. I chose a Samoyed in particular because I think Samoyeds are the cutest, and I hadn't seen hardly any anthro Samoyed OCs at the time. I leaned into the breed's signature fluffiness to help my fursona stand out from other canine OCs. She has simple identifying traits like being fat like me, wearing glasses like mine, and having a hairstyle kinda like mine (when I tied my hair up in a bun, at least). And there you go. Fursona achieved. She's not a wildly high concept character, but she doesn't need to be

Anyway I realize that this is mostly about the writing aspect, so here's a few quick bullet points about designing a character's appearance:

Face and body type variety are good, but personally I would say lack of body type variety is worse than same face syndrome

Knowing some stuff about shape language is good, but you don't have to be completely beholden to the "circles are friendly, squares are sturdy, triangles are scary" shit. I'm generally more interested in using repeated shaping in different parts of a character's design as sort of a shape motif. Melody's body, hair, and tail are all made of round, swooping shapes, for example. (This is more applicable if you're designing cartoonier characters as opposed to realistic humans, obviously.)

Knowing some basics of color theory is also good. I like using complementary and contiguous color schemes on characters and generally try not to use too many distinct colors on one design. Black and white and grey and various browns are good as neutral colors to balance out the colors of the rainbow, and gold can be a nice accent color

A small handful of identifying accessories can be fun, but don't rely on those to make a design stand out. Ideally your character should still be identifiable even when not wearing their default outfit, or even in silhouette

Aaaaaand I'm gonna call it a wrap there! This is a huge topic, so hopefully this helps with at least some of the basics! At the end of the day, though, don't beat yourself up if you can't sit down and force yourself to come up with the most crazy awesome OC ever. Just have fun and be yourself!

#rakruined #ask #slarpg asks

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wanderingmind867 · 16 days ago

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Superman, Batman and Wonder Woman sll got colour themed anthologies. Superman got a red and blue series, Batman a Black and White series, and Wonder Woman a Black and Gold series. But... I want to propose we take this a step further. We have four other founding JLA members, after all. And while I'd love to do colour themed stuff for all sorts of characters, let's just start with those four. Here's my pitches:

Flash: Red and Gold. Red and Gold would also work great for a Captain Marvel/Shazam colour based anthology. Both Flash and Captain Marvel pretty much share colour schemes. But I think it would work pretty well in either case. There's so many good shades within these two colours.

Green Lantern: Green and Black. I think these two colours make the most sense. Hal Jordan's uniform is mostly Green, with some Black on it. And a series of comics in Green and Black sounds really pretty, honestly. Really, really pretty visually.

Aquaman: Orange and Blue. I know Aquaman's outfit is usually Orange and Green, but Orange and Blue just sounds like a far better complementary pairing. Aquaman in orange, reflected against the beautiful blues of the ocean? It sounds majestic. It would be perfect for a comic series, in my opinion.

Martian Manhunter: Green and Red. Yeah, J'onn gets the contrasting colours of Red and Green. Red and Green are two colours that complement each other really well (as i believe even basic colour theory touches on), so a comic in shades of Red and Green sounds perfect. Beautiful. So much could be told in these colours.

I could keep going from here, but you get the idea. I've proposed ideas for colour based anthologies with Flash, Captain Marvel/Shazam, Green Lantern, Aquaman and Martian Manhunter. And as long as there's interesting colour schemes, I can keep going here.

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peachdues · 1 year ago

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Your Beauty Never, Ever Scared Me

A/N: oh boy, I just couldn't leave this storyline alone, could I?

Inspired by a post from @aagod who pointed out how amazing the trope is of touching/kissing/caressing one's scars, and I was a WHORE for it. This is inspired by that one line from this song.

But because I have never been brief about anything in my entire life (that's why I'm about to be an attorney), I had to write out a full-length fic set in the Wind & Moon universe.

I also had fun with expanding upon the concept of the Lunar Hashira, including a new breathing form, as well as a special weapon for Y/N! See the end for a link to a visual of a naginata (pole) blade.

Word count: 6.3k

CW: angst, fluff, explicit sexual content, unprotected sex, fucking in a hot spring. Pining Sanemi, soft Sanemi; shoulder injury, improper setting of a dislocated joint; scar worship (?).

Bon appetite!

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

It was supposed to have been a one-time thing.

Even though he had asked her to return to his estate for nightly training sessions, she had told him “no.”

It isn’t that Y/N doesn’t want him — she does very much so, to the point it pains her — but agreeing to continue this thing that had grown between them was a door she would not open.

She couldn’t.

Not when a career with the Demon Slayer Corps was akin to putting one foot across the line to the afterlife. Not when opening her heart up meant losing everything again.

And Y/N knows she already cares for the Wind Pillar far too much.

It pained her to establish distance between them over the last two weeks, even more so whenever she saw Sanemi Shinazugawa’s eyes linger on her for a second too long at their Pillar meetings, the hurt and longing in his eyes undeniable. He does not act any differently towards her, but she casn see the question torturing him every time she met that lilac gaze.

Why?

Because she wanted to. Because he had kissed her first, so really, it was his fault. Because she had melted the second his lips crashed against hers, and she had been so tired of wanting but never being allowed to have, and she wanted for once to be selfish.

But she had been selfish, and every day since she has been the direct cause of Sanemi Shinazugawa’s pain, and the thought is slowly wearing down the remains of her tattered heart into nothing.

But she loves him too much to want to lose him, so she does nothing.

——————————————-

They are sent on a mission together the next day.

The target is a suspected Lower Moon, located in some dense forest on the other side of the mountainous range surrounding the Demon Slayer Corp’s safe haven.

Rationally, Y/N knows why they’ve been paired together. She knows that his offensive Wind Breathing coupled with her more defensive style of Lunar breathing complement each other well in battle, each breathing style able to make up for the pitfalls of the other.

Still, Y/N thinks the universe is playing a damn cruel joke in making their fighting styles so compatible. It almost feels like a taunt.

They make small talk as they travel towards the demon’s location, every step fraying what’s left of Y/N’s delicate nerves. Her hand closes and releases the smooth shaft of her niichirin naginata blade — a specially forged weapon uniquely suited to her command over Lunar Breathing — as they near their target, her anxiety palpable.

She is not necessarily anxious over the fight — she is more anxious about whom she is fighting beside.

Nervous, because she told Shinazugawa that they could only ever be friends, yet she knows the second she thinks he might be in danger, she won’t hesitate to pitch herself in front of him. A hypocrite.

As she mulls over the thought, Y/N sourly thinks that the Master was probably right about relationships amongst the Hashira. She could not be trusted because she wouldn’t hesitate to sacrifice the world to keep her Wind Pillar safe, even though he wasn’t hers at all.

The pair come upon the ruins of a small village, most of the buildings in great disrepair and in various stages of decay. Both slayers, however, pick up on the foul odor emanating from one of the more stable buildings to their left.

Y/N looks to Shinazugawa, who nods in confirmation. That is where their target is most likely lurking.

“I’ll go through the front. Can you find your way in from the back or from above?” Shinazugawa asks, drawing his blade.

Y/N nods. “I’ll cover you.” She brings her naginata to her front, swiping the blade in a long, graceful arc up as she summons her first form, Night of the New Moon, to act as a temporary cloak for the Wind Pillar.

“See ya inside,” Shinazugawa takes off into the crescent-shaped void, not wanting to lose the temporary advantage her technique provides them.

Y/N darts around the side of the crumbling hut and finds a hole large enough to slip through in its rotting roof, joining the battle already raging within.

———————-

The fight against the Lower Moon had been relatively easy — it had almost seemed a waste to send two Hashira to complete the job, given how quickly they had managed to incapacitate the demon. But the tricky part had been in the demon’s blood art, with it capable of creating full, flesh and blood clones of itself that were just as strong as its main body. Though Sanemi ultimately manages to lob off the head of the main body while Y/N held off four — four — of the accursed demon’s equally powered clones at once, the Lower Moon is able to hurtle one last attack towards the Wind Pillar, who is still airborne as he comes down from wielding the final blow.

Sanemi is just barely able to brace himself for impact as the flash of red light sluices towards him, and he feels a slight twinge of dread because he knows he is unable to twist out of the way as he falls through the air. But just before the posthumous attack can land on its target, a flurry of silver and black materializes before him, naginata spinning rapidly in her hand as she summons her eighth form to shield him for the second time since they had started fighting together.

Y/N’s Lunar Eclipse technique absorbs the full force of the demon’s attack, but because she launched herself from the upper balcony of the rotting house where she had been battling the demon’s clones to guard him mid-air, she is unable to get into the requisite defensive stance Sanemi knows she needs for the proper execution of the technique.

So he is helpless to watch as the recoil from the clash of the demon’s attack with Y/N’s defensive maneuver sends her flying backward through a crumbling wood wall, helpless to do anything but yell her name, his free hand grasping uselessly at the air as she sails away from him.

Sanemi feels a sick sense of deja vu as he tears through the rubble into the adjacent room where she has been thrown, thinking back to the first time she had used that breathing form to save him, when she had nearly lost all of her internal organs. Hot panic roils in his stomach as he clamps down the roar building in his chest, moving to yank a large, broken piece of wood out of his way, uncovering the scowling Lunar Pillar.

Sanemi wastes no time grabbing Y/N by the waist and hauling her up to inspect her, eyes wild and frantic as he looked over her for injury.

Y/N groans, sending a fresh wave of anxiety sludging through him as he waits for the coppery tang of blood to hit his nose, to confirm his worst fears that she is seriously wounded, too much so to be able to wait for the Kakushi, and-.

“Shinazugawa,” Y/N’s voice breaks through the roaring in his head. “Shinazugawa. Sanemi.” She grits out, left hand rising to grasp his forearm, nails digging into his skin to command his attention. “I am unharmed.” Sanemi finally meets her eyes, breath still coming fast and hard in his panic, though his erratic heart begins to slow at her words.

Y/N winces, the hand around him flying to the shoulder of her sword arm as she hisses through clenched teeth.

Sanemi sees then the odd slump of her shoulder, as though the joint were sitting lower, an odd gap forming in the fabric of her haori.

Sanemi recognizes the injury, his jaw clenching as anger chases away the panic that had been bubbling within him. “Your shoulder. You dislocated it.”

Y/N shimmies from his grasp, head falling forward slightly to avoid his gaze. And for some reason, her refusal to meet his eyes makes him furious. Furious because how could she look him in the eyes and tell him that what happened during their sparring session could not happen again, because they couldn’t afford to have emotional attachments as demon slayers, yet not two weeks later, she risks her own neck for him again?

Sanemi opens his mouth, ready to rip into her, to curse her for her stupidity and her hypocrisy, because how dare she tell him not to care for her but rush to give her life for his.

Before the words can form, however, Y/N looks up at him, her eyes so soft and yet so full of an emotion he instantly recognizes as self-loathing that the words died on his tongue.

At that moment, Sanemi knows only one thing: there is no insult, no mockery, no barb he can throw at her that she isn’t already screaming at herself.

No point in beating a dead horse, really.

Sanemi doesn’t want to think about why she looks so guilty because to think about the why meant giving himself hope that she was hurting just as much as he was, even though he knows why she rejected him; understands it with every fiber of his being.

So, he says nothing as she stands, makes no sound as she stomps past him and out through the decaying wood doorway, towards a dying tree in the middle of the courtyard. He watches dumbly as she lines her arm up on one side of the dry bark, inhaling once, twice through her nose before she jerks herself with all her might in the opposite direction, a pained shriek tearing from her lips.

Sanemi has spent many years with the Demon Slayer Corp. He has seen countless injuries, far worse than a dislocated shoulder, and heard far worse screams from the dying as they succumbed to demons.

Yet, as he listens to Y/N’s scream of pain, his blood runs cold.

No, Sanemi thinks, he never wants to hear that sound ever again. Thinks it would drive him mad if he were ever forced to.

But he doesn’t tell her this, because she made it abundantly fucking clear that they cannot be more than mere colleagues, so he tucks the knowledge away that his limit is apparently her pain deep into the recesses of his mind.

Sanemi tries not to think about what that means for his heart.

————————-

They arrive at the Wisteria House just after the stars in the sky had winked out, dawn not too far away. The mistress of the house promises that there is a large hot spring just behind the small estate, up a winding path and that they are both welcome to use it. Y/N was so enthralled at the promise of hot water on her aching muscles that she hadn’t thought to ask the Wind Hashira if he too planned to bathe.

Which was how she found herself in her current predicament.

It was stupid.

It was so stupid.

They had seen each other naked for crying out loud, had shared their bodies with each other. But now, here they were, stuck in opposite corners of the hot spring, resolutely turned away from one another as though neither of them had anything to hide from the other at all.

As though he hadn’t spent an entire evening inside of her, making her call out his name until her voice went hoarse.

His first name, at that.

Y/N hopes to conceal her flushed face from the Wind Pillar for as long as possible, so she hugs her good arm across her chest tighter, wincing slightly as her poorly re-set shoulder throbbed. Y/N predicts a visit to the Insect Pillar’s infirmary was in her near future, and the thought of her aching shoulder having to be poked and prodded anymore made her want to vomit.

If Y/N had been alone, she would have groaned, loudly, until she felt the weight slowly crushing her begin to lighten. But she is not alone, because she so stupidly failed to ask Shinazugawa who should bathe first, and now he is here and so is she, and they are both naked.

Still, the Lunar Hashira cannot deny the pang of longing in her heart as she furtively glances over to where the Wind Pillar stands, magnificently muscled back facing her, as he cups water between his hands to bring over his head, dampening it from white to a darker silver color.

His hair is shorter than it had been two weeks ago, she realizes, and she bites down on her lip as she realizes she likes it – a lot. Her eyes then fixate on the silvery jagged lines of the scars which crisscross his back, tracing her gaze down to where the top of his hips disappears into the glowing turquoise of the spring water. He has more scars on his back than he has on his front, she notes, evidence of his years of brutal training.

Evidence of his loss; great, unimaginable loss.

Because even the most skilled soldiers cannot save everyone, a truism she knew tore Sanemi apart. As memories of their past conversations came flooding back to her, memories of Sanemi telling her exactly what had happened to his family, his partner in the Corps, Y/N feels the oily slick of guilt seep into her gut.

It is ironic, that Sanemi Shinazugawa of all people, had felt comfortable enough to be vulnerable with her, — both physically and emotionally — but she had run at the first opportunity for her to return that vulnerability.

She, who had prided herself on being someone that others could depend on, could turn to in moments of need.

But she had run.

Because she is a coward.

He is beautiful and good and selfless and she is a damn coward.

Y/N’s shoulder throbs so violently it feels as if it has its own heartbeat, but Y/N doesn’t pay it any mind. She does not sink deeper into the beckoning warmth of the spring water to try and relieve the ache that is so deep it makes tears sting her eyes.

Such comfort is the least she deserves for the pain she has caused him.

——————————

He hadn’t meant to look. He swears he hadn’t.

But Sanemi accidentally turns when he hears her hiss, an instinctive urge to respond to a threat, to protect her forcing his head around, only to see no threat existed at all. Rather, the sound seemed to have been made in response to her shoulder wound.

She is not turned away from him completely — he has a perfect view of her side profile, the side of her injured shoulder facing him directly. Though her body is mostly concealed by the thick curtain of dark hair that spills down to her waist, he can see that Y/N still has her good arm locked snugly around her chest, in some futile attempt to conceal her ample breasts from sight.

Sanemi bites his lip to keep from snorting. Did it seem stupid, considering he had seen her in a far more intimate setting just a couple of weeks prior? Obviously. But Y/N’s discomfort with the situation had been obvious the moment she had stumbled across him in the hot springs, and Sanemi isn’t about to push her any further.

Especially after the stunt she just pulled on their mission.

He means to turn around once he confirmed that she was safe, that there was no threat looming in the woods surrounding the rocky hot spring. But his eyes snag on her face, on the grimace that twists at her mouth and the furrow of her eyebrows as she massages the tender skin around her swollen shoulder joint.

He hates to see her in pain. Hates it so much, it makes him want to rip the world apart with his bare hands.

And maybe it was because it tore at him to see her in such pain that he feels compelled to speak up, even though he knew he was opening himself up for more rejection, even rejection as her friend.

“You need heat,” Sanemi says, turning fully towards her.

Y/N startles slightly at the sound of Sanemi’s voice cleaving through the silent tension that had been steadily building between them. She turns her head slightly to face him, good arm tightening its hold over her chest.

He is standing in the water, body turned fully towards her. The blue-green spring water laps gently at the toned muscles of his lower abdominals, but Y/N can still make out the start of the impressive “v” of his hips. Her cheeks warm at the sight of the small trail of silvery hair that began just beneath his navel winding down and disappearing beneath the surface of the water to the crop of neatly trimmed hair that she knows frames his thick, proud length.

Y/N’s mouth runs dry as the memory of what Sanemi did to her with that length on the training grounds of his estate flashes through her mind.

So lost in thought is she that she almost forgets to respond to what Sanemi has said, flushing a deeper shade of crimson when she realizes that he had been talking about her wound.

“O-oh, I know. It’s just hard to do when I’m — well, you know.” Y/N laughs shakily, wiggling her good shoulder and the position of her arm across her chest.

Sanemi stares at her for a moment, eyebrows raised incredulously, though Y/N drops her gaze from him before she can see the smirk tugging at the corner of his mouth.

“I can help — if you’re comfortable with it, that is.” Sanemi offers.

Y/N feels her heart lurch at the silver-haired man’s proposition, guilt sliding back into her veins. She does not deserve his kindness, does not deserve his help after how she has treated him, and yet he offered nonetheless.

Y/N cannot deny him again, not when he seems so earnest in wanting to help ease her pain, so she nods. Something like relief flits across Sanemi’s face as he begins to make his way through the water towards her, keeping his eyes fixed behind her out of respect.

When Sanemi is close enough to reach out and touch her, he stops, the water having risen slightly up his waist now that he is in a deeper portion of the spring.

“You can — you can turn away. Put your back to me.” Sanemi says, awkwardly shifting his weight between his legs.

Y/N nods and turns to face away from him. Sanemi’s proximity sends chills across her skin, and Y/N’s belly dips in anticipation as she waits. The thick, damp air of the spring combines with the hot water licking at her upper waist makes her feel dizzy. Wordlessly, Sanemi cups a handful of hot water and brings it up over Y/N’s bruising shoulder, opening his palms to let it pour over her skin.

Though her arm remains firmly placed over her cleavage, for the first time in a long while, the Lunar Pillar feels her body begin to relax under the exquisite heat of the spring water Sanemi delicately pours over her tender shoulder.

So relaxed is she that she does not realize she is drifting backwards, not until her head thuds lightly against something hard and warm. Jolted by the sudden contact, the Lunar Hashira’s silvery eyes fly open and collide with the lilac irises above her, the surprise in his gaze a mirror of her own.

He is now much closer to her than he had been, and it is with no small amount of embarrassment that the Lunar Pillar realizes that in her haze, she has sunken back against the taut, warm body of Sanemi Shinazugawa.

There is a hint of red that begins to spread across the girl’s cheeks as she looks up at him that makes Sanemi’s ears burn, and he quickly moves his own gaze to somewhere — anywhere — that isn’t the ethereal creature now peering up at him with those haunting eyes.

He wills his other head to not react to the feeling of the girl’s head against his sternum; to not react to the silkiness of her hair or the thick haze of jasmine and honeysuckle soap which now enveloped him.

God, has she always smelt this good?

There is no making sense of what happened next. the Lunar Pillar lifts her head from Sanemi’s chest and turns to face him completely, her left arm still failing to totally obscure the luscious swell of her breasts from view. She peers up at him, as he continues to try and glare at a nearby rock in a futile attempt to not show that he has been watching her every bit as much as she is watching him.

Slowly, the Lunar Hashira lifts her free hand to lightly graze a thick scar that slants Sanemi’s left pectoral. She marvels at how it is both jagged and thick but surprisingly smooth and soft beneath the gentle press of her fingers.

Her touch is feather-light but Sanemi feels the skin beneath her soft caress erupt into flames, his cock beginning to stir at the slight contact.

She begins to trace her fingers to the start of another scar lacing his chest — slightly lower than the first — when Sanemi’s hand snatches up to grab her own, stilling its movements.

“Don’t-“he hisses through clenched teeth, his eyes screwed shut as though in pain. His grip on her is firm, but not harsh. “Don’t touch me like that.”

The Lunar Pillar feels the guilt and shame, hot and relentless, course through her blood. Of course he doesn’t want her to touch him — she rejected him after all. Though she had realized there was no point in trying to run from the blossoming warmth she felt her in her chest every time she looked at the stone-faced Hashira, that did not mean he wanted her, too.

Swallowing the lump that was forming in her throat, she moves to quickly pull her hand away, an apology already falling from her lips at her complete lack of professionalism, at her idiocy—

Sanemi’s grip on her hand tightens before she can remove it, pressing her hand harder against his chest. “Don’t touch me like that,” he repeats, opening his eyes to look down at her startled, red face, “because I won’t-.” He winces, trying but failing to cut himself off before he could make the admission that would surely damn them both.

“Because I won’t be able to stop myself if you do.”

Y/N’s eyes fly up to meet Sanemi’s burning stare, her breath catching in her throat. She curls her fingers against his chest, her arm falling from its position across her breasts so that she is fully exposed to him, and Sanemi thinks his heart might fly out of his chest. She steps closer to him until the soft plush of her chest lays flush against his upper abdomen, the heavenly feeling causing Sanemi’s cock to throb as she leans in close.

Sanemi’s free hand itches to touch her, to rise to rest on the dip of her waist and tug her close, but he holds back, insistent that he gives her an out, a window to walk away if that was what she still wanted.

Instead, Y/N stares up at him through a thick cluster of dark lashes, her gaze setting his skin on fire as she further presses herself against him.

“Then don’t.” She whispers.

Sanemi’s heart skips several beats, and his fingers tentatively rise to brush the skin of her waist, Y/N’s eyes fluttering softly at the contact. He lifts his hand, however, to cup her jaw, forcing her to look back at him, needing to see her eyes to confirm that she truly wanted this — wanted him.

“If we keep going, that’s it. No more running from one another.” He warns, voice hoarse with desire and emotion. “There will be no one else.”

Y/N leans her face into his touch, and Sanemi thinks his knees might buckle right then. “There never was anyone else,” she says earnestly, raising her good arm to parrot the hold he has on her face. “It’s only you, Sanemi. It has only ever been you.”

Whatever resolve Sanemi had kept tethered within himself snaps, as he crashes his mouth down against Y/N’s, her mouth opening easily to allow his tongue entrance. He crushes her face against his, desperate to give everything he has and to take whatever it is she can offer him.

Y/N moans deeply into his mouth, her fingers threading themselves through his damp hair. Sanemi’s kiss is so deep that she feels as though he will consume her whole, but she cannot find it in herself to care because, for him, she would let herself burn.

His lips are still locked on hers as he drops his hands from her face, reaching down to grip under her thighs and lifting her up, Y/N’s legs locking around his waist with ease. Sanemi makes his way towards a small, rocky island that separated the hot spring into two, connected pools, wading seamlessly through the water.

Y/N breaks from the impassioned kiss with a gasp as the cold, rough edge of the rocky bank scrapes against her back. Sanemi uses the opportunity to readjust his hold on her, lifting her slightly up to press her against the island so that he has better access to her neck and below, though he does not drop the iron grip he holds on her hips.

Sanemi dances his lips down the elegant length of Y/N’s neck, pausing to suck on her sensitive pulse point and eliciting a high, keening moan from her. He moves one hand from its bruising grip from its position on one of her thighs, wrapped tightly around his waist, trailing it teasingly under her to knead the soft flesh of her backside. Y/N moans again, grinding her hips against him, desperate for the tiniest bit of friction against her core which was now aching with her need.

Sanemi growls as Y/N’s core brushes against his throbbing length, his teeth sinking into the juncture between her good shoulder and neck as he nipped her in warning. As much as he wants to bury himself in her intoxicating heat, he will not do so until he knows she is good and ready to receive him.

He pulls away from her neck to look at her, his eyes dark with need and with something deeper, something tender that Y/N won’t name right now, even though she cannot deny that she feels it, too. His cheeks are dusted pink, and his lips are reddened by her kiss. His hair, though still damp, is perfectly tousled from her fingers, and his chest heaves as he tries to control his breathing.

Sanemi is beautiful and Y/N knows in her heart that she is doomed. Doomed because there will never be anything as good as this — as good as him.

He doesn’t hesitate to pounce back on her, hand dragging down the front of her torso to fondle her breast, his lips following down the same path. Before Y/N can draw another breath, her breast is sucked into Sanemi’s deliciously hot mouth just as a rough, callused finger runs over the slit at her core, dipping below slightly to brush against the bundle of nerves at the apex of her thighs. Y/N cries out then, her fingers moving to clutch onto Sanemi’s shoulders, and she finds that it is easy to ignore the throb in her injured shoulder when he is working to relieve the pulsing ache between her legs.

Sanemi begins murmuring against Y/N’s breast as he slides one thick finger into her, causing Y/N’s hands to fly up to grip his hair, pulling harshly at the strands as she is overwhelmed by the sensation. He tells her she is beautiful, how perfect she feels clenching around him, and how he cannot wait to be inside her and make her sing. He slips in another finger, his thumb pressing against her clit as his teeth graze her nipple, and Y/N shatters in his arms.

“Mnnnh, Sanemi,” she pants, thighs tightening around his waist as she grinds herself relentlessly against his hand. “Oh!”

Y/N comes with the prettiest moan Sanemi has ever heard, and it takes everything in him not to follow suit just by the look of blissful pleasure on her face. Sanemi cuts off her cries with another kiss, fingers curling inside her as he brushes against the sensitive spongy patch on her inner wall, causing Y/N to fall apart all over again, a gush of fluid coating his hand for a second before the water washes it away.

Y/N feels delirious from pleasure, but a cold sting rushes through her, cutting through the hazy fog in her mind as Sanemi removes his fingers from her needy core, her walls still clenching in the aftershock of her successive orgasms. The sting does not last, however, as Sanemi readjusts her thighs around his hips, unhooking one of her legs to bring it up to her side against the rock island, bending it at the knee. He hikes her other leg higher up his waist so that her core is now pressed flush against his demanding length, its weight heavy and hot as it rests against her sensitive flesh.

He rubs his cock against her dripping folds, the friction causing Y/N’s head to fall back against the rocky bank with a thud, uncaring as a wanton moan rips from her throat. Sanemi has one hand supporting the leg pinned against the rock at her thigh, and the other grips her waist tightly, using the rest of his body weight to keep her slightly upright and pressed against the stone.

The grip on her waist tightens as he calls her attention back to him. Through half-lidded eyes, she sees him staring intently at her, eyebrows raised in question, and she realizes that he is waiting for her signal.

The thought that he would still wait for her consent, that he is still offering her an out if she wanted it, is enough to make her want to cry. But she can’t stop now, can’t stop ever, because Sanemi makes her blood sing and she is so tired of denying herself the happiness she feels whenever he is near.

“Oh Sanemi, please. Please.” She begs, rolling her hips towards him, desperate for him to claim her all over again, to make her his and his alone.

Sanemi does not waste any more time as he carefully sinks into her, a strangled groan falling from his lips as he no doubt was overly sensitive from having waited so long. Y/N’s head falls back against the stone embankment and she cries out, finally feeling whole as he seats himself fully inside her.

Sanemi does not wait long to start moving and for that, Y/N is grateful. But unlike their first pairing at his estate, Sanemi takes his time, rocking his hips into hers, cock hitting her so deep that she cannot tell where she ends and he begins. Their first time had been the product of repressed sexual tension that had been steadily building between them, hard and fast and needy, but this?

This was different.

This was passion. This was both the end and the beginning, a sacred covenant between them that bound their hearts together, entwined their souls for infinity.

As Sanemi’s hips pick up the pace against her, the water stirring and sloshing and breaking around them with the force of his thrusts, Y/N realizes that until now, she has been on fire.

She had been from the moment their lips had met during training at his estate. She had been engulfed in an inferno that had only grown hotter, had only consumed her more, when she had tried to run, tried to deny the love that had bloomed in her heart well before she had ever offered herself to him for pleasure. For the last two weeks, she has burned and burned because she had known deep in her soul that she loved Sanemi Shinazugawa and had put herself in hell trying to deny it — to deny him.

Yet he had come and saved her, again, had pulled her out of that pit of fire and brimstone and smothered the flames with his tender heart and tender kiss, and now she was no longer burning; she was just warm.

Warm and safe and in love.

“Y/N,” Sanemi rasps, his forehead pressed against hers as his eyes bore into her, his mouth falling open. His hands clutch her tighter against him, the possessive drag of his cock making Y/N see stars as she clings to him, moaning and whimpering as she feels her release building inside her belly.

And though she is unable to stop the words that fall from her lips, she means them with every ounce of her heart.

“I love you,” she whimpers, fingers digging into Sanemi’s back as his hips stutter slightly against her at her words, the movement resulting in a delicious spike of pleasure against her clit. “I love you, Sanemi.”

Sanemi’s forehead pulls away from her own, his eyes wide and so full of hope it breaks her heart. He does not say anything, but the way he then kisses her makes her taste his response.

I love you, too.

Y/N breaks the kiss, her moans growing louder as her end nears, and from the way Sanemi’s movements quicken, becoming slightly uneven, she knows he is near as well. So Y/N presses her hands against the sides of his face, thumb running over the jagged scar cutting across his cheek as she tilts his head up to look at her.

Lavender eyes meet hers and Sanemi tumbles headfirst over the edge.

He comes with a shout, the tendons in his neck straining as his hips press hard against her. Y/N feels the warm rush his seed start to fill her and she follows after him, clenching so hard on his cock that Sanemi moans again, his release prolonged by Y/N’s pulsating walls around him.

They are both finally spent but Sanemi cannot yet bring himself to pull out, instead burying his face in Y/N’s neck as he tries to catch his breath.

“Did you mean it?” He pants against her sweaty skin, his breath causing goosebumps to ripple across her. “Did you mean what you said?”

Y/N moves to cup his face, pulling him away from her neck so he can meet her eyes. Though he is inside her, he blushes as she peers up at him, her expression serious.

“I love you, Sanemi. I have for a while,” She pauses, considering. “Longer than I was willing to admit two weeks ago.”

And her words are so honest, spoken with such conviction, that Sanemi cannot stop the grin that spreads across his face, and Y/N thinks she has never seen a more beautiful sight than a smiling Sanemi Shinazugawa, as he leans to kiss her slowly and languid.

————————

It’s hours later, and the two have not left the hot spring, even though they’ve long stopped feeling the heat of the water.

They had not stopped themselves from having one another again and again. Sanemi had still been buried inside of her when she had felt him harden as she professed her love for him again, and so she had had no choice but to move him under her and ride him until he shouted her name, filling her back up with his essence.

Y/N now rests her head on Sanemi’s chest, fingers tracing the outline of the scars dancing across his pectorals.

God, he was beautiful.

His scars told a story — a story of a warrior who gave every part of himself to the dream they shared of ridding the world of demons.

A story of strength; of survival. A warning that he had won every encounter with every demon who crossed his path.

It was a beautiful story. He was a beautiful story.

“Ugly, aren’t they?”

Sanemi’s derisive tone startles Y/N from where she lay, and she looks up at him in alarm. Though the expression on his face was soft — contented, even — there is an unmistakable hardness in his eyes as he glances down to where her fingers rested.

“What on earth do you mean?” Y/N demands, fanning her hand out protectively across his chest.

Sanemi does not respond, merely choosing to smile ruefully at her.

But Y/N shakes her head. “No. No, they’re not ugly; not in the slightest.” She moves so she’s sitting on his lap and bends over him, brushing her lips along the outline of each scar that crosses his skin.

“You’re beautiful.” Y/N insists between the press of her lips to him.

Sanemi reddens but shakes his head at her. “They scare kids, ya know. And girls. And most people, for that matter.”

Y/N looks up from the scar she is currently lavishing and sees Sanemi watching her intently. She sits up, reaching a hand to cup under his chin so that he won’t try and hide from her, won’t try to avoid what she is about to say.

“Your beauty has never scared me, Sanemi. Ever.” She swears, voice firm and steady.

Sanemi’s heart feels like it is going to punch through his chest and dance across Y/N’s lap. At that moment, Sanemi realizes that nothing else matters to him, nothing at all, except for the woman with the kindest heart he’s ever known and the moon in her eyes.

So he sits up, and cradles her face while he kisses her softly, breaking away from her only to respond to her earlier declaration.

“I love you, too.”

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

I hope you all enjoyed it!

Here is the reference for the Lunar Pillar's naginata blade -- fun fact, naginatas were historically used by Japanese noblewomen for protection!

Tag-list:

@stuckinthewrongworld @ladytamayolover @sweetblueworm @kazehayaaa @horror4themasses @catzpawn @lollypoporabullet @fuckimgenderfluid @sobbing-bunny @otaku-reblogs @umekohiganbana @mydreamissleeping @finnydraws

#sanemi shinazugawa #sanemi x reader #kny x reader #sanemi drabble #kny fanfic #demon slayer hcs #kimestu no yaiba #kny #kny smut #sanemi shinazugawa x reader #demon slayer

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whollysensei · 6 months ago

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sensei what would "the left and right hands" wedding look like? more steppe or more capital? in the town or in the fields? would danya wear his snakeskin coat to his own wedding?

pt. 1 wedding ideas steppe edition Ohh, i have so many words in my little head i doubt i can fit them in just one post. Im quite certain people wouldn't care much about my letters so i brought pictures >:) also im currently feeling very nauseous almost 24/7 so pls wait a bit before i get my strength back and post the second part

To make it short, i think they respect each other upbringings and cultures enough to do both.

First of all, since we already have a concrete idea of what a wedding to the Kin is — which is the sacrifice of a Herb Bride in order to wed her to the Earth — there might be a need for an alternative ritual for the declaration of eternal companionship. I think of it as a dance still but not where one is caressing the Earth, but showing her the connection of two people. Of how they complement each other through dance (earthly tango of sorts). As if a silent song of movement and fabric. And so to add even more meaning to the Kin's dance.

Though, frankly speaking, i have a big grudge with such bare (hehe) selection of clothing ipl gave to the Kin. I doubt all the festivities and ceremonies wouldn't require special kind of wardrobe. Atleast for the sake of convenience. (Ohh how i'd love to draw all the different jewelry and accessories the herb brides would wear and everything and anything....)

I pretty much looked for the same cultures which were used for the creation Kin's language ( Tibetan, Mongolian, Buryat ) to imagine my own idea of such costumes. These people have such gorgeous headwear and bright fabrics and beautiful embroidery, I can't be doing it justice with my art. My main goal was to make the costumes use mainly head accessories and visually light materials so the gays can move and dance freely. But thanks to this little question i might draw more of it and maybe even post it!!!!!

All in all, 5/10 execution cause i'm too stupid for beautiful clothes these are literally so pretty i want to stare at it :c

plus a more private sketch with our newlyweds c:

thank you for reading this c:

#rambling into the void #pathologic #мор утопия #daniil dankovsky #artemy burakh #burakhovsky #burda #бакаруспик #artists on tumblr #herb bride #wedding??#not wedding??#who knows

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raven-at-the-writing-desk · 1 year ago

Text

savanaclaw light novel: the importance of introspection

I’ve previously discussed how TWST benefits from telling us the same story across different mediums. Different mediums provide different benefits over others, and some can “patch up” rougher bits of story or add more detail to them. The game is interactive and serves as a baseline for most new content. The manga is able to have far more freedom of movement and expression due to being visual-heavy. And last, but not least, a light novel, which is mostly text, has the boon of letting us see more of each character’s thoughts and feelings. We can elaborate on what the game already established and understand the characters on a deeper level.

I would say that the light novel’s format will most benefit the OB boys, as they are the ones who will go through the biggest character arcs in the main story. Because the game’s story is told via mostly dialogue and some sound effects, we rarely, if ever, get a clear understanding of what the OB boys are truly thinking and feeling outside of their brief post-OB flashbacks. The same goes for the manga, which has limited pages to tell its story, so it has to keep a certain pace. But a light novel? Well, you can go ham there with an omniscient narrator.

Today, I want to talk about Leona’s expanded post-OB introspection in the second volume of the light novel as an example of this. Then I will combine it with the information we have from the game and see how the light novel complements what already we know of his character thanks to hindsight. (I’ll be referencing this fan translation if you want to read and follow along!)

First thing’s first! From the game, we know that Leona enrolled in Night Raven College one year late (and then got held back a year, which makes sense considering he is 20 in the main story present). He didn't find a use in attending school since he, by royal birth, was able to afford all the best tutors in the world and didn't think NRC had anything left to teach him. In Leona's Birthday Boy vignettes, he further specifies that he decided to enroll at NRC after Cheka was born. As Leona says in his post-OB flashback in-game, Cheka's birth means "the despised second son loses what little claim he had to the throne forever", essentially putting an end to his hopes. This would imply that this specific change in circumstance was the push that made Leona want to physically distance himself from home. Furthermore, it's supported by Leona's other behaviors: he does not take calls or read letters from home if he can help it (implied by Cheka asking why Leona doesn't answer his letters and Cheka calling on Halloween night to catch up with him; Leona lies and quickly hangs up), he makes excuses to avoid going home (as Kifaji states), etc. If we want to extrapolate even more, how is it that Leona, second born prince, initially crossed paths with Ruggie, who was born and raised in the slums (which, I imagine, must be quite some distance away from the royal palace)? This makes me think that even before Leona enrolled at NRC he would leave his housing and roam around, finding alternative places to stay because home just felt too uncomfortable and suffocating for him. There's also the implication that Leona often brooded over his circumstances, as he confesses to thinking about it and going to NRC to get his mind away from the tired cycle--although he also acknowledges that he's running away from "the pain" of having lost the throne.

The distancing would prove itself to be beneficial to his mental health, as Leona cites that his heart started feeling lighter, his restlessness dulled, and his pain numbed. With the throne out of sight, so, too, was it out of mind, and his longing softened. But that same haunting despair returns when another group starts to place expectations on him. This time, it's no longer the palace servants, but his own dorm members. Instead of fear and derision, his new pack looks at him, their "king", with desperateness--and, more importantly, hope. Speaking about the future with sparkling eyes. That, in turn, made Leona hopeful too. He can't let these people who look up to him and rely on him down, so he must do anything to win. That's all he ever wanted: to win, just this once. No matter what, he wants to win.

But when Leona's plans crumble, that crushing sense of despair rears its ugly head. He fails. And he suddenly understands that all his efforts will always amount to nothing, that they will always be meaningless, that there is no future for him. Leona's hopes have been dashed. He has been struck down by the world once again, just as he had started to climb up, fighting tooth and nail, to prove himself. Yet when defeat came, he also claims it doesn't bother him as much as he thought he would--perhaps because he's so accustomed to not winning, because maybe this is the outcome he had expected all along in the deepest recesses of his heart. That familiar disappointment begins to hurt him once more, and Leona wants to forget it all, to retreat to the shadows and to lick his wounds, to be far away from that pain.

One interesting new detail we glean from the light novel is that Leona is terrified by his dorm mates staring at him with hopeful eyes. It's not their expectations he's inherently scared of, but what those expectations can do to him. Leona is scared of himself, of being motivated by others to act, to never give up hope, when he still anticipates being beat down again and again by a world that rejects him and denies him. He even goes so far as to say he would be pathetic if he let his dorm mates' words inspire him and keep his waning hope alive. Ruggie, who had wanted to turn the world upside down together. Jack, who was inspired by his play three years back. All the mobs putting faith in their futures on him, their one and only leader. With so many people looking to him, how can he not be swayed by that positivity that had once been so elusive to him? How could that not ignite what little spark of hope is left in him? And that's exactly what Leona finds so dangerous about it. He's lived almost his entire life being put in his place, hurt every time he tried to demonstrate what he could do, how he could contribute--yet time and time again, here comes life, tempting him to try again, just to inevitably be compared to his brother and kicked down, delivering another blow to his pride and his self-image. Leona truly seems to hate himself for not being able to let go of that small fragment of hope he has left. He wants so badly to give up and not have to worry anymore about something he can never obtain. He's so tired of struggling and suffering for nothing. If he just caved, then he would never be hurt again. He can't be hurt if he doesn't care about anything. Yet no matter how much he wishes or tries, he can't run far enough away to detach himself from those expectations of grandeur, of being something more.

There's been many fan theories about Leona's mental health in circulation well before the release of this light novel, many of which mention self-loathing in spite of how proud and confident he typically presents as. You'd have to read in-between the lines of dialogue from the game to draw these clues out, whereas the light novel lays it more bare to you. It hits very differently reading hateful statements made by the character to himself. Leona calls himself all sorts of things: a fool, pathetic, insignificant, boring. That he isn't strong, that he isn't wise, that he's not loved. (In the in-game flashback, Leona also talks in a self-deprecating way, but to a far lesser extent than in the light novel; we also see that Falena does his best to discourage Leona from this kind of behavior.) That this is who he is, that it's the one thing he's afraid to admit and accept--but he also says he lacks the "strength" to give up. That's why Leona would rather run away than confront that potential truth. The option to embrace complete nihilism just isn't possible for him, because he can't just quash that pesky little thing called hope. This is much more complex than what's explained in the games and demonstrates a maturity and degree of self-reflection from Leona that we've never seen before. What's more, this gives us brand new context with which to view many of his other seemingly mundane actions mentioned in the game. At face value, Leona often acts very callously and doesn't care to help others unless he gets some kind of benefit from it (like agreeing to poof the contracts in book 3 just because he has his own deal he wants to get rid of). We see this time and time again when he instructs others reliant on him or less knowledgeable than he is in various matters where he is well-read and experienced with. For example, he takes note of his club members' strengths and weaknesses and offers tailored advice to help them improve their play. He tells others how to mine magestones of an adequate size in Vargas Camp. Maybe he's just doing these things to make the circumstances easier for himself (so he can put forth less effort to leading them in a game, or so he can nap heartily). But from what we've just learned from the light novel, now I'm suspecting a different secondary motive.

What if... Leona is, in part, encouraging and helping others to hone their own skills to subconsciously compensate for what he doesn't believe he himself is capable of? Because there's still so much hope for his dorm mates, for his underclassmen... (and, let's not forget, it was those in Savanaclaw that first motivated Leona to "try" again for the first time in forever) but he doesn't have that same amount of hope for himself. I get these vibes as late as book 6, when Leona and Jamil have a talk. In their conversation, Leona directs many pointed, blunt words at Jamil--words that could very easily also be thrown back at Leona's face and be applicable to his book 2 self. He accuses Jamil of making excuses so he won't have to actually act, just as Leona has continuously run away from uncomfortable situations to put himself at ease. At one point, I believe Leona event states that Jamil “*isn’t like [me]”, Here, again, it can be argued that we're seeing Leona's self-awareness on display, as well as a willingness to warn others to not follow down the same path he once treaded, to lose all hope in the future. Again, it's done with a double purpose: the other one being to get Jamil out of his way while they're exploring. And (of course) Leona's way of expressing his message is gruff and not very warm, not to Jamil and certainly not to himself. He's become prickly and defensive himself after all of his experiences--but that just adds to the complexity of his character when we synthesize what we know of him from TWST multimedia.

I really wish a lot of what was in the light novel post-Leona OB was also in the game. It would have helped to flesh out Leona's motivations and fears, which book 2 was sorely needing. As he is presented now, he appears shallow and selfish in his goals, and we don't fully understand the emotions spurring him on, a lot of which is genuine self-loathing and the sinking despair that comes with thinking you're not enough and you'll never be enough. That would have been so much more relatable than the in-game Leona having himself a pity party with a great amount of emphasis on the throne--a throne which, in actuality, just symbolizes a desire for recognition, love, and acceptance. It was never about explicitly being king. It was about being seen as his own person and appreciated for it instead of being admonished and compared to his exalted older brother.

Now, as an adult, Leona has become someone who pushes away those who try to give him that which he craves. He sees a lot of people--his own family and his dorm mates, the closest thing he has to friends--as dangers to his own mental wellbeing. He's scared to let them in, so he's built up these emotional, arrogant walls around himself. Think at how often he rejects advice from Falena and refuses Cheka's affection for him. Look at how this behavior extends beyond those who are keeping him from a literal throne and to his classmates. They instill hope in him, hope which scares Leona. The things he has wanted all his life are now poison that chips away at him. Considering all of that together, it makes Leona's story far more tragic than how it was initially shown to us in the game alone. But guess what? That can also become his strength, fuel for his character arc. Leona isn't running anymore. He's actually returning home for winter break in book 4. He's determined to not get held back again. He's committing to an internship in a field (an energy lab) which will immensely help his country (which is rich in natural resources). All of this, coming from a young man who once acted bitter when his older brother suggested that there were many things Leona could do with his intelligence to benefit their homeland. Leona is making slow strides and steady progress toward a future he used to think was unattainable for him. From that darkness, he's rising anew--like the sun upon the savanna.

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twomiddlefingersforthehaters · 8 months ago

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Blue and orange are complementary colors, which means they are opposite each other on the color wheel, positioning that signifies their complementary nature. When these two colors are placed together, one color tends to make another color stand out, highlighting a contrast. Blue is the color that contrast with orange, they can create the strongest visual impact.

Sasuke is associated with blue color and naruto is associated with orange color. On the color wheel, blue is the direct complement of orange. Since orange is a mixture of red and yellow, your complementary colors will be purple and blue respectively. Blue can be the complement of both yellow and orange

VOTE1 & VOTE2 = Blue & Orange

Blue (Sasuke) is a cold color while Orange (Naruto) is a warm color.

Kage summit arc

VOTE2

Also Sasuke is associated with purple color and naruto is associated with yellow color. Purple and yellow it brings high drama, contrast, and emotional tension. They are each really emotional colors, and they create fantastic tension with each other.

The giant explosions created by the collision of Rasengan and Chidori in vote1 and vote2 are exactly opposite colors. Naruto's chakra color (yellow) and Sasuke's chakra color (purple)...they are opposite side of each other as well.

Note: (Cool colors) Sky-blue, blue and violet/purple indicate night time, means 'yin'. Violet color indicates midnight. (Warm colors) Yellow, orange and red indicate day time, means 'yang'. Naruto & Sasuke colors are complementary and when they combined or mixed, cancel each other out by producing color like "white or black". Sasuke would become 'black' and Naruto 'white'. They are yin & yang.

Yang began to signify the sun itself and the state of brightness and openness while Yin began to signify the moon and the state of darkness and closeness. As a result, they further derived two mutually complementary principles, of which Yang represents masculinity, light, warmth, dryness hardness, activity, etc., while Yin represents femininity, darkness, cold, moisture, softness, passivity, etc

the interdependence of Yin & Yang means that each of the two aspects is the condition for the other's existence and neither of them can exist in isolation. For instance, without daytime there would be no night; without male there would be no female. Hence, it can be seen that Yin and yang are at once in opposition and in interdependence; they rely on each other for existence, coexisting in a single entity.

The basic idea of Yin and Yang is not just the existence of the binary elements nor the dichotomy of phenomena but the harmony of opposites: they are not just in contrast or contradiction. Through the appropriate combination of Yin and Yang, these co-existing elements create beauty, balance and completeness.

Literally, Yin means dark or shade and Yang means bright or shiny. Both the physical and metaphysical worlds can be defined in terms of the relationship of the binary elements. The coexisteiice of opposites is a universal principle: love and hate, happiness and sadness, life and death, pure and practical, material and spiritual, black and white, and so on. Yin and Yang produce everything in the universe through combining in various proportions. In Onmyōdō, Heaven is Yang and Earth is Yin. Without Yang there is no Yin; without Yin there is no Yang. Both create a totality, a complete whole.

#naruto manga #yin & yang #sun&moon #heaven & earth #sns #narusasu #sasunaru #2mfs4dhaters text #my stuff

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mywitchyblog · 4 months ago

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Masterlist :

Greetings, fellow shifters and curious minds!

As my blog continues to grow and expand, I've recognized the pressing need for a comprehensive master list to help navigate the wealth of information I've shared as of know and that i'm planning on posting in the future. This list will serve as your guide through the various topics and discussions I've explored in the realm of reality shifting.Those that do not have a hyperlink are those under works that will be soon published.

My tarot Services :

Controversial Topics: In this section, you'll find links to in-depth essays I've crafted addressing some of the most debated and sensitive subjects within the Reality Shifting community. These pieces aim to provide balanced, thoughtful perspectives on complex issues.

Age Changing: An exploration of the ethical considerations and personal growth aspects of altering one's age in Desired Realities (DRs).

Race Changing: A nuanced discussion on the practice of shifting into different racial identities, examining both the potential for increased empathy and the concerns of cultural appropriation.

Permashifting and Respawning: An analysis of these advanced shifting concepts, including their implications, potential benefits, and associated risks.

The Ethical and Psychological Implications of Murder in Reality Shifting : This article examines the ethical and psychological concerns of committing murder within shifted realities, drawing on discussions about the moral ramifications and potential mental health impacts, as explored in shifting communities like on Tumblr.

Educational Content : This section offers insightful articles and guides on Reality Shifting, designed to deepen your understanding and improve your practice.

The Importance of Spiritual Hygiene : Learn essential spiritual hygiene practices for Reality Shifting, including protection techniques and energy cleansing, to ensure your well-being during and after shifts.

How ShiftTok Destroyed the Reality Shifting Community : Explore how platforms like TikTok have spread misinformation, fostered toxic behaviors, and diluted authentic Reality Shifting practices, impacting the community negatively.

How Awareness Works in Reality Shifting : Discover the role of consciousness in Reality Shifting, including theories on awareness, the balance between conscious and subconscious minds, and techniques to enhance your shifting experience.

Why Having Multiple Significant Others in Different Realities Isn’t Cheating : This piece discusses the nature of relationships across different realities, arguing that having multiple significant others in various shifted realities challenges traditional views on fidelity.

Fetishization in Reality Shifting: A Critical Examination of Age and Race Changing A critical look at the ethical concerns of changing age and race in shifted realities, highlighting the dangers of fetishization and the need for culturally sensitive practices.

Shiftcraft: Here you'll discover a collection of witchcraft practices specifically tailored to complement and enhance your shifting journey. This includes:

Shifting-oriented spells and rituals

Crystal and herb recommendations for shifting

Moon phase and astrological timing for optimal shifting experiences

Meditation and visualization techniques to boost shifting abilities

Interview with Hekate about Reality Shfting

Interview with Hekate about Reality Shifting part 2

Each of these categories contains multiple articles, essays, and guides. Feel free to explore the topics that resonate with you, and don't hesitate to reach out if you have any questions or suggestions for future content.

You can find my upcoming posts Here :

Remember, this master list will be regularly updated as new content is added. Happy shifting, and may your journeys across realities be enlightening and transformative!

#reality shifting #shiftblr #desired reality #shifting #shifting community #shifting realities #shifters #reality shift #reality shifter #shifting antis dni #shifting motivation #shifting blog

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aphroditelovesu · 4 months ago

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Cyrus and Aella Headcanons

❝commission: headcannons about the twins (Cyrus and Aella). — requested by 💻 anon.

❝ 📜 — lady l: I spent a few days thinking about how to create a different but complementary personality for the twins and this came out, I think it turned out good. They're my babies, my first OC's to be honest, and I need to write more for them. I hope you like it and forgive me if there are any mistakes! ❤️

❝tw: none.

❝📜word count: 1,208.

Cyrus and Aella have complementary personalities. Cyrus is calmer and more reflective, while Aella is energetic and adventurous.

From a young age, Cyrus has always demonstrated a serene and contemplative nature. He is a deep thinker, often lost in his own thoughts. He prefers to analyze situations before acting, evaluating all possible consequences.

His ability to formulate complex strategies is unparalleled. Cyrus loves studying ancient texts on military tactics and philosophy, drawing inspiration from great thinkers like Aristotle, who was also a mentor to his father.

Aella, on the other hand, is a true free spirit. Since she was a child, she was known for her tireless energy and thirst for adventure. Always looking for new experiences, she loves exploring unknown territories and engaging in challenging activities.

Aella has a natural talent for leadership. Her courage and determination inspire those around her, and she quickly gains the loyalty of her followers. On the battlefield, her presence is motivating, and her strategy skills are admirable. If she could (and perhaps can) carry a sword, she will.

Unlike Cyrus, Aella often acts on intuition. She trusts her instincts and is willing to take risks that others would avoid. This approach, while risky, often leads to surprisingly positive results.

Aella has a strong sense of justice and is a fervent defender of the oppressed. She does not hesitate to fight for causes she believes are just, even if it means confronting powerful adversaries and defying the laws that prohibit her from doing what she wants just because she is a woman.

The combination of her personalities creates a perfect balance. While Cyrus plans and calculates every move with precision, Aella is ready to act quickly and face any challenge with courage and vigor. If they decided to rule together, it would be almost impossible to stop them.

In crises, Cyrus can calm and guide Aella, while she can encourage him to step out of his comfort zone and make bolder decisions. They complement each other.

Communication between the twins is almost telepathic. They understand each other with a simple exchange of glances, allowing for fluid and efficient collaboration, whether in strategic discussions or battles.

This complementarity makes them unbeatable, whether in the administration of the empire, in leading armies, or in diplomacy. They support each other, using their strengths to cover each other's weaknesses.

Since they were little, Cyrus and Aella have developed a secret language that they use to communicate without others understanding. This makes them even more united and inseparable.

Language includes a combination of hand gestures, facial expressions, small sounds, and even visual cues. Each gesture or sound has a specific meaning, allowing for quick and effective communication.

In situations where they need to communicate without being overheard by others, such as in strategic meetings or on the battlefield or just to hide secrets from their parents, secret language is essential. It allows them to share critical information with others.

Alexander's passion for exploring and conquering unknown lands is inherited by Aella, who frequently ventures beyond the borders of the empire, always accompanied by Cyrus, who prefers to explore through study and diplomacy.

From an early age, Alexander the Great recognized the extraordinary potential of his twin children, Cyrus and Aella. He made sure that they both received exhaustive training in combat and strategy, aware that their skills would be essential to the continuity and expansion of the empire.

In addition to practical training, Cyrus dedicated himself intensely to theoretical studies. He read the texts of Aristotle, Socrates and other philosophers and historians, seeking to understand the dynamics of power, war and politics. His evenings were often spent in the library, where he studied maps and developed new strategies. Cyrus has developed a close bond with his uncle Hephaestion, mainly because they look so much alike.

Cyrus saw Hephaestion as a trusted figure to whom he could turn for advice and emotional support. Hephaestion, in turn, saw in Cyrus a reflection of himself and was dedicated to guiding him in the best way possible. Hephaestion helped Cyrus hone his diplomatic skills, teaching him to negotiate and mediate conflicts with the same effectiveness he demonstrated on the battlefield.

Aella, from a young age, showed an innate talent for combat, despite not actually fighting because she was not allowed to. Her training included a wide range of fighting techniques, from wielding swords and spears to hand-to-hand combat. She trained daily with the best warriors in the army, improving her strength, agility and precision. Due to her aptitude for fighting, although it was not common at the time, Aella ended up becoming quite close to Cleitus, who was mainly the one who taught her.

Cleitus, known for his skill and bravery on the battlefield, dedicated himself to training Aella in advanced hand-to-hand combat techniques. Under his guidance, Aella perfected her use of swords, spears and unarmed combat. Cleitus also focused on developing Aella's stamina and agility, subjecting her to rigorous exercises that made her not only strong but also quick and flexible. This prepared her to face opponents of different sizes and fighting styles.

Aella has a strong connection with nature and animals. She often spends her time in forests and mountains, while Cyrus prefers gardens and libraries. However, they both share a deep love for the natural world.

(Y/N), Alexandre's wife and mother of the twins ensures that her children receive a complete education, with tutors from different areas of knowledge. Cyrus shows great interest in philosophy and history, while Aella is interested in poetry and music.

Cyrus devotes hours to the study of great philosophers, including Socrates, Plato and Aristotle. He enjoys debates about ethics, politics and the nature of knowledge, often discussing these ideas with his tutors and applying them to his life and strategic decisions.

He analyzes the strategies of historical leaders, learning from their successes and failures. This enriches his own strategic capabilities, helping him develop innovative tactics for military campaigns.

Aella studies the works of great Greek poets, such as Homer and Hesiod, as well as the lyrics of Sappho and Pindar. She writes her own verses, expressing her emotions and experiences through poetry. There is no doubt that she inherited her father's love of reading, especially the Iliad.

Aella learns to play several instruments, such as the lyre and the flute and receives training in singing. Her tutors teach her about music theory, composition, and the Greek musical tradition.

The twins feel an innate curiosity about their mother's heritage and if given the opportunity, they will visit their mother's time to learn about her origins and cultures other than Greek.

Over time, Alexandre begins to trust his children's advice more and more. Cyrus becomes a trusted strategist, while Aella helps inspire and lead the troops, earning the soldiers' respect, just as her mother did years ago.

Despite the fierce love and loyalty that exists between the twins, there is a healthy rivalry between Cyrus and Aella, especially during training and games. This rivalry encourages them to constantly surpass each other.

After Alexander's death, Cyrus and Aella assume central roles in preserving and expanding the empire. Cyrus focuses on strengthening diplomatic alliances, while Aella leads military campaigns, both keeping their father's legacy alive.

#the lost queen #tlq #history #alexander the great x reader #yandere alexander the great #not really but you get the vibes #cyrus and aella #headcanons #historical characters #yandere history #yandere historical characters #oc's #my ocs #💻 anon

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