lonely
[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”
The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”
The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"
The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."
The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"
The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"
The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"
The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."
The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]
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Not to be That Guy but like.
Am I the only one that can't stop thinking about how Tianlang-Jun says about Luo Binghe that he pretends to be cold-hearted like his mother. The hint of fondness there, the heartache in that utterance.
Like it drives me absolutely insane. Imagining her putting on a front of strength, cold and driven and unrelenting. Why does TLJ say that about her. Did she secretly look for solutions that meant reconciling with demons instead of hurting them when her sect wasn't looking? (I wonder this because I feel like his weird fondness for SQQ would lowkey track if it's connected to the woman he once loved.) Did he mean that she was tasked with basically assassinating him and she fell in love with him instead (re: failed step one)? Did he mean that she was fond and doting in her own way (e.g. conceding he was attractive, paying for his exploits and humoring him)? Did he mean that, like LBH, she thought that power would be the thing to protect her--and that it was disguising a person who was deeply and privately wounded? All four????? I don't need sleep I need a n s w e r s
Did she know about the Huanhua Palace Master's skeevy ass intentions before she met TLJ? Or did those only come to significant light after she fell in love with TLJ? Is that why she never anticipated that level of betrayal, because initially she had no intention of being with anyone romantically? And HHPM just assumed she would be under his thumb forever?? Was she furious at her own indiscretion or did she try to use the pregnancy as a bargaining chip, a way to try to stop the immortals of Cang Qiong Mountain from attacking TLJ (plus the bonus of marriage entrapment no takesies backsies this is where LBH gets it from)? Did she try to use that claim on her to dissuade HHPM from his covetous advances, framing herself as tainted so that she could finally escape? Did she dream of a life by TLJ's side, far away from Cang Qiong Mountain?
Like. Literally every single permutation of what this could mean guts me to hell. Do you ever just cry about tianxi because I--[loud bawling noises]
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the chunin exams arc was so interesting for how it portrayed sakura's potential and how people in her life influenced it. kakashi lying about the team-based enrollment criteria because he thinks sakura would be likely to sign up only to appease sasuke, and being genuinely surprised when she shows up anyway. naruto being completely oblivious when sakura was upset preceding the exams and also after she cut her hair in the forest of death. naruto literally dreaming about saving sakura from enemies, being the hero to her damsel-in-distress. sakura moulding herself into a perfectly feminine lady because that's what society demanded and what she thought sasuke would want. versus sasuke calling her out for focusing too much on romance instead of her skills like she should be doing. sasuke picking up that she was upset because she felt inadequate and reminding her of what she was best at -- maybe even better than him -- and never begrudging her for it. ino hacking into her mind because she was sure, not a single doubt in her mind, that sakura would know the answers to the impossible questions on the written exam. ino and sasuke both stepping in to save her during her fight with the sound nin, but only after being spurred on by the brutal beating she took. ino and sasuke getting frustrated with naruto when he commented on how her haircut looked because it made sakura trivialize her experience and offer a fake explanation about women being fickle. the flashbacks revealing to us that ino affirmed that she would one day bloom into a beautiful flower. ino and sasuke serving as a catalyst for sakura to get stronger before pt 1 and pt 2 respectively. idk do you see what i'm seeing
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I feel like a lot of the fun of a bodyswap fic when you're working in a universe where everyone's kind of a furry of some flavor, is how goddamn alien everybody's bodies must be to each other. Like, I'm sure that it was weirdly jarring to wake up as a spider or a deer or a winged cat or a television, but they've had years and years to get used to it. But then you suddenly get swapped into the body of a prey animal, or into someone with a different hormonal system to you, and now you're relearning how to so much as have feelings again.
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the difference between zosopp and sanuso (romantic OR platonic) is that Usopp is Zoro's specialest little guy and Zoro is someone Usopp hangs out with and looks up to and hides behind when things get scary, but Sanji and Usopp are best friends. They horse around, they beat each other up, they confide their worst fears trying to one up each other. Usopp hides behind Sanji sometimes, sure, but idk, Sanji's weaknesses are more obvious (bugs, fighting women, etc) so there are times when Usopp has to stand in front of Sanji too, yknow?
Like, how do I say this, all the crewmates are equal- Usopp and Zoro are equals- but with Sanji it feels like more... comradery? Zoro's a rock in a terrible storm- even rocks tend to get weathered and chipped and worn down, but they overall stay strong and steady. He has trouble being vulnerable and there are times when the burden he's placed on himself to keep the crew safe is crushing his chest. Usopp would help with that and be very understanding, but the point I'm trying to get with that is that those moments are few and far between. So I feel like Usopp, especially after Water 7, would take Zoro's lead on something like that, and keep most of his worries to himself or only talk about them sparingly unless they're really bad and/or he can't hide them.
Sanji is like a tree in a storm; he can be strong, yes, but it feels like he bends and sways with the storm, and has more obvious breaking points. He can relate more to Usopp's struggles rather than resorting to blunt honesty that might border on callous like Zoro. And while, with Zosopp, I tend to think of scenarios with Zoro being blunt like that as a good thing- because sometimes when you're spiraling, it's nice to have someone say exactly what's great about you and shoot down all your worries with straight facts that you can't argue with- I can also see this as being a bad thing. Anxiety can really twist up your brain sometimes, you know? And despite the words, the tone could still mess someone up if they're already feeling like a burden on others in some way.
With Sanuso it's a lot more understanding and thoughtful words. It's distractions and comfort food and patience- the kind reserved for Usopp- until Usopp talks about whatever's troubling him. Compared to Zosopp, it doesn't take as long for Usopp to open up, since he's done the same thing to Sanji at times and it's more familiar to him to talk and commiserate with Sanji about his worries and doubts and such. However, there are times stuff like this has absolutely no effect and Sanji will end up at a loss, no idea what to do or how to help over the course of several days with Usopp being quiet and keeping his distance, and he'll end up working himself up about it which will only serve to make Usopp feel worse and. yeah. bit of a vicious cycle with them.
So it's like. Usopp can be weak with both of them, but since I see Sanji as the type of guy who'd be more open with his worries (at least compared to Zoro), there's less of a need to 'perform' and be his best self around him. He's comfortable around Zoro, yes, but he is constantly wanting to show that he won't be a problem to him. On the other hand, while he's more open with Sanji, and Sanji with him, they tend to relate a bit too much with each other and they both have issues with causing trouble for others and being 'deserving of love' so failed attempts at consoling one hurts the other and creates an unpleasant cycle of misery and avoidance before some other crewmate (Zoro) tells them to quit being stupid and just fucking talk to each other.
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Bob in female fight club au. Thoughts
Probably named Marge
Rather than doing a direct inversion (ie making the character the exact opposite, much tits -> no tits, etc) I think sort of an analogue would work better riffing off the motherly role Bob has, in combination with the group being for uterine cancer/ovarian cancer
The women come together, and they cry, cry, cry, over lost husbands, who left them because they got cancer, because overwhelmingly, men leave if their wife gets cancer, over lost relationships with children, who stayed but resent them, over lost Motherhood, that thing you were told was your worth but now you are told you're shit. Remaining Women Together. Despite. Despite despite despite.
What is it, about purposes. Want to see misery, see women fed their own physical oppression as lost salvation.
Marge, whatever her name is, her husband divorced her, left her with the kids and medical bills stacked as high as she is tall. She is thankful she still has her kids, it makes her feel like she's still worth something. She's had to try and get back into the workforce. No one wants to hire dear former stay at home mother Marge. She shows you her kids in her wallet in her purse and there are no pictures of her. There's a picture of her old husband, which she keeps to show her kids if they ask. They're old enough to go to school now, which is good, because it gives her more time to work. Life is hard, but she's doing her best.
Marge, who is on hormone therapy so she doesn't get those "side effects" she's heard about from other total hysterectomy patients, the future of early dementia and degeneration and horror. Who does pelvic floor exercises in hopes it will minimise the fallout of the surgery. Who carefully rips every hair out of her upper lip and chin because even if it would be normal for a woman, a woman whose gone through menopause, a woman at all — she knows, it's probably the estrogen tipping back over into testosterone, and she can't handle any more losses. She compensates. They all do.
The support group is her Me Time. It is the single hour plus half hour commute she can afford once a week for herself. So she gets here, and she cries, cries, cries, and the others cry with her, all over how their lives have fallen apart since they got ovarian cancer, got breast cancer, and their lives derailed because they can't be proper women anymore.
They cry in their waterproof makeup. Another product to promise womanhood. Identify yourself via consumption. Identify yourself by covering yourself up.
And when she finds fight club. When she finds something that says, jesus fuck. You are more than your children. You are more than your ability to have kids. You aren't a failed woman, that's a sack of shit you've been sold wholesale. When she finds something that promises her she will grow, achieve personhood, not because she was the ultimate martyr mother, not because she played the game of human or woman, but because it promises a freedom from all that, identification and repulsion of such sickening chains. When she stops worrying about her slightly deepened voice, and works to keep her dose even keel for her health, to avoid the toxic highs of accidentally juicing, rather than the lesser effects of a black lip hair or two. When she has a photo, not of herself in her wallet, but of the things she makes with other women from fight club, of the one view of the sunset from that one parking lot that she always thought was wonderful, when she has things in her wallet for her and her enjoyment. When she has corded muscle and a built up spine, when she sits her kids down and explains why they only see dad one weekend every other month, all the fun holidays, because dad decided staying with her through cancer was too hard even when she stayed with him through four lost jobs pissed away in alcohol and lottery tickets.
And Marge, who gets shot by the police on a regulation chill-and-drill assignment for Project Mayhem. Whose obituary in the newspaper talks about the children she left behind, how she battled cancer and kept caring for them, how she was such a strong mother, whose kids would now be shipped off to their grieving father who is so, so brave and stunning for standing up and taking care of the kids he made and dropped as soon as his live-in servant had a few issues. Her name is Marge Paulson, and she was forty-eight years old. She was a person. She will be remembered in the annals of Project Mayhem, lest what little there was of her be stolen from the world. She was killed by Project Mayhem, but they're the only ones who will remember Marge Paulson.
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