nanami’s not usually a fan of texting… but when you get together, he starts sending you more and more.
it started with videos he’d think you’d find funny, books recommended online that you’d probably like. recipes he wanted to try, but he needed to get your interest first. then, he starts taking pictures of things he passes; the vendor in the street with beautiful flowers, two cats lazing close together in the sun.
always, he signs off the messages with, “thought of you.”
when you’ve been together long enough, have noticed the frequency of these messages, you laugh, teasing him. “you say that about everything, kento.”
for a moment, he’s surprised, like he hasn’t realized how often you’re on his mind. then, his eyes soften, and he smiles a little bit, the corners of his lips tugging. “i guess i just look for you everywhere i go.”
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... Will you guys please let me talk about hgduo/gossipduo/mockingjays/ whatever they are called a little more pleaseeeeeeeeee, they make me unwell and I want to get my thoughts about them out of my head- or more specifically about them from Bad's point of view!
There's a familial air to it, but it's just not true to define it like that- and that doesn't make what they DO have any less powerful or significant- They have a unique bond and that continues to be true, even during painful times like this.
Cellbit WAS Bad's responsibility at one point, and that time came and went- he got him through the war and into adulthood ( aka 18 years old or close to it.) They meet again as old friends and generally respect each other as such... but even so Bad can't deny he still feels some duty to watch over the man once he starts crumbling- much like how Cellbit as well can't help but reach out to Bad during this time.
but there's limits.
like- Bad for years had and still wants to protect Cellbit, he's had an influence on him, he taught him how to survive, he himself acknowledges he has some responsibility over Cellbit, looking at Cellbit right now feels like looking in a mirror, he doesn't like having to give up on him, but if it's between him and the kids he's choosing the kids every time... and he knows there is no simple way to save someone who refuses to let themself be saved.
And it hurts! It hurts seeing Cellbit like this! It hurts having to let him burn! It hurts watching someone he cares for falling down the same path he is! It hurts knowing he's hurting others the way it did for him seeing Cellbit like this! It hurts having to choose his kids over his protege/ student/ former responsibility/ the kid he watched over years ago/ old friend/ his 'something'!
Like, cc!Bad brought up this internal mental tier list that q!Bad has- I still deeply believe that q!Cellbit is quite high up there even if he'll never be at the level his kids are at- like he loves Cellbit enough that he ACTUALLY CONSIDERED putting parts of his months long plan at risk to save him- even if it was just during the stress of that moment that still means a LOT from Bad- but he was always going to choose his kids in the end!
Based on what I know of q!Bad (which is admitably not a lot lol) there is next to nothing that'd convince him to give up on his kids- with Cellbit he's able to see that he can't help him because Cellbit sadly does not want to be saved- and for Bad that means he simply has to accept it even if he really doesn't like it- the emotions from that night have processed and he's looking at the situation from a more logical and resolute perspective. If it means him and Cellbit may one day clash, then with a heavy sigh so be it....
but if it was Dapper or Pomme... I just don't feel certain in saying he'd be able to come to that conclusion, especially not after one night. Even if it would be the 'smart' thing to do. It's one of the key differences between the dynamic he has with them vs Cellbit...
But, in a perfect situation, he would've done everything to save them both.
Anyway thanks for reading, posting this at hell hours so my beloved mutuals won't see my hgduo ramblings but tagging this anyway for other people to see LMAO-
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metalhead ghost who’s been in moshpits since he was a kid and is now a veteran of the scene and the self appointed look out. he keeps an eye out for anyone falling or passing out, kicks the shit out of anyone crowd killing or putting their hands where they shouldn’t
and he’s been keeping an eye on the punk in the kilt since he saw him throw himself headfirst into the wall of death
he looks like the type to start shit - loud and aggressive as anyone else here but a punk doesn't end up at a metal show for no reason - but there's also something niggling at him that he's gonna end up getting himself hurt. and ghost can’t tell if he’s going to do it on purpose
if he does, ghost needs to know. he uses these places as an escape - the music, the violence, the community - always has and he knows all to well how easily an escape can curdle and become destructive. he’s seen too many people lost to the darker parts of the scene, almost lost himself to it; he doesn’t want it to happen to anyone else if he can help it
so when he sees the punk sweating his mohawk off, his movements becoming looser and uncoordinated, he has no issues with yanking him out of the pit and pulling him away from the crowd; pushing him up against the venue wall and ordering him to open his mouth
the glaze that falls over his eyes concerns him even as he obediently lets his mouth fall open. he was right; the punk’s severely dehydrated, tongue and gums far to pale and along with the look in his eyes, he half-thinks he’s about to drop
he reflexively tightens his hold on his jaw to keep him up and the punk shivers, a flush creeping up his neck. an almost confused arousal joins the haze in his eyes and ghost smirks beneath his mask
looks like metal shows aren’t the only thing the punk is new to
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been talking a lot on here about jill valentine and her potential as a character but another character i think is often underutilised and disappointingly written is actually wesker. I would love it if they explored the real relationship dynamics between him and STARS, especially Jill and Chris. like it would be so much more interesting if he actually really liked them and maybe even misses his STARS days in his own way, but regrettably has to betray them and move forward with his plans because he genuinely 100% believes he is in the right. it would be gutwrenching if he, Jill and Chris all felt the weight of responsibility over friendship and commradarie, if they had to choose between personal feelings of "but I don't want to hurt you" and taking down who they see as the bad guy.
I mean, in Lost in Nightmares, they find the stuff about Project W. It would be cool if they reacted to this, if they tried to make those connections. It would be so interesting to see Jill and Wesker's dynamic change once she throws them out of the estate - having to work together, begrudgingly trying again to trust each other despite the constant betrayal. If Wesker truly believed he was in the right, it would be easy to try and convince Jill that his plan is the right one after all she's seen (e.g. seeing the effects of chaotic infection, seeing how quick humanity turns on itself, and knowing Wesker may have a way to finally control that chaos and maybe even take the pressure of heroism away from her). It would be a really fascinating portrayal of villainy coming from (twisted) good intention, and it would be kind of cool to see Jill becoming more morally grey.
It would also be interesting to explore Wesker's self-realisation as he slowly loses himself to megalomania in the exact same way Spencer did. Does he feel self-hatred because of this? Would a part of him feel relief at his death once he was mutated beyond recognition? Can he feel anything at all, is there humanity in him??? when he looks at chris, does he feel resentment for the person he could have become, or hatred that he could never have been what Chris is?
cartoonishly evil villains are fun, but I wonder if they'll explore any of this as they try and make the remakes a bit more serious (emphasis on a bit)
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Jasico Bingo Challenge: love letter
A sheet of paper, folded into thirds, dotted in places with what must be water and grass stains. The handwriting is legible in some places, and shaky in others. In the margins are small doodles of birds, clouds, trees, and other miscellaneous, abstract shapes, as if the writer’s mind kept wandering.
TO: Nico di Angelo
FROM: Jason Grace
Hey, Nico. If you’re reading this, something probably happened to me. Maybe I hit my head again and lost my memories, or something, and you went through my stuff to try and find things to remind me of who I was. Maybe this fell out while we were hanging out, one day, and you saw it was addressed to you and you picked it up. Maybe I died—
However you found this, I guess, surprise! :)
First thing’s first: I’m sorry for leaving. I know I begged you to stay, and then turned around and left, and I really hope you understand - I didn’t leave because of you. I needed to find Leo, and leaving with Piper was the easiest way to do that. I had to try and get him back.
I wanted you to come with, but you were still healing and things were going really well with you and Will. I hope things still are, in fact. Wherever I am, I’m so proud of you for how far you’ve come, and how much I’m sure you continued to grow even after I left.
I really love you, man. I never got to tell you that, but you’re one of my best, closest friends. You mean so much to me. You showed me a side of the world that I never would’ve seen otherwise, and gave me a space to be myself, and I will never, ever know how I deserved that. How I deserve you.
Is that out of left field? Haha it definitely is. Sorry.
I’m sorry. I’m so sorry, Nico. I didn’t want to leave. I’m so sorry for leaving you. I’m sorry I had to go and I’m sorry it had to be me, but it couldn’t be her, Nico, it can’t be her, it can’t be. It has to be me.
It has to be.
Here, some of the words are smeared from the water marks. Lines cross through some words that have then been re-written, as if in after-thought the author realized they were too important to delete.
If you really are reading this, after the worst case scenario, I understand if you’re angry. I understand if you never want to think about me again, after what I’ve done. I’ll understand if you storm to your father’s palace and demand I be placed in the worst of the worst punishments for being so stupid.
Gods. Gods, Nico, I’m never going to get to tell you how I really feel. About all of this, about everything I’m going through, I’m never going to be able to tell you and that hurts. It hurts more than knowing I’m going to die, it hurts more than getting stabbed and poisoned. I’m going to die loving you and you won’t even know until it’s too late.
Maybe this is a stupid bad idea. Maybe I should let it die with me. Is it cruel, to tell you how I feel if I’m gone? Does this make me an awful person?
Shit. I think I’m an awful person, Nico. I’m awful and I’m selfish and I can never choose things for myself, it always has to be for the greater good, so this is it. This is as selfish as I can be. This is all I can be for you.
I want to see you on the other side. I want you to punch me for getting myself killed and hate me for being a hero and I want you to know that I didn’t want this but it needed to be me. It has to be me.
I’m still wrapping my head around it, but it has to be me, okay? So if I’m really gone when you’re reading this, okay, you have to let me stay gone. Please. If you get hurt, if you die, and it’s my fault, I could never—
Here, the letter abruptly stops. Then, it continues:
That’s all I wanted to say, anyway. That I love you. I love you in any way I can, and even if I’ve done it silently, and stupidly, from a distance, just know that it was there, the whole time. It’s still there, wherever I am. Dead, or lost, or whatever. I love you, Nico. I’m sorry.
-- Jason Grace :)
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