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awearywritersworld · 5 months

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i was benevolent and good; misery made me a fiend

sukuna x reader summary: you persuade sukuna to play go fish. the two of you have a small disagreement (he really can't stay mad at you). he confides in you about his past as a sorcerer. w/c: 3.4k tags/warnings: the teeniest bit of angst. mostly fluff. banter. cursing. aged up!yuuji. slight yuuji x reader. not canon compliant. fem!reader. no use of y/n. no manga spoilers. a/n: the first section could be read as a brief(ish) stand alone. and for context, the world's shortest frankenstein synopsis: victor frankenstein brings a creature to life using dead body parts and thrusts him into a world he doesn't understand, then promptly abandons him and wishes him dead. alone and regarded as repulsive by every human he comes across, the creature begs frankenstein to create a wife for him too. when frankenstein refuses, the creature is further driven to hatred and violence. series masterlist // masterlist

"we should play a card game!" you exclaim as if you've just had the world's greatest idea.

"i'll pass."

sukuna sounds listless, like it's quite possibly the worst proposition he's ever heard.

"why's that? scared i'll beat you?"

"i'm opposed to mind numbing boredom, more like."

"you really need to expand your horizons," you suggest, making your way over to where you keep your playing cards. "all you do is read and brood."

"it's gotten me this far."

you don't respond, too busy rifling through your bookshelf. just as you spot your cards, a book catches your eye and you pull it from its place.

making your way back over to him, you drop it in his lap. "since you found jane eyre so insufferable, here's one you might actually like."

he surveys the cover, which reads: frankenstein or the modern prometheus

you take a seat across from him at the kotatsu table and shuffle the deck, while sukuna flips through the pages with new found intrigue.

"what's it about?"

"the dangers of playing god. should be right up your alley."

"your subtly never ceases to amaze."

"i'm just kidding." you laugh. "there's a lot more to it than that— revenge, loneliness, personal responsibility..."

he turns the book over. "it's written by a woman?"

you raise your eyebrows at him. "what, you don't think women have enough depth to write about those kinds of topics?"

"no, it was just an observation," he says off handedly. "you are evidence enough to the contrary."

he doesn't say it as a compliment, more so as a statement of fact. you hope your astonishment isn't written all over your face.

clearing your throat, you begin dealing while explaining the rules to him.

he takes up his cards and seems to understand the game after only a turn or two, but you're narrowing your eyes at him soon thereafter.

"go fish," he says for the fourth time in a row.

your gaze shifts down to his hands. there's just no way. "show me your cards."

"wouldn't that defeat the purpose of this stupid game?"

"not if you're cheating, now let me see."

"no."

you reach across the table, hoping to snatch them from his grasp, but he just holds them out of your reach.

swiftly rising to your feet, you launch yourself at him in a sad attempt to catch him off guard.

with only one arm extended, he easily fends off your attack. "do you actually think you have a chance here?"

you sink to your knees in defeat and sit with your legs folded beneath you. "not really, but i have to know if you'd stoop this low."

"that so? had you believed me to be above cheating?"

you gasp. "so you admit it?"

"i told you i didn't want to play," he deadpans.

"that doesn't mean you had to cheat! now we have to start over!"

he carelessly tosses the cards onto the table. "i don't think so."

"please?" you lean forward, jutting out your bottom lip.

he just stares at you with an air of disinterest.

sukuna can be so haughty sometimes, and frankly, it drives you a little crazy. you'd give anything to wipe that look from his face— to prove that he doesn't find this as miserable as he lets on.

leaning forward even further, your hands meet with the carpet to support your shifting weight. now he's watching intently as your face approaches his, your eyes flicking down to his lips.

unbeknownst to you, sukuna's breath catches in his throat once he sees your gaze shift, though his mind struggles to catch up. it happens so fast that he hardly registers the quick peck you place on his lips (though maybe it's not the speed of the occurrence, so much as his shock).

"please?" you repeat.

he looks off to the side and stays silent, though his demeanor is indicative of some heated internal debate.

sukuna can't let you win, not that easily. you'd be under the impression that you actually have power over him! and for what? some measly kiss?

no, he simply will not allow that. "i already told you—"

grabbing him by the chin, you cut off his words with another kiss, but this time it lasts a few beats longer. your lips don't move against his, they just linger there in a way that that makes him question whether all of the oxygen has vanished from the room.

when you pull away, you're looking at him expectantly with the same pout still playing on your lips.

"fine!" he barks, grumbling something afterwards that sounds a lot like "evil little minx."

"human earthworm two is definitely still the best."

you're walking home with yuuji after a late night showing of the newest movie in the series.

"no way," you contend. "this one was even better."

he gawks at you. "in no world is the seventh film in an anthology the best! you're crazy—"

sukuna's mouth appears, always eager for a chance to undermine his vessel. "she's right, brat."

yuuji can't believe his ears. "what?! you haven't even seen it!"

"i don't know," you interject slyly. "i'm willing to look past that. it really seems like he knows what he's talking about."

"you mean the guy who's existence predates cinema?" yuuji asks, his eyebrows furrowing as a thought occurs to him. "what'd you do all day anyway? watch plays?"

"..among other things, yes." sukuna answers.

"if you look at it logically," you reason, "we probably wouldn't have movies without theater, so we should definitely consider him an expert in this case."

"oh please, baby. when the topic is ancient civilization or being a homicidal maniac, i'll be sure to solicit his opinion then."

"i resent that," sukuna declares, his conviction forcing a giggle from your lips.

"why?" you question. "was it the part where he called you old as shit, or the part where he called you a murderous lunatic?"

yuuji brings a hand to his mouth to stifle a snort, but you're freely laughing now.

sukuna scoffs indignantly and bites back a comment about how partial you seem to be toward said lunatic. "and to think i defended your opinion."

his response has you clutching at your sides and struggling to see through teary eyes.

but perhaps karma is real, because not a moment later, you step off the curb in a way that sends a sharp sensation through your leg.

you gasp in pain and brace yourself for the impact of falling to the concrete, but it never comes. instead, you're left with fingers clamped tightly around your wrist and a strange sense of deja vu.

you turn your head just before the dark lines fade from yuuji's arm completely.

"tch, watch where you're going idiot," sukuna scolds, his mouth disappearing as soon as he finishes speaking.

"are you okay?" yuuji asks worriedly.

"absolutely," you claim, but when you try to put weight on your left foot, you let out a hiss.

yuuji's hands find your waist, hoping to keep you steady. before you know it, he's crouching in front of you with his back turned and beckoning you to wrap your arms around his neck.

once you do, he hooks his arms under your thighs and easily stands up. "this okay? you comfy?"

"yeah. i can't believe i just did that." you hide your face in the space where his neck meets his shoulder. "thanks, yu."

when you get home, yuuji sets you up on the couch with icepacks, heating pads, three different drinks, two different books, and the tv remote.

he still asks if you have everything you need several times, then kisses you sweetly before heading to bed.

around thirty minutes later, sukuna's leaning in the doorway with his arms crossed.

"hey," you greet. your eyes never leave the tv, as you're privy to the slight tension between the both of you.

he skips the evening's pleasantries. "i could heal it, you know."

you finally turn to face him. "really?"

"of course." he rolls his eyes. "some of us can actually use reverse cursed technique."

"and you've just let me hobble around the past hour anyway?"

he shrugs. "you pissed me off."

you blink at him a few times, rubbing at your temples. "well what about now?"

"i don't know," he begins, making his way over to you. he towers over where you're seated on the couch, so you have to crane your neck to look up at him. "just doesn't really seem like something a homicidal maniac would do, but maybe if he were to receive an apology..."

you cover your face with your hands and groan. "i didn't say that. this is really something you should take up with yuuji—"

"i don't make a habit of conversing with the brat, so if that's the way you're going to be..." he turns on his heel and starts for the bedroom, but you grab onto his sleeve just before he's out of reach.

"wait. please don't go."

just like that, your words have his resolve crumbling and any of his lingering irritation ebbs away. he urges himself to stay strong though, especially after the go fish debacle.

when he doesn't speak, you let out a breath.

"i'm sorry, sukuna." he can tell right away that you're being entirely sincere. "i would never purposefully hurt your feelings. i only meant to tease you, but i can see how i was being mean."

are those... are those tears swimming in your eyes? are you in that much pain, or did he just make you feel that badly? in any case, he endeavors to remedy it immediately.

moving around the couch until he's in front of you, sukuna kneels between your legs. he grabs your left foot gingerly, situating it on his thigh before hovering his hand over top of it.

he sighs. "i don't care if you tease me and you weren't being.. mean." the words sounds so juvenile to him.

you weren't necessarily wrong either, goes unsaid.

well, he'd like to consider himself a little more sophisticated than 'maniac' would imply, but that's beside the point.

"then why are you upset with me?"

his jaw flexes as he tries to find the right words. "i would prefer you do that when it's just.. us."

"oh." realization dawns on you, as does another heap of guilt. you know he despises being trapped in yuuji's body, and you completely failed to consider how ganging up on him might make him feel. "i'm... fuck. i'm really sorry, sukuna—"

"stop apologizing," he urges you in a low voice. it's partly because what he just said makes him feel pathetic, but more than that, it's because the look of self reproach you're wearing is akin to a thousand needles in his chest. "it's fine."

he can't believe you're sitting there with so much remorse over a man like him because you... what? wounded his pride?

he probably deserves it anyway.

why should you give a shit when he's done things a thousand times worse, a million different times?

oh, right. because you care about him.

you can't see the cursed energy at play, but you can tell it's working as your pain begins to dissipate.

once he's finished, he carefully moves your foot to the floor and looks up at you. it's not unlike the way a person might gaze at one of the wonders of the world, like they're lucky to be there in the first place.

with the intensity of his gaze, it feels like he can see right into your head— read your every thought and pick apart every emotion. has anyone ever looked at you like that before? you're having a hard time remembering. you're having a hard time thinking of anything at all, really.

so it goes without saying that you don't think about it when you lean forward and kiss him.

it's not at all like when you were trying to convince him to play cards. no, this isn't light hearted or frivolous.

and it's not like the other two kisses you've shared either. it isn't heated or desperate, nor does it leave you gasping for air.

it's tender. it's so fucking tender, in fact, that sukuna wonders whether he's going to crumble beneath your touch.

he grips the area just above your knees, as if needing something to tether himself to before he withers away completely.

his lips move with yours in a way that's slow and careful.

your hands are on either side of his face, ghosting over his skin as a testament to your hesitance— like you're not certain if this is something he would want.

he wonders how in the world you could ever second guess yourself.

when you pull back, you examine his face for a moment before a small, shy smile tugs at your lips and you murmur, "thanks 'kuna."

he just peers at you wordlessly and it makes you nervous, so you attempt to fill the silence. "it feels so much better. a-and i'm sorry again abo—"

his hand finds the back of your neck, pulling your lips against his for a moment longer. "don't mention it, angel."

ever since you gave sukuna your copy of frankenstein, he's spent a decent portion of your nights together reading, his brows drawn together in concentration.

upon finishing, he stares at the page after taking in the final line: "he was soon borne away by the waves and lost in darkness and distance."

he's deathly quiet and wearing some unreadable expression. his eyes seem far off.

you leave him be for a little while, as it's clear he's lost in thought, but eventually you grow a bit concerned. it's been nearly half an hour since he last moved.

"sukuna?"

he turns to you. "why did you think i would enjoy this particular book?"

you consider his question carefully, his mood evoking your own seriousness. "it's... elegant and tragic. i suppose i appreciate the moral grayness of it. why do you ask?"

"no reason."

"did you enjoy it?"

"yes."

"why?"

he ignores your question. "frankenstein— do you like his character?"

you can't help but feel like you're answering some sort of riddle. "i think he's foolish and arrogant, but i guess i pity him to some degree."

"and the creature?"

"i'm much more sympathetic toward him. he's very... complex and certainly less culpable for the events of the novel than his creator."

you're surprised when he laughs. "of course you would think that way."

and with that, he's flipping through the pages of the novel. you move to sit beside him and once he finds what he's looking for near the middle, he begins reading:

"remember, thou hast made me more powerful than thyself; my height is superior to thine, my joints more supple. but i will not be tempted to set myself in opposition to thee. i am thy creature, and i will be even mild and docile to my natural lord and king if thou wilt also perform thy part, the which thou owest me. oh, frankenstein, be not equitable to every other and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due. remember that i am thy creature; i ought to be thy adam, but i am rather the fallen angel, whom thou drivest from joy for no misdeed. everywhere i see bliss, from which i alone am irrevocably excluded. i was benevolent and good; misery made me a fiend. make me happy, and i shall again be virtuous.”

his voice is strangely even, almost bordering on robotic. you're struck with the notion that he's attempting (with rare difficulty) to mask his emotions.

you regard him quizzically and wait for him to speak. the last thing you expect to hear tumbles from his lips.

"you know they called me the disgraced one?" you nod. "do you know why?"

"i know the story that sorcerers have passed down."

he hums. leaning back into the couch, he looks fixedly at the ceiling before continuing. "i was just a boy when i was orphaned and no one knew anything about my heritage, including me. jujutsu society took me in and raised me as a sorcerer."

"and you didn't care for it?"

"oh, quite the opposite. i reveled in it. my strength was unprecedented, that much was clear from the start. i surpassed my teachers with ease, and eventually, i took to training alone— reading primitive texts and honing skills that they couldn't teach me."

your hand finds his thigh, hoping to offer him some consolation before beckoning him to continue. "then what happened?"

"the men who had been my teachers, who had been the only.. family i'd ever known.. they scorned me. deemed me reckless and dangerous to jujutsu society. plotted my demise."

your voice is small when you ask, "were they right?"

he wants to hate the question— wants to hate you for asking it— but he knows that it's warranted.

"no. i admit i was forward thinking and a bit.. unorthodox, but i wasn't..."

"what they thought you were?" you offer gently.

he nods. "not until they made me that way— not until they abandoned me and backed me into a corner like some animal."

you struggle to find the right thing to say, if any such thing even exists. you're amazed that he's confiding in you, and while it makes your heart swell, you really don't want to fuck it up.

he looks back down at the book, his eyes scanning the paragraph before repeating, "i was benevolent and good; misery made me a fiend."

he says it as if he's coming to terms with the circumstances of his life for the very first time.

"the creature was remorseful at the end of the novel," you recall somewhat bravely. "are you?"

sukuna thinks for a great deal of time before replying. you wait patiently for him.

"no," he answers decidedly.

looking over at you for the first time since he began his story, he's relieved to find your face is free of rebuke. instead, there's a warm willingness to understand him. a sadness because of the way he was alienated.

he's curious whether anyone would be able to read the sentiment on your face, or if he just knows you better than most.

is that a privilege he's worthy of? he doubts it.

"you didn't deserve what they did to you," you whisper, reaching up to rake your fingers through his hair, nails grazing his scalp before your palm rests against his temple.

his head leans almost imperceptibly into your hand, and any regret or unease he may have felt at relaying his past to you disappears. watching a single tear slip down your cheek, he wipes it away with the pad of his thumb.

he means to say "don't cry. not for me," but the words die in his throat.

for once, your tears are for him rather than because of him and it's utterly riveting. the fact that someone like you would cry on his behalf seems to contradict every horrible thing he's ever been told about himself.

he could sit here and bask in the feeling forever— he's always known himself to be selfish after all. and you know it too, don't you?

his eyes flicker between each of yours, studying your face. "do you want to know why i don't regret the things i've done?"

you tilt your head to the side. "why?"

"because even if it's made me into a monster..."

for a moment, he contemplates not saying anything more. he considers forcing himself to pull away from your touch, even if it's the only comfort he's been given his entire life. he might still be able to salvage whatever tiny, laughable pieces remain of his pride—

"all of my actions have led me to you."

your eyes soften before you're wrapping your arms around his neck and pressing your body to his. he returns the gesture after a few seconds pass.

you know he's awful. you know he's cruel. you know that what he's been through doesn't excuse his actions. but still— you want so desperately to take away his pain. to make up for all the things in his past. to wipe the blood from his hands.

as you embrace such an incredibly complicated man (one who is infamous for unrivaled wickedness, yet has his face buried in your hair), you ponder the creature's plea: "make me happy, and i shall again be virtuous."

a/n 2: if you're still w me, thanks for reading!! i'm not sure how i feel abt this part, so feedback is both welcome and appreciated!! also, how do we like sukuna using angel?? in my head he picked it up from the "my good angel" line in jane eyre, so i hope it doesn't seem too unnatural. alsoooo, highly recommend frankenstein. it's one of my favorite books!! mary shelley popped off and literally created the entire genre of science fiction at 21! anyway, thanks for all the love yall, it means the world<3

taglist: @96jnie @ay0nha @sad-darksoul @bbysatoruuu @luciiferian @risuola @lirasmoon @disaster-rose @archivist-ghoul606 @creative1writings @sloppyzengarden @omismicrowave @cecesharktales @tanyeonn @hiqhkey @ruixrei @yellowsubiesdance @thefallofruins @anything-and-everything-here69 @emzalot @thepup356 @browneyedgirl22 @lantsovheiress // users in bold could not be tagged. if i forgot to tag anyone, my apologies!! just give me a heads up.

#m!writes #sukuna #sukuna x reader #sukuna imagines #sukuna fluff #ryomen sukuna #ryomen sukuna x reader #ryomen sukuna imagines #ryomen sukuna fluff #jujutsu kaisen #jujutsu kaisen x reader #jujutsu kaisen imagines #jujutsu kaisen fluff #jjk #jjk x reader #jjk imagines #jjk fluff

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ch3rriiii-bunn · 11 months

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Pretty thing♡

As a manga reader, tears started running down my legs when I saw haganezuka's face revealed 😍 here's some haganezuka smut for yall

Warnings: fem!reader, reader is mentioned to be haganezuka's girlfriend, chubby/muscular reader, mention of stretch marks, smut, caught masturbating, virginity loss, love making to rough fucking, cervix fucking(?)

"Y/n. Serious question. How did you even manage to catch haganezuka's eye?" One of the men asked at your table. "I have to know as well. I've never seen the man take any interest other than a sword. That and working out, " the other man said.

Even though those things were true for haganezuka, you couldn't help but laugh at how others can say that out loud. However, it was different for you. What caught his attention was that you are a woman. Not because he hasn't been around women or anything, but you are a woman who loves to create swords almost on the same level as him which is what caught his attention.

Haganezuka would mention how you were a distraction to his work since he said, "You're so beautiful when you create swords. i might just make a mistake with mine!" He basically confessed. He found you very attractive physically, too, with your pretty face and your chubby figure, but will maintain muscles in your arms from the sword making.

"Come now, even you can bond with the man if you spend time in his work shop and have a talk with him," you chuckled "nah I've done that. I straight up got ignored. " The other man sighed, and you laughed "he dose mean well. He takes great pride in his work, and I really admire that, and he still takes care of himself, which is good as well! Spending time with him in the work shop and getting to have him snuggled up with me at night after a longs day of work is all I need from him" you smiled and the men around you looked in aw at your wholesome words.

After lunch break, you headed back to the workshop. Before greeting your beloved boyfriend, you see him, Angerly packing some stuff up without his shirt on. You sighed and put your hand on your hip. "Let me guess. That Kamado boy broke his sword again, huh?" You chuckled. "I'm going to kill him! Dead! How dare he break MY sword! I'm going to throw his sister in the daylight for this!" He said and rushed out, stomping in anger.

You cleared your throat, making haganezuka stop, and then came back to you. He gave you a hug and then left. "I'll see you soon! Be safe!" You waved.

It's been hours now since he left. You've been in the shop finishing up the sword for three swordsmen and sighed in satisfaction. "Yes. Final sword for the day. For once, I'm happy to be finished, and I can rest now, " you said and sat down on your chair. You looked up at the ceiling. "He looked so handsome without his shirt on... really handsome, " you said, bitting your bottom lip with your legs starting to rub against each other.

You couldn't stop your dirty thoughts, and you didn't think you could make it home given your current state to take care of yourself. You went to wash your hands off and went back to your chair, pulling your pants down to rub at your clit over your panties. "haa... I wish he knew the things he did to me when he's shirtless like that.." Your head falls back, letting out soft moans. You felt yourself getting wet, feeling the wet spot already on your panties.

"Unbelievable!" Haganezuka yelled and kicked the door open. "y/n this child had the nerve to apologize after breaking... my..." haganezuka started to lose his train of words by seeing your back turned to him, sitting on the chair and your pants down to your ankles, making out what he just walked in on.

You gasped, holding your legs to your chest and resting your head on your knees to hide your shame. "I-... okay, listen - ahh, I can't explain myself! Just!!!" You choke onnyour words, not being able to explain yourself. "ok, go back outside, come back in. I'll be dressed, and you can pretend you didn't see anything, " you said.

Haganezuka just stood there for a few seconds before shutting the door. "Go back outside? Why? How come you're doing this without me?" He asked, almost mad and took his mask off. You turn your head looking at haganezuka, confused at his question, "I'm sorry... what do you mean?" You asked

"I'm your boyfriend. I should help you with this, right!? I have knowledge on what to do, " he said, coming closer to you, but you hide your face him, making him stop. "y-you don't "have" to. it's just... well... " You stopped once you felt two large hands caress your shoulders. "I didn't say that because I "should" help you. I said that because I want to damnit. How long have you done with when I'm not here?" He asked curiously but almost upset

"Just.. when I feel like it. Or when I have time to myself. Please don't be mad, I've never asked you because we are so busy with making swords and I know how much you dislike when people interpret your time making swords" you look back at him with puppy eyes. Haganezuka leans down and kisses your forehead. "I do hate it, but if it's my own girlfriend? I allow it... for 3 minutes, " he said, making you both laugh. "I'm serious though," he said in a serious tone. "I know you are" you smiled.

"Okay, cover up now. Let's go. " Haganezuka took his kimono off and put it on your legs, picking you up from the chair. You held onto him quickly. "You're an idiot for not coming to me sooner about this. However... I will take care of this since it's my fault for not noticing the pleasure you needed. It's your first time, so don't think we are doing something like this in my precious work shop, " he said, carrying you and walking out.

"we are having sex at our house!" He loudly announced. "Shut up!" You covered his mouth, almost fighting him. "What is wrong with you!? Don't say that out loud!!!!"

Haganezuka had you on the bed underneath him, naked and kissing you more passionately than ever. Your hands grab on his broad back, feeling his muscles and his warm skin and feeling his tounge swirl sound yours in your mouth.

His hands grab your hips, fitting himself between your thighs to close the gap between the two of you. Haganezuka pulled back "is this okay?" He asked and you nodded, using your hands to cover your exposed boobs. He chuckles at your shynes. "Your body is beautiful. I love it, your stretch marks are very pretty too" he praises as his fingers touch your stretch marks, tracing them out and his fingers lightly touching your lower stomach making you tremble a little from the ticklish feeling "can I touch you more?"

He asked so sweetly, much sweeter than ever you just couldn't say no to him. You nodded, closing your eyes, feeling his lips press on your neck, giving your neck soft, gentle kisses. His fingers trail down to your bare pussy, rubbing your clit in a circular motion. "You're wet. Are you still wet because you couldn't finish when i walked in on you?" Haganezuka said, giving your neck love bites.

You could feel his smirk on your neck at the question he asked. You didn't answer and only turned your head away in embarrassment. "Don't say that," you whispered with soft whimpers getting hotter from his touch. "Fine. Don't answer, " he said, kissing down your neck to your collar bone, giving it love bites, and then getting to your nipple.

Haganezuka moved your hands out of the way to see your boobs. His face was flushed. He didn't know how he eles to appreciate your beautiful body with words and just took action and started to take your nipple in his mouth. "Haganezuka~" you moaned, feeling his warm wet tongue and lips wrap around your harden nipples

He kept eye contact with you. Whenever you wanted to look away, he used his teeth to bite on your nipple making you mewl. haganezuka's fingers moved down frkm your clit to your hole and put one finger in, moving it slowly. "H-haganezuka, please~" you begged, wanting more

"Have you forgotten patience?" he kisses your stomach. "I need to take my time with you. I can't do this right if I'm not focused, right?" he said, and you both chuckle since it's something he says when making swords perfectly, but he's trying to make you as comfortable with him in the moment as much as he can

Haganezuka kisses your inner thigh, holding onto your thighs. "Can you be patient for me?" He asked, looking at you with such lustful eyes. "Yes," you bit your lip with a shy smile. Haganezuka smirked "that's my girl" he stuck his tounge out, giving your pussy a long lick, tasting you and keeping his eyes focused on you.

Your back arches, and you gasp from the feeling. "Oh my gosh~" you whispered to yourself, grabbing onto the bed sheets as you kept feeling his long, wet licks on your pussy. You couldn't hold back your moans, your whimpers and your hips from bucking in his face when he starts to fuck on his clit. You felt haganezuka enter another finger inside, and you grab onto his hair, clenching on his fingers.

Haganezuka bottomed out, loving how your hips push your pussy onto his tounge and moaned from the feeling of you clenching on his fingers. He fucks his fingers into faster, now adding a third finger trying to find your g spot. Your body jolts when you feel his fingers hit your spot, grabbing onto his hair. "Right there! Right there, right there!" You whine, covering his fingers with your white fluids.

Haganezuka waited until he calmed down from your high and then pulled his fingers out. He watched as your pussy throbbed and gulped "y/n. I need you now, can I put it inside you now? he asked, almost desperate with heavy breathes with his hand over his pants and then started to take them off, exposing his cock with pre cum leaking from it.

Your eyes widen from the size. He was a good size in length but the thickness of his cock was much bigger then you expected even with his huge, musclar build. "Haganezuka.." you say opening your legs more and using your fingers to spread open your pussy "I need you so badly. Put it inside slowly, okay?" Looked at him.

"Y/n~" Haganezuka moaned your name sliding his thick cock between your wet folds and then pushes it inside you, slowly forcing it in "y-y/n~ haa fuck you're so tight". You let out a loud gasp, holding onto his biceps tightly "just a little more~" he moaned grabbing your legs to spread you out more to be fully inside you. "Are you okay?" Haganezuka asked

You nod quickly, bitting your lip whimpering softly being a full of his cock you his tip already poking at your spot. "Y-you can move now" you said. Haganezuka starts to thrust his hips slowly, breathing heavy and shuts his eyes with his brows frowned together to hold himself back. "You're so tight, so tight~ and we wet. You won't let me go with how hard your pussy is clinging onto me" he said, rubbing his thumb on your clit.

"F-fuuck~ ha-haganezuka. Go harder, go faster, " you whispers, wrapping your arms around his neck and wrapping your legs around his waist. "You sure? You want me to fuck you harder like this?" Haganezuka let's out broken moans as his hips snap, fucking you faster, bullying your cervix with his tip

You moaned, loudly almost screaming from how rough he got and pushing your leg back to your chest "you feels good. s-so good~ really good. Your moans sound so pretty" he said with broken moans "I'm gonna cum. Fuck I can feel how much wetter your getting, cum for me y/n" Haganezuka holds your boobs together and sucks on your nipples while snapping his hips harder and harder.

"Haganezuka~!" You whined as you tremble from your sensitive nipples being sucked and his tip repeatedly hitting your spot. You gripped onto the sheets, looking at him with teary eyes. "haganezuka!! I'm cumming I'm cumming!" Your head went back, moaning loudly creaming on his cock.

"Y/n" he moaned, his thrust getting more sloppy until he gasped, cumming a little inside you and pulling his cock out of you cumming the rest on your pussy "you were squeezing me so tightly I couldn't pull out in time. Sorry, " he said, looking at you concerned.

You shook your head, breathing heavy from your intense orgasm and weakly reached out to cup his handsome face. "Don't worry about it. I was hoping you'd cum inside me though" you grinned.

Haganezuka narrows his eyes and leans closer to your face. "we have all night, I'll fill you up as much as you'd like. My pretty girl"

#demon slayer smut #kny smut #haganezuka smut #haganezuka x reader #demon slayer haganezuka

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hina-has-no-life · 8 months

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Mori Ogai and Regret

Mori in the BSD Manga and Light Novels prides himself in always finding the optimal solution, in pushing his own feelings aside to accomplish the optimal goal for any given situation.

He is a man of logic and carefully wielded cruelty.

We see countless examples of the way he handles things and in the end achieves the best possible solution to his problems.

Killing the old Boss and having Dazai as his witness

Dazai pointing out that he himself is a possible danger to the initial plan

Chuuya remaining a loyal part of the Port Mafia

Driving Dazai away

Getting the Skilled Buisness Permit

The Great War and Yosano

There were all instances where we saw Mori put aside his own emotions and morality to achieve a greater goal. He wielded cruelty, facts and logic as weapons to achieve the in his mind most logical and optimal solution.

But Mori is human. And Humans can not completely disregard and turn off their emotions, no matter how hard they try.

Mori himself says that he has no regrets during the Guild Arc.

But does this like the face of a man void of regrets?

Or this?

In this instance Dazai is choosing the words that will invoke the feeling of Regret in Mori to push him towards choosing a truce with the ADA.

Dazai is aware that Mori has regrets.

But so is Hirotsu.

His inclusion in any conversations Dazai and Mori have regarding the old Boss tells us, as the reader, that Hirotsu knows the full picture.

He isn't just aware that Mori killed the old Boss like other people, but also of Mori's goal from that act.

Hirotsu even goes as far as to tell Mori that Dazai understands why Mori did what he did, implies that Dazai would also understand other actions Mori takes to reach the optimal solution.

But this also shows us something different.

Mori needs reminders.

After Mori killed the old PM Boss Dazai became a constant reminder of why he did what he did. It was inevitable that Dazai would forever remind Mori of the act itself and the initial reasoning behind it, since Dazai was present and Dazai helped him plan it.

Once Dazai left the Mafia Hirotsu transformed into a reminder of it all. In some way Kouyou is also a reminder of what he did and why he did it.

But why these two?

They were there during the reign of the old Boss.

But how does Mori remember the regrets of another part of his past? How does he remind himself of a time where he miscalculated, where he should have taken the emotions of the people he regarded as tools into account?

How is Mori reminded of the mistakes and regrets of the Great War, of Yosano?

Elise.

Elise is Mori's ability, Vita Sexualis. A humanoid puppet to control as he wishes.

But also to shape as he wishes.

During the Great War Elise is nothing more than a robotic being wearing a human skin, void of emotions, thoughts and autonomy.

Mori has always made Elise take the form of a younger girl.

While it is speculated in the fandom that this could be linked to his Lolicon, I believe otherwise.

Elise is for one inspired by the Novel The Dancing Girl from the real life author. But since she is Mori's ability in BSD she will be influenced by his subconcious.

Elise shows us that Mori, even in his twenties, wanted an apprentice. He wanted to impart his knowledge on someone else but until he found Yosano he did not have someone to do this with.

(Im Beast Elise takes the form of a women. Mori already has children to take care of and bestow his knowledge upton, he doesn't need her to fill thie role. But he does need another caretaker, so that is what Elise becomes)

Yosano herself says in the Manga that she respected Mori as a doctor.

Choosing a young and mallable girl as his apprentice did make her easier to manipulate, to create an army that can not die. But young people are also sponges for knowledge.

And here we come to his regret.

Mori does regret how he handled the situation with Yosano.

He liked that strong willed and opinionated young girl he drafted, and he broke her.

We do not see much of Elise until Dark Era, so we can not tell how long it took for Elise to display Yosanos personality after Yosano was redcued by Fukuzawa and Ranpo.

In this official Art we see Yosanos shadow in Elise, a clear indication of teh fact that Mori's impression of Yosano was bleeding into Elise. But we also see her still wearing pigtails.

Her hair and general clothing tells us that this is between loosing Yosano and Dark Era. With time, Elise will resemble Yosano more.

(The bow resembles the butterfly hairpin of Yosano.)

In this scene Mori tries to convince Elise to try on a new dress.

She refuses and clearly displays Yosano's personality in thsi interaction. From the way Mori handles it this isn't knew.

Their dynamic had already shifted into something more like Yosano and Mori instead of the Ability and Mori.

But her hair is different from the last picture.

Elise now has open and wavy hair. Does this remind you of someone?

(For a boy Dazai has always worn his hair longer than traditional seen as boyish, which in turn let's his ends curl and wave more noticable)

But why would Elise take on appearance markers of Dazai?

Simple.

Because there is something Mori regrets.

He only openly mentiones it in Beast but since Beast is a mirror of Canon, that shows us how different choices will change the same people, we can assume this are also the feelings of Canon!Mori.

Mori regrets not being able to really help Dazai.

And his regret will only get deeper as he makes another choice for an optimal solution.

Driving Dazai away and getting Oda killed fulfilled many positives for Mori, what he reached was the optimal solution. He just had to lose his right hand man.

(Light Novel Dark Era)

This is not the behavior of a man not regretting driving away the boy he cared about for 4 years to this point.

To this day Mori leaves Dazai's spot as executive open. He invited Dazai back into the Mafia.

And when we see Elise after Dark Era she has changed once again.

But this time it is not her appearance that changed, it is her attitude.

Elise displays a very much Dazai-like attitude when talking to Mori.

Where Yosano - and until the end of Dark Era Elise - were strong in their oppinion but polite and steadfast in their refusal, Dazai was bargaining. Dazai more often than not wanted something in exchange for doing something he deemed unpleasant/bothersome/boring.

During the recent timeline Elise also does this.

She doesn't just refuse things, she makes deals.

And she doesn't lie during negotiations, just like Dazai.

In the end Elise changes to be more like the people Mori feels a form of regret over. Elise is a constant reminder of his Regrets and Mistakes.

To support this, here are Asagiris words about Mori from the BSD Exhibition:

“He who fell out of the optimal solution”

Mori Ougai’s belief as the boss is described in the novel “Dark Era” and “Dazai, Chuuya, Fifteen”. That is “The boss stands on top of the organization, and at the same time, be the slave of all.” For the sake of the organization, the boss must always take the “logical optimal solution.” That is the duty of the boss.

There is an unspoken additional point to it. “Therefore, no matter how much your heart aches, you have to ignore your personal feelings.” We can catch a glimpse of that in this scene. [the ADA-PM alliance meeting]

Mori’s expressions after “Burnt it.” and “Like what you did to your predecessor”, gave us a glimpse of his true feelings that were made sacrifices for the sake of the “logical optimal solution”.

[Translation by @popopretty here on Tumblr]

A true optimal solution would leave Mori with no regrets. But whenever Elise changes and reminds him of regrets he feels, it is also a reminder of the time he did not truly reach an optimal solution.

#bsd #bungo stray dogs #bsd analysis #bsd mori ogai #bsd mori #mori analysis #bsd elise #bsd yosano #bsd dazai #dazai osamu #yosano akiko #elise

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paperlunamoth · 6 months

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Just watched a youtube video where a bubbly young woman discussed an indescribably fucked up hentai manga about a teenage girl getting forced into prostitution and raped by her father, and otherwise tortured and violated in ways I will not describe here, as though it was just some run of the mill piece of media, and treated it like it had some kind of profound literary value because sometimes real girls go through those kinds of experiences, while completely ignoring the fact that it was hentai created specifically for sick men to jerk off to and written by one such sick man. And most of the comments also failed to acknowledge the nature of this work, and were just things along the lines of, "yep, life sure can be unfortunate for some people that is true." I just. What is happening to these girls? Like I truly don't understand how you can get to a place mentally where all you have to say about something like this is that it's "dark" and the characters are "bad people" like girl what you read should be illegal it is literally underage torture porn with a plot that serves the sole function of providing context that makes the porn parts as depraved as possible, and you think it was an enjoyable read that had important things to say about the female experience?? The author was not trying to earnestly depict the horrors of girlhood in order to get people to contemplate the significance of such atrocities and compel them to do something to help prevent them, he was trying to get himself and men like him off to the rape and misery of a teenager! This is a level of pornbrained internalized misogyny combined with poor media literacy that I previously did not think possible. My heart weeps for this girl and for other young women like her who are so numb to this kind of visceral depravity that they don't even register it as anything other than a sad story.

#rant #vent #feminism #radical feminism #radblr #random thoughts #luna's

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tamayula-journal · 1 month

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Ominis and Japanese!MC when intimate...

There are many different cultures between Japan and the West, but when I started reading and watching smut created by people from overseas when I first started participating in HL fandom, I was surprised to find a particularly big cultural difference: the way women behave during sex!

In Japan, there is a tendency to think that it is sexy for women to behave moderately shy during sex without being too aggressive. In Japanese pornographic manga and novels, it is very common for women to say "嫌/駄目（no)" while panting, with a pleasant look on their faces. (⚠This is just to say that such a tendency is more common than in the West, and not all Japanese men are looking for women who are shy in bed! It depends on the individual 🤣)

Having spent 30 years in Japan with such values, when I read porno novels in HL fandom, I was very surprised to see f!MCs(f!OC) behaving so aggressively in bed! 🙈

From what I have read, there are not many f!MCs who are overly shy or use negative words such as "no" as a moan. This is a very interesting cultural difference for me as a Japanese!👀

I didn't get used to the behaviour of these MCs at first, but now that I've read a lot of international smut, I'm very attracted to MCs who are sexually active and Seb and Omi who enjoy sex with her to the fullest 🥵💞

And when I draw smut, I try to imitate the behaviour of the MCs in those from abroad, without making them too overly shy or negative.

In the Japanese version on the right, the MC says: "No. Don't thrust deep inside me!" In terms of Japanese values, she is far-fetched: 'I feel so good when you thrust deep inside me!' in Japanese, but a direct translation as it is would probably be considered strange by Westerners, so the English version adopts a more positive language for clarity. (I'm a complete novice when it comes to translation, so I don't know if this is the correct translation 😂)

In making smut about the sexual behaviour of Westerners such as Sebastian and Ominis, I try to portray the MC's behaviour in bed as positively as possible, but I cannot erase my Japanese values, and perhaps I may be depicting MC behaviour that looks strange to Westerners at times. I hope you don't mind the details 🤣 But it's fun to think and learn about the cultural differences between countries while watching, reading and making various smut in this fandom! I'd like to draw more smut when I'm free in real life after the move 😌

On a side note, When I first read smut in this fandom, another thing that surprised me, besides the differences in MC behaviour, was that both men and women often say 'F*CK' during sex! 😮 In Japan, we are taught that F*CK is a very bad word that should never be used, so for Seb and Omi to use these words was surprise to me as a Japanese person! I have been wondering for about a year now if it is actually common in the West to use these words during sex …👀

#hogwarts legacy smut

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karinzany · 7 months

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SPOILERS: Chapter 1094 of ONE PIECE

We've finally seen St. Jaygarcia Saturn's real form on chapter 1094, and it is absolutely diabolical. It seems to be inspired by a yōkai called Ushi-oni. So I went back to chapter 1085 and tried to connect the rest of the Gorosei with other yōkai. Here are my predictions:

Ushi-oni: In Wakayama Prefecture, ushi-oni are mountain-dwelling beasts. Legend says when a hiker or traveler makes eye contact with the ushi-oni, the person cannot avert his or her gaze. The person's soul or energy is drained and he or she dies. This is called “Kage wo kuu (影を食う)” or sometimes "Kage wo nomu (影を飲む)", which translates to “eating the shadow” or "drinking the soul".

Aosaginohi: Aosaginohi, or Aosagibi (青(あお)鷺(さぎ)火(び), "blue heron fire") is a phenomenon illustrated by Toriyama Sekien in his Konjaku Gazu Zoku Hyakki. It depicts a night heron with a mysteriously illuminated body. Folklore built around the phenomenon tells a story of an old black-crowned night heron transforming into a yokai. The herons' feathers fuse into shining scales that give off an iridescent blue light in the dark of night. The yokai's breath is also said to release golden powder into the air that collects to form a heat-less fiery light, though this light eventually dissipates in the wind. The harmless creature is said to flee from human contact, retaining a normal heron's shyness. Legend also warns to not confuse the glimmering blue-white light with onibi lights.

Baku: Baku (獏 or 貘) are Japanese supernatural beings that are said to devour nightmares. According to legend, they were created by the spare pieces that were left over when the gods finished creating all other animals. They have a long history in Japanese folklore and art, and more recently have appeared in manga and anime. The Japanese term baku has two current meanings, referring to both the traditional dream-devouring creature and to the Malayan tapir. In recent years, there have been changes in how the baku is depicted.

Benzaiten: Benzaiten (shinjitai: 弁才天 or 弁財天; kyūjitai: 辯才天, 辨才天, or 辨財天, lit. "goddess of eloquence"), also simply known as Benten (shinjitai: 弁天; kyūjitai: 辯天 / 辨天), is a Japanese Buddhist goddess who originated mainly from Saraswati, the Hindu goddess of speech, the arts, and learning, with certain traits deriving from the warrior goddess Durga. Due to her status as a water deity, she was also linked with nāgas, dragons, and snakes. Apart from being a patron of music and the arts, she was eventually also worshiped as a bestower of monetary fortune and was reckoned as one of the Seven Lucky Gods (Shichifukujin).

Ōkubi: In Japanese folklore, Ōkubi (大首) are giant heads of either men or women. An Ōkubi appearing in the sky is a sign of impending disaster, which may be a typhoon, earthquake, tsunami, or fire. These disasters are often attributed to the Ōkubi. Ōkubi are otherwise harmless and will disappear soon after the first sighting. They are thought to be sky spirits who protect the sky's or people who died during a natural disaster. They are said to protect people from the natural disasters and protect the sky from demonic sky spirits. It is said if one does not pay respect for the Ōkubi, they will be turned into sky spirits and their face will appear in the sky immediately. Those who do pay respect are said to get good fortune and gifts.

PS.: This silhouette probably belongs to Imu themselves, but I can't figure out what yōkai or supernatural being it represents. What are your theories?

EDIT: Thank you @ozo-blog and @marimo-kyun for your suggestion!

On chapter 1069, Vegapunk said that Devil Fruits earned the ire of Mother Nature, which is the Sea itself. The name Imu can be read as Umi backwards, meaning "Sea" in Japanese. So, maybe Imu has a power that controls the sea? Umibozu would be on theme for them.

Umibōzu: Umibōzu (海坊主, "sea priest") is a paranormal phenomenon or yōkai from Japanese folklore. Other names include Umihōshi (海法師, "sea priest") or Uminyūdō (海入道, "sea priest"). Little is known of the origin of umibōzu but it is a sea-spirit and as such has multiple sightings throughout Japan. Normally, umibōzu appears to sailors on calm seas which quickly turn tumultuous. It either breaks the ship on emergence or demands a bucket or barrel from the sailors and proceeds to drown them. The only safe way to escape an umibōzu is to give it a bottomless barrel and sail away while it is confused.

Alternative: I've also seen another theory that says Imu could be Satan (from the Bible, yes) because he has a Red Dragon form that could relate to the Celestial Dragon's symbol, a red dragon hoof.

Red Dragon (Biblical Satan): The Red Dragon is a form of the Biblical Satan, otherwise known as Lucifer, the former Seraphim that rebelled against the Creator and became evil in Christianity and Hebrew religions. His alias, the Red Dragon, was described in the Bible to have seven heads, ten horns, seven crowns, and a massive tail that knocks one-third of the stars out of the sky. The Red Dragon is mentioned to have other names like the Serpent of Old and the Devil. It is said in the Bible that Satan will take the form of the Red Dragon and will along with the Antichrist, the False Prophet, and the Beast, deceive most of Humanity. After that the Red Dragon will be set free upon the world in which he will rule alongside demons for three long years. After that God will cast the Red Dragon, demons, and other dammed evil souls into Lake of Fire, thus finally destroying the evil of Satan forever.

During the time-skip, we've seen Brook being accidentally summoned by a Satanic cult, which implies the existence of Satan in the One Piece world. Now, on chapter 1094, we've seen again a summoning circle, this time for St. Jaygarcia Saturn. I think it's pretty obvious the connection between real world devils and the Gorosei and Imu.

It's all going to come to the ironic conclusion that the D. clan, the enemies of the Gods, are Gods themselves (like Nika) and the Celestial Dragons, the Gods of the world, are actual Devils.

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animefeminist · 4 months

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Transmasculinity and queer sexuality in the works of Ikeda Riyoko

Content Warning: Discussion of transphobia and suicide

Spoilers for Dear Brother, The Rose of Versailles, and Claudine

Ikeda Riyoko—perhaps the most famous member of the “year 24 group” that played a large part in creating the foundations of the shoujo manga genre—is often credited with laying the groundwork for depictions of queer characters in shoujo, and in particular with creating the archetype of the gender-bending heartthrob heroine, or “girl prince.” Building on earlier representations of butch or transmasculine characters in early shoujo manga such as Princess Knight, and the Takarazuka theater tradition of the otokoyaku male role actor, Ikeda’s enormously popular gender non-conforming heroes—Lady Oscar from The Rose of Versailles, Rei from Dear Brother, Julius from the Window of Orpheus, and the titular character of Claudine—helped to establish that there was a major mainstream audience excited to cheer for a hotheaded, androgynous tomboy with a heart of gold. Lady Oscar in particular has fingerprints all over the history of anime and manga, from a gender-bending cameo in Pokémon to serving as the inspiration for iconic characters like Tenjou Utena.

When I first read The Rose of Versailles last year, I expected its depictions of queer and transmasculine characters to be somewhat limited—after all, the comic was written for mainstream audiences and a mainstream publisher in the 1970s. But across Ikeda’s work, I was deeply surprised with the level of care and nuance with which Ikeda approaches transmasculine love stories. While there is obviously a lot about Ikeda’s portrayal of transmasculine characters that feels dated to modern audiences (for example, her comics often do fall back on “biological” ideas of women’s weakness and emotionality, and sometimes psychologize her character’s genders in uncomfortable ways), I was surprised by how much of these comics still hit for me today. What makes them work for me is both the extreme pathos with which Ikeda writes transmasculine character’s experiences of rejection—and, at rare moments, gender euphoria —but also the fact that her trans characters are not simply given a one-size fits all born-in-the-wrong-body narrative. Instead, they are each portrayed as unique individuals with varied personal relationships to their gender, their sexuality, and the historical context of the society they live in.

Read it at Anime Feminist!

#riyoko ikeda #ryoko ikeda #rose of versailles #berubara #versailles no bara #lady oscar #dear brother #oniisama e #claudine #classic shoujo #shoujo #articles #asuka rei

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midnightshade · 8 months

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GojoHime: Evidence and Discussion

Jujutsu Kaisen isn't a romance series. It's a horror action series that focuses more on platonic bonds and camaraderie between its characters. That being said, just as any shounen series, it has its fair share of ships, each with its own assortment of crumbs and small details.

GojoHime is a particularly interesting ship to look at. Being a massive fan of it myself, it's fun to pick through the evidence that supports it. I'd like to share the evidence that I and many other GojoHime fans have found. I'll be starting with the smaller, weaker evidence first and working my way up to the strongest evidence.

Before I start in earnest, I want to clarify that this isn't made to attack any other ship. People can ship whatever they want, and no ship in the series is canon (aside from exceptions like Hakari and Kirara). I like GojoHime so I want to talk about it. That's really it.

With that out of the way, let's begin.

First, let's start with the evidence outside of the manga itself. This one isn't very compelling, but it is cute. In Japan, there is a chip brand called Bakauke. Bakauke has two mascots known as Borin and Barin, who are girlfriend and boyfriend. When Bakauke collabed with Jujutsu Kaisen, Utahime and Gojo were chosen to represent the Borin and Barin respectively, thus being depicted as girlfriend and boyfriend.

Moving on to evidence found within the actual manga, we see that on the splash page for Gojo and Utahime, the print behind them depicts arrows known as a Yagasuri pattern. In Japan, this is a symbol often used for weddings. It's meant for good luck because "a shot arrow does not return," and therefore, a married woman does not (or should not) return to her parents.

We also see depictions of them under an umbrella often used at weddings. Sharing an umbrella is also a common romantic trope in Japan.

Other smaller evidence exists in the form of their phone call. This consists a beeper code, where the number of their call spells out "I like you" in code, and another interesting detail is that Satoru calls Utahime from his recent contacts, implying that he calls her often.

Gojo and Utahime were made to be opposites. Aside from the obvious "opposites attract" trope, it creates a compelling visual story between them. Man and woman, strong and weak, modern and traditional, blue and red. Satoru hates alcohol and loves sweets while Utahime loves alcohol but hates sweets.

Gege said Gojo only puts down his Technique with people he trusts, which we see him do with Utahime. He trusts her enough to have to actively put his Technique back in place after she throws a teacup at him.

Moving on to some of the strongest and most convincing evidence, we have Waka Inoue, Utahime's very own technique, and Gege's past works.

Gojo had a picture of Waka Inoue as his background as a teenager. He clearly finds her attractive, as is common, considering she's a popular model, but the reason why this is important is that Inoue shares a lot of similarities with Utahime.

Both women have noticeable bangs, they're the same height (166cm), and they share a love for alcohol, karaoke, and sports, specifically baseball. Waka is described once as a "competitive crybaby who hates to lose," and as we see in the Anime, Gojo has a way of firing Utahime up and she is also prone to being a bit of a scaredy-cat and a crybaby. We also see her more competitive side come out during the baseball tournament between Kyoto and Tokyo.

Moving on to Utahime's Cursed Technique, as some Japanese fans have pointed out, Utahime's Soro Soro Kinku (Solo Forbidden Area) is based on a real love song about forbidden love with lyrics about a masked lover. The records from the singer, Akina Nakamori, are called Utahime records, and the singer even does Gojo's unlimited void hand sign during her live performances of her song, "Fin."

The most compelling bit of evidence for me is Gege's past works. Two of his three one-shot manga have characters who are very similar to Gojo and Utahime. The male protagonist is usually cocky and teases the female protagonist, while the female protagonist gets annoyed at his antics but is otherwise down to earth and kind.

In Nikai Bongai Barabarujura, the protagonist, Noroma, reminds me of teen Gojo in appearance and behavior. He is "the strongest" who teases Nodoka, the female protagonist, for being weak but has an obvious respect for her drive and inner strength.

In Kamishiro Sosa, we have a similar set-up as before. The male protagonist, Ganji, is very energetic and careless with the female protagonist, Rekko's, feelings, and is seen to have a very similar type of banter as Gojo and Utahime have.

Gege clearly likes that type of pairing, which isn't surprising given the bickering couple and rivals to lovers is a popular trope in romance. It's not unusual for Mangaka to reuse old ideas, and that seems to be what happened with Gojo and Utahime. Even their appearances share similarities.

As you can see, GojoHime has a lot of thought put into it, and it's very interesting to see the little details Gege has put into their dynamic. There's definitely a reason why so many adore this pairing, and I'm glad Gege has paid attention to that.

#jjk #jujutsu kaisen #gojohime #gouta #gojo satoru #iori Utahime #forbidden writings #jjk meta

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skyflyinginaction · 7 months

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Clamp Art Style Analysis: Part 1: Creation Process and Materials

Introduction

Clamp is a manga artist team of four women. They are a prominent distinguished manga artist team known in the West and in China. The thing they are most recognized for is their highly detailed art style many people may have known and many may not. They did several manga you might have known such as Card Captor Sakura, Chobits, and even Tsubasa.

Clamp is one of the artists whose art style I highly admire and want to imitate in my art. I created this post so I can understand and take apart their art style and better understand it. It is going to be difficult since there are four people with different specialties and years of professional experience in their belt. They are constantly changing and adapting to every genre.

I am going to analyze Clamps’ art style in this post and this may take a while to crack due to how extensive the Clamp style is. I am going to pile up everything and explain this in this post which is going to take time to explain in this post. I am going to take apart interviews from different sources while explaining their art style in this post.

I am going to examine their art style and the materials they use. I am going to split into sections talking about the art style and what they use for materials for the manga.

To understand the art style and how it is defined I need to understand Clamp themselves since they created an entirely individual style that is going to talk about other things, not about the art style there is going to be so much I might miss while explaining in this post. I could be wrong while explaining this is an analysis I am going to take my crack at understanding the art style.

Influences

Though the members of Clamp are largely self-taught they are inspired by many figures that influence their art. The list consists of Reiji Matsumoto, Osamu Tezuka, Go Nagai, Hirohiko Araki, and Moto Hagio. The other works that influenced Clamp are animated cartoons and Galaxy Express 999. Reiji Matsumoto and Osamu Tezuka are major influences in their works Clamp used Osamu Tetsuka’s star system in their works which is seen often in the crossing over of characters from their series into their other works. You can see this prevalently in Tsubasa, X, and Kobato where you would find characters from the different series crossover.

Nekoi's favorite cartoonist was Moto Hagio in high school and Mokona mimics pictures by Reiji Matsumoto when she was younger.

While working on manga Nekoi started copying Shinji Wada and Rumiko Takahashi, in which She copied her art in drawing legs. She drew them thick and big. She liked the legs Rumiko Takahashi drew since they seemed long until short feet. She took them to make them more delicate and feminine. Clamp used other artists to help them while drawing.

Go Negai influenced the creation of X, taking inspiration from his work of Devil Man featuring two main male characters, and the murder of the lead's sweetheart triggers the apocalypse. Devil Man is used in creating x The extreme levels of violence depicted in X came from Go Negai's works. Clamp knows about Devil Man. They did a doujinshi of Devil Man in their works as doujinshi artists a while back and even had a doujinshi about the lead character's relationship in their works.

X was inspired by Go Nagai the heavy violence in x inspired from Go Nageis works and the assembled cast of x is inspired by Kyokutei Bakin's Nansō Satomi Hakkenden, The fight sequences of x were inspired by the manga Dragon Ball specifically Akira Toriyama's use of white backgrounds.

Mokona influences are H.R Giger and gérard di-maccio are used for the RG veda backgrounds.

Mokona likes Alphonse Mucha who is a considerable influence in drawing XXXHolic art.

Hirohiko Araki is another influence of Clamp with JoJo's Bizarre Adventure fan manga back when they drew doujinshi and starred in Clamp in wonderland animation with Jojo animated.

They drew a doujinshi on Jojo a while back starring Josuke and Kakyon and even they drew Jolynn once.

There is a lot of Kakyoin and Josuke fanart with Yaoi art drawn by these two characters.

Jojo was used in drawing wish with Kohaku and Shuichiro strongly resembling Jotaro Kujo and Noriaki Kakyoin and Kohaku's hairstyle strongly identical to Kakyoin and Shuiichiro resembling Josuke.

Members

Nanase Ohkawa

The main leader of the group, the main writer of the scenario, is in charge of the original story, script, and design. The other three artists are Mokona, Nekoi, and Satsuki, who are in charge of the art.

Mokona

Mokona is the artist and designer in charge of drawing. Mokona is in charge of sketching out the construction of the characters by hand. Mokona draws the storyboards and sketches out the characters. Mokona is responsible for drawing female characters.

Tsubaki Nekoi

Nekoi is in charge of character design, background scenery, finishing touches, and charge of the foundation of the art in their works. Her booth has been painted for design and screens for finishing touches.Nekoi likes to doodle and throw pages. Nekoi is in charge of drawing male characters.

Satsuki Igarashi

Satsuki Igarashi is in charge of design and drawing and is in charge of the finishing touches. She is in charge of designing the cover of the book itself.

Bio

Three members of Clamp were classmates in high school who took art-focused classes in school; none of them studied at school for manga. Nekoi tried using colored pencils and opaque watercolor in school when she was young. Satsuki and Nekoi were in middle school when they first started drawing manga. Mokona was in an art club in middle school. In high school, she started drawing manga with proper frames and dialogues. Mokona, Nekoi, and Igarashi studied art in high school Nekoi, Mokona, and Igarashi met in high school as a kid She found a friend who loved manga, Satsuki went to an art-type highschool and Mokona high school and college had art-focused classes, Igarashi was at an art department in highschool then to computer graphics vocational school. Clamp started as doujinshi artists who first published doujinshi fanzines Back then they had more people it went down to four in the year of their commercial debut.

The group never worked as assistants with most of the members being self-taught with Tsubaki and Nekoi being more self-taught.

They never used assistants to help them with their work since they wouldn’t be able to understand the years of jargon they created among themselves They created work for years without any help from assistants since assistants would slow them down and wouldn’t understand when we would tell them to do the same thing as before disrupting the workflow they created for work.

For inspiration, Ohkawa gets her ideas from dreams or inspiration based on events she hears or sees on the news a lot of times its deadlines. Ohkawa doesn’t always take notes and she usually loses ideas.

Clamp’s daily work hours while working on manga is in the morning, get in the studio at about 10 or 11 in the morning and in the afternoon they eat dinner at 6 in the evening then stop working at midnight.

The members share a single workspace and are separated into three booths while they work.

There are four separate studios and the member's workspace accommodates all four of them. Clamp work requires complete perfection with members having their own space where they have to work to create one of their works

The art of Clamp is lush layered and amazingly detailed. It has a high-quality art style with extensive details. Due to this, it's almost difficult to adapt to animation.

Each of Clamp’s titles has a different art style depending on the genre or magazine they are running in; their art styles change to suit the work and magazine the manga will appear in. The art style of the work is based on Ohkawa’s decision in charge of the art direction of the work. The art styles and pictures have changed but not their methods.

There is a lot to talk about the Clamp art style which may not be enough to explain one segment

Creation process

Clamp's work process is similar to an animation production; they work like a small animation studio. if you look closely at the work process for creating works it's more like an animation with the director, playwright, character designer, painter, background artist, creator, and publicist treating the manga or story like a script for a movie or anime, the creative process for creating manga is similar to that of animation and movies.

Ohkawa is the storyteller and writes the scripts other three draw drafts and original design, Mokona is the chief character designer, and Tsubaki and Nekoi work for the background Sometimes they they take turns doing different jobs

Ohkawa writes then it goes to Mokona who draws out the outline of the storyboard and sketches the characters

They would normally go to Nekoi for the finishing touches Igarashi and Nekoi work on the final touches the team may shuffle roles. Clamp members do get outside work with computer graphics. For drawing sometimes the members do character backgrounds or may draw everything depending on the story. They have a work where one person designs the character and another draws the actual story. They make storyboards and start drawing. Sometimes they decide who is going to make storyboards and then start drawing. The art is drawn by Satsuki, Mokona, and Nekoi, Nekoi draws the rough draft and thinks about how the story is going forward to next month's script. The designs are handled by Satsuki and Mokona. Satsuki worked on the design for the cover page. In the beginning, they believed that everything in the comic from front to back was important to the story. They take turns completing the rough sketch depending on the story. They divide the story into frames; they mostly draw it on art board paper after they create characters and scripts. Ohkawa explains what in each frame props and the characters in they have how they turn around and include emotions in the panel. Ohkawa and Igarashi never drew manga with split frames. They Look like frames from a movie

When Ohkawa comes up with stories Ohkawa drafts the outline of the story and the story setting The ending for each story is determined from the last scene back to the first scene and the end last and deciding the thing and heading into this way makes way for change drags the reader along for the story Ohkawa drafts the outline the other three members formulate characters designs by creating character profile sheets to avoid confusion. Ohkawas style of writing is considered a color woodblock print in the way it conveys and portrays things the manga is close to picture books and elimination of everything unneeded. Ohkawa thinks about the setting of where the story takes place and Ohkawa constructs a visual image at least in their head then splits up panels in their manga. for the writing process, they come up with the story Ohkawa gets together to discuss the story with the members about the purpose of the story and the main characters when writing and drawing After the members get well used to the story they write it down when creating a story for a weekly magazine they first decide on a rough story from beginning to end Ohkawa works backward from the ending for the story to have an ending like this the members don’t always know how the story develops. Ohkawa's style of writing for stories is not telling anyone the progression of the storyline before it happens reason for that is that when the members of Clamp learn of Hokuto's death one of the members couldn’t draw Hokuto's smile the same way this is how badly shaken they were since that the way Ohkawa created her stories changed for most of the works it was until Chobits she could tell them again. Ohkawa kept using memos in the beginning when she wrote the stories where she kept track of the flow of the story.

Before they start drawing they decide the flow of the story up until the end as well as the materials used for color and monochromatic drawing and the direction of the illustration. The members consider the art style during the planning stage and the materials for the manga, for materials Clamp uses color samplers In the order of how they draw. They draw them the same size as manuscripts, they draw rough sketches, and the size of the manuscript is b4 size and genkou size. They seldom use computers to create manga but only to color pictures, sometimes Clamp uses the scanning method when they draw or draw the rough draft using tablets. They don’t use references for their designs except at one time for Ohkawa she drew inspiration from a perfume and drink package she gathered together she drew more influence from the business art and art from Alan Chai's design.

The amount of lines and the thickness of the lines in the manga depends on the work. When you look at the manga, there are a lot of lines in the characters, Clamps can make the lines, and the thickness of the lines depends on the nature of their work from the thicker lines shows how serious and heavy the story thicker lines match the nature of their work that fits with a heavy theme like works like Tokyo Babylon, which have a heavy atmosphere. Mokona draws with thicker lines and uses pens with strong pressure when drawing. Clamps drawing methods changed with Tsubasa and xxxholic.

In the process of launching a serialization first is to decide on the major storyline work out the details of the characters later and consider the number of chapters needed to tell a story, second Ohkawa has a meeting with Mokona and Nekoi to decide on the design of the main characters Ohkawa asks for designs once they are finished they go over one more time. They go about creating manga and have two processes, one creating a manga based on the request from a publisher The second Clamp decides on the story first and then thinks about the magazine to write it for. Clamp comes up with an outline for the story First after they create the outline they discuss who's going to draw pictures or if they all draw together. They turn the project into a movie telling how a story goes and who the main characters are among themselves. They talk about the rough story and how they should do it when they bring a story to the publisher, attach the rough story and characters, attach characters' settings to them and draw the appearance in the manga to the publisher. Then after they show the work to the editor if the editor thinks it's okay they start the story. After receiving approval from an editor, Ohkawa assigns roles to each group member and then chooses the visual styles depending on the factors such as the complexity of the story and chosen art style the artwork depends on the genre and magazine of the story. Ohkawa provides a rough draft for each chapter with things such as dialogue panel size props and movement and characters' emotions. Storyboarding takes 12 hours while the script takes 8 hours to write. To Mokona from rough draft to inking 10 pages per day, the average Mokona puts into how many pages of black and white manuscript draws in a day the number of pages they draw in a month to finish one installment For example if they're in two monthly publications like Tsubasa and xxxholic one is about 19 or 20 pages other takes one day to finish 6 pages for the foundations for the fishing touches and inking takes a couple of days every 2 weeks when it comes to two weekly series its 120 and 130 pages a week. xxxholic takes two days and x took four days

Ohkawa will specify the proper production for the story and character. After the story, they will choose a person to perform the character design. Clamp switches up who works on character design and the drawing. Igarashi and Ohkawa do it together. One of them directs the work for design and the person in charge of the drawing for that work will draw a rough sketch which is discussed. Mokona is one of the concept artists When the scenario is specified in detail, Mokona listens to the basic story and consults the original concept with Ohkawa Mokona will show what she designed on the spot of the drafting and period. Mokona and Clamp often decide on the design first, then Mokona draws the illustration from format, paper, and photoshopping specifications to color specification. Mokona does pencil drawing first then ink and color it the pencil stage first so Mokona can fix errors in the pencil stage. Ohkawa as the main scriptwriter Ohkawa determines the story and setting and tells the members about it and the rest give their thoughts on it Ohkawa maps out the location, ideas, and character design Ohkawa gives the character's figures hairstyles, and clothes she envisions to the designers or sometimes Ohkawa draws them herself only sketches the rest get the art close to Ohkawa original version. Ohakwa doesn’t talk about the characters until it's time to create their visual design, Ohkawa decides the design of the character and the group visualizes it She explains their appearance she sometimes brings sketches instead of explaining Ohkawa decides the characters they have long or short hair their style of clothes and complexity. Clamp discusses together and thinks about how to make characters, Ohkawa makes requests and discusses them with the other three Ohkawa gives concrete and specific thoughts on what she wants the main characters to be. Ohkawa is the one who decides on the details of the characters and Clamp crafts their characters. They explain the story in the works that include the drawing of the clothes of what the character wears. Ohkawa takes all the info she gathered and has them design the characters based on the descriptions she gave like body build, hair length, and small details, next decide who is going to design the characters either Nekoi or Mokona design them characters and pick one of them then make a character setting chart and decide on the character's height. After the story they choose a person to perform character design. When that is happening, they use specific proper proportions for the story and character. They come up with a story through a character design phase Clamp and choose different styles and proportions for the characters. When it comes to designing characters they determine the head and body ratios since the person drawing can change the proportions in their sketches without knowing. They reference the proportions of the characters in case the person drawing it gets it wrong. Igarashi and Ohkawa consult each other and ask for revisions so that the proportions don’t shift, so it can come in tandem when working for 4 people. Mokona had difficulties drawing Yuko's proportions; she considered drawing them constantly a nightmare. Mokona found it reassuring to have partners who can check your work. Sometimes they decide on the colors to get the approval of the publisher to work on the storyboard and then agree on the birthday and height of the characters. The height is important because it's for drawing proportions that are made to keep consistency when drawing characters. The character designs look like character sheets like the ones you would see in anime. When they first set out to draw the members consulted such things as whether or not thin lines mesh well in the manga. what color materials they would be using the members play it by ear as they go along when they draw. Before drawing the portraits of the characters, Nekoi takes special care of the characters by differentiating them with their hairstyles.

For creating the clothes for the characters, Clamp dresses their character in stuff based on their own or things their acquaintances wear. Clamp reads a lot of informational magazines and fashion magazines on a personal basis which serves as inspiration for characters. Some of the clothes and other items that characters in Clamp wear are inspired by real-life pieces but most of them are done initially by Mokona.

Once the main characters are completed, they decide on the detailed settings for those characters, The members decide on each character's birthday and height. The height is used for doing the proportions of the characters. for the character settings the group goes into detail about the characters like what food they eat, special skills, how and when they do things, how they grew up, when they were young, their hobbies, the type of house they live in whether its Japanese or western style, if they are sleeping wearing pajamas or negligees and whether they like sweets or not; for example if a character is eating sweets it means that a character grew up in an environment where sweets can be easily eaten and if a character has long hair it can be tied or untied these details reference the characters way of life and polices the reason Clamp focuses on what a character likes to eat is because what a person eats says a lot about a character in personality. There's a lot of thought that goes into making character settings. It's mostly to advance writing their characters or fleshing them out as individuals. The character settings are important when writing the characters in the story These details are important for them to write for the characters the character profile is used so they won’t get confused when writing a character for the story to keep the writing of the character to remain consistent throughout the story.

Materials

When drawing manga and illustrations the group often determines the materials they use to draw during the meetings

Once they set out drawing they first consult things like whether or not thin lines and colors. Clamp used different techniques, art materials, and paper when they did manga and color illustrations Clamp used different materials at their disposal. For drawing Rayearth, the materials they use to draw manga are used include other works as well. The heavy colors are used to suit the tone of the story. This goes to show that you can change the impression by changing the pen you use and the paper used.

You can change the impression based on the paper you use. The paper makes a great first impression on the manga. Paper is not the only thing that changes the impression of the manga they draw, also the materials they use are used to change the impression.

Clamp uses different paper sizes for each work, the manga paper is sorted for each one of the members to use. Clamp has strong drawing pressure for their strong drawing pressure they chose thick paper. They use paper made by Daieidou printing for manga drawings because the members have a strong drawing pressure so they chose a thick paper that's three times thicker than manga paper. For the paper that the members use for illustrations Igarashi, Nekoi, and Mokona use Watson paper, BB Kent back of manga paper of copy paper. Both Ohkawa and Igarashi like acid-free paper, they love the sandy texture and don't like smooth art-coated paper. The reason for that is that if the paper is too smooth the texture will not be the same. Clamp uses many materials for works such as Copic markers and alcohol-based products, They use Kaimei Indian ink, and for color inks, they use Holbein and Holbein special black The screentone they use Brans that Clamp uses is I.C. 's and Letraset.

When they first used computer equipment, they were instructed by Takeshi Okazaki and Katsuya Terada. satsuki was into photoshop so Takeshi Yamazaki gave satsuki lessons in photoshop.

For the materials that Clamp used in their past works, rg veda used color inks, aeroflash, Liquitex, and modeling paste, Rayearth used Copic markers, Mokona used color inks for Mask of 20 faces, Tokyo Babylon used color tones and angelic layer had them use thick fountain pen like liner markers for drawing the manga.

Mokona’s pen uses a Kabura and a Marupen. Depending on the weather she draws a line to see which is better. Her favorite pens are Zebras Maru pen and Kabura pen nibs. with lnks, her favorite is Kaimei Indian Ink and Holbein’s Grey or Nouvel’s Burnt Sienna. What she used to draw backgrounds is Pigma 0.05, Mokona has strong drawing pressure. The G pen is too soft for her. She tried using one but it is hard to adjust and prefers using a harder pen. She uses a magic marker with a pigment ink called Prokey she used to draw letters on paper and uses Pentels water-resistant brush pens for solid areas like hair. She uses a powder board for paper with larger pieces and Baron Kent paper stretched with water. For RG Veda backgrounds Mokona used a lot of airbrush techniques. Mokona draws with thicker lines, and her drawings have been drawn with thicker lines. In the beginning, like in the third volume of Tokyo Babylon, the character's faces are angular and have thicker lines which show that her art is changing. Syaoran was Mokona’s favorite character to draw in Tsubasa.

Nekoi uses different nibs for the maru pen and g pen; she uses the Kabura pen for concentrated and close straight lines, also Pigma 0.5 for backgrounds.

For paper Nekoi uses whatever paper they have at hand to the back of wrapping paper bits of cardboard that have fallen around the back of cosmetics box envelopes from the publisher, the wrapping paper from a cup of tea that is Japanese style. She uses an eraser to reduce the tones in the screentone and sandpaper to reduce the large areas of tone she uses. A fine grit sandpaper will decrease nicely but not allow for fine adjustment which she had to fix with an eraser later. Nekoi loved experimenting with new painting materials; she especially loved painting in color.

Step to Step in Creating Manga

When it comes to drawing manga there are steps taken to create manga. these are the materials they use for drawing manga The list of materials and things they use in the steps to create manga are listed as this

1.) plastic eraser, mechanical pencil 0.5 HB

2.) Pigma 0.5, magic marker

3.) brush pen

4.) screen tone, tone cutters round sand eraser

5.) pen white, liquid paper ink, Mython

lastly, for writing the script, they use a pc

For the steps they use to create manga Rayearth I think it might be the same steps they use to draw other manga that come after it might be the same steps they did for Tsubasa,xxxholic, and other manga that come after it, and the materials they use. I bet it's the same materials used for Tsubasa, Card Captor Sakura and xxxholic.

1.) The plot is written by Ohkawa on a personal computer with manuscript paper, For the rough they draw frames with a pencil and roughly insert characters and other elements, they draw the rough while paying attention to the composition and balance the draw the panel as to what you want to show most when you are doing a specific scene. The rough is a lot of lines and its way is less detailed. The rough is used for the placement to know the place of things to ink. You can see the same rough stage with Tsubasa and xxxholic.

Clamp pays attention to the distribution of lines in the panels, the reason why Clamp pays attention to the number of lines is because it's a manga and they are going to ink over and over again. The reason they pay attention to the number of lines in the rough is to calculate how much you ink while you draw. the number of lines you use while you ink is important because you are going to use it over again

the rough is drawn with a pencil, they used a regular pencil for the rough rather than a mechanical pencil since the mechanical pencil has fine lines

2.) Next is the sketching phase, in the sketching phase the characters are drawn with a mechanical pencil they check the drawing by looking through the rough manuscript and back. Once the sketch is finished the member will fix it until they are satisfied The background is only included briefly in the sketch.

3.) The inking stages for the steps of Magic Knight Rayearth are inked mainly using a Pigma 0.05 or Kaimuji marker or brush. When Mokona was drawing Rayearth Mokona had strong drawing pressure so her lines became thicker She changed pens as soon as she noticed it her strong drawing pressure caused Mokonas tip of her pen to break quickly they often used 4 to 5 bottles a day for inking.

4.) Next up the beta stage, after they are done with inking they erase and check it again After that the members add solids the tool used is a brush pen to fill in areas like hair and stuff. They use ink that is resistant to water because if it is water resistant the area will become thin when the eraser is applied.

The steps for rough and sketch are used in their other works only the materials that are used for inking change consistently Depending on the series

5.) Next is the toning stage when they add screentone traditionally to a manga page, when it comes to screen tone they make sure that no more appears in the overlapped areas Clamp use a circular blade type cut when they apply screentone traditionally to a manga and small areas might be scrapped with a sand eraser scrapping the tone can change the texture of the object. They consider the effect and carefully cut it and their grain to the tone and know in which its neatly scrapped directions are not scrapped.

In Rayearth tint and gradation tones are used, and a little gala for the screen tone of the manga.

6.) This is the last stage of Clamp creation in drawing manga. The last stage is to express light and create glamorous images white is used for it. when applying white fluid to the image which is done by flicking the brush on the correction fluid with the rim of the container the effect changes depending on the concentration of the liquid. You can add white to the toothbrush or flick it with your finger. It changes the effect of the image. If you add fine white dilute it with water to adjust for the white. Clamp uses quirk drawing because the pen can be put on the white later.

This technique was applied in other manga like Tsubasa, Card Captor Sakura, and their other works. They used the same white ink to make a beautiful panel.

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