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shuahoonie · 8 months

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unspoken words | jeon wonwoo

pairing: non-idol!wonwoo (svt) x fem!reader

notes: office!au (kinda?), fluff, suggestive jokes, swearing, idiots 2 lovers. alcohol consumption, jeonghan the matchmaker. the one where reader and wonwoo’s paths kept missing each other until they didn’t. loosely based on the song unspoken words by mxmtoon.

word count: 5.1k

summary: you and wonwoo always had a complicated relationship— no matter how hard you two tried, your lives had a funny way of getting intertwined.

and stubborn may you both be, wonwoo will always admit his feat when it comes to you.

part of the to x, with love mini series

shuahoonie's masterlist | to x, with love masterlist

“i never asked you to stay,” wonwoo muttered as you helped him clean up after the info session that your work had conducted for a group of students.

“this is ridiculous,” you sighed more so to yourself “there’s no way you could’ve done this by yourself.” you said while you held the blue recycling bin, gathering all of the leftover flyers and other papers that had writing on them. you also had a separate bin for the coffee lids and cup sleeves to put in the recycling as well.

“you could’ve just left,” wonwoo was watching you the entire time, making a mental note that you were serious about putting away your trash. “i know seokmin is waiting for you in the lobby.”

“it’s okay.” you replied, not even bothering to look him in the eye. instead, you gathered everything in a neat pile.

“you shouldn’t keep him waiting,” the words came out so harsh when he said it. even wonwoo was surprised, he wasn’t usually like this.

“he’ll be fine,” you said dismissively, not really in the mood to argue with him.

“yn,” wonwoo calls your name as if he hated doing it. “go.”

it took everything within you to stop yourself from yelling at him. “your anger will mean nothing,” seokmin’s words would ring in your ear. so you took a deep breath, dropped what you were doing and left without another word.

“oh, seok, i was ready to pounce him.” you grumbled, stabbing the lettuce on your salad a little too aggressively.

"what, like sexually?" seokmin realized it was a bad joke. the way you were practically throwing daggers at him made it painfully obvious that you were not in the mood to kid around. "i'm sorry, yn, but you really need to lighten up."

"if there's anyone who needs to lighten up, it's him," you argued, munching on your greens. "in fact, maybe i should light him up."

"i still don't understand how you two got off on the wrong foot," seokmin points out, hoping a proper explanation will emit from you.

you shrugged because you didn’t know what to tell your friend. the first time you properly met wonwoo was at your workplace. you even thought he was cute— quiet, had the nicest smile. your other coworkers were even raving about how polite and kind he was.

imagine your surprise when the ‘polite’ cutie from the editorial floor practically threw daggers at you as soon as you stepped into the office with the cerulean blue folders. this threw off wonwoo as he did the preparation for the meeting.

“in my defence, i saved both our asses when i replaced the folders during that important meeting with the new york office,” you grumbled.

unbeknownst to you, wonwoo kept a close track of your encounters. the first time wonwoo met you was through university.

you were the president of the school’s undergraduate publication journal and you were only in your second year. wonwoo was one of the new student recruits, he was a third year. he actually thought you were cute until you had assigned him to deal with international relations— wonwoo had applied for the editorial layout section. wonwoo was not happy.

you probably don’t remember him, wonwoo knew it. how could you? you were running around, trying to figure out the logistics, gather and have people review these submissions, edit and have it all printed before the next term starts. meanwhile, wonwoo was stuck somewhere, trying to solve things on his end. you only left notes on his work, you two barely met during meetings. you two had no direct contact.

once you were in your third year, you had to step down as president and become a casual editor instead. wonwoo became the publication journal’s president that year. you two still had no direct contact.

you unintentionally beat him for that librarian assistant position that wonwoo was gunning for as it'll boost his resume.

somehow, for wonwoo, you were always one step ahead of him and he doesn't like that one bit.

so the day you pranced into the office with your signature bright smile, wonwoo felt territorial over a place where he felt like he finally was one step ahead of you.

wonwoo didn't even like that seungcheol served you the last chocolate cake the day he stopped by at heaven's cloud cafe.

"how could you, cheol?" wonwoo huffed, his arms crossed, as cheol placed the iced americano and a slice of strawberry cake on wonwoo's table.

"it's just a slice, dude," seungcheol looked at him weirdly. "and you don't even like chocolate.”

“yeah, but i wanted a chocolate cake today.”

“jeon wonwoo, quit being weird and eat your cake,” jun comments as he appears behind seungcheol, dropping his things on the floor and sitting on the opposite of wonwoo.

while jun waits for his order to arrive, he worked on the monthly report that his boss has been pressuring him to do. as jun went on rambling about how much he hates his job, wonwoo is occupied with the idea of you. how you were always a step ahead of him.

from then, jeon wonwoo declared a one-sided competition against you.

your idea of jeon wonwoo was simple— he was the cute guy from the editorial team who hates your guts. why? surely, you don’t know.

one rainy afternoon, seokmin made sure to tell you that he won’t be able to give you a ride home, so he gave you the spare umbrella that he had.

“please be kind, ynnie, and let someone stand under your umbrella if they don’t have theirs,” seok reminded you.

“you know damn well i’m always kind,” you huffed with a pout— in which seok just gave you a pointed look before he handed you an umbrella and your lunch.

it seemed that your words had come to haunt you because here you were, walking under the rain using seok’s tiny umbrella, passing by wonwoo who was waiting in front of the office building— probably waiting for the rain to stop as he had no umbrella.

“he’d be waiting all night,” you thought to yourself. you had a long internal battle whether you’d just ignore him but seok’s words were ringing in your ear.

taking a deep breath, you asked “do you want to share an umbrella?”

wonwoo’s startled eyes looked at you and your umbrella. “i’m calling a cab,” he answered. wonwoo wasn’t exactly lying, he’s been trying to get one but the rain has made it extremely difficult to find one.

“well, you’d be calling all night. cabs are extremely hard to find especially at times like these,” you answered. wonwoo hated that you were right. again, always one step ahead of him. “subways are still running, do you want to walk together?”

wonwoo stared at you for what felt like an eternity before you rolled your eyes and pulled him under your umbrella. “we’re walking, stop overthinking it.”

you two were walking quietly in the rain. you’ve been coworkers for almost a year now and you can’t remember the time you and wonwoo had a proper conversation— one that you two didn’t end up bickering about senseless things. you didn’t even know why you two were always butting heads when you two were always working closely together.

as you tried to squeeze the two of you under seok’s tiny umbrella, you noticed that his shoulder was practically soaking wet. of all the umbrellas that he’d give you, he had to choose the tiniest one he owned. this prompted you to hover the umbrella more on his side, allowing the rain to soak your exposed shoulder instead.

wonwoo noticed how you moved the umbrella towards him, making him raise an eyebrow. you were wonwoo’s greatest puzzle— he can’t guess your next move and what’s worse is that you’re always one step ahead of him. “what are you doing?” he asked with furrowed brows.

you looked up at him, suddenly aware of how tall he is. no wonder your arms were getting tired from holding that damn umbrella up. “what do you mean?” you asked, confused by his question.

wonwoo grabbed the umbrella from you— your hands touching for a brief moment. you ignored whatever was forming in the pit of your stomach. maybe you’re just hungry? wonwoo hovered the umbrella closer to you, fully aware of the fact that his shoulder was getting wet from the rain. “you’re getting soaked,” wonwoo replied curtly.

“so are you,” you pointed out as you held the umbrella and tried to move it closer to him. however, wonwoo resisted it.

“i’m fine,” he says.

“whatever you say,” you huffed “it’s not like you intended to have annoyingly broad shoulders anyway,” you grumbled more to yourself, hoping he didn’t hear it. however, wonwoo heard your frustration over his shoulders and he couldn’t fight off the smile on his face.

it was the first time he could openly admit to himself that you made him smile. it was also the first time you caught him smiling.

“oh, how adorable,” mingyu grinned upon hearing the umbrella-sharing story from wonwoo. “and you said you weren’t one for office romances,” he teased earning a glare from wonwoo.

"because i'm not," wonwoo rolled his eyes "and i don't like her," he said almost defensively.

mingyu snorted "yeah, as if i haven't heard that line before." he said while setting up the living room for a movie night between him, wonu, jun, and chan. jun and ichan were running a little late as they were buying drinks.

"well, it's true," wonwoo crossed his arms "there's something about her that makes me feel like..." wonwoo trailed off, finding the right words to say.

"like?" mingyu sat on the couch, turning towards wonwoo— clearly invested.

"like... fuck, i don't know..."

mingyu lets out a dramatic gasp. "dude," he stares at wonwoo in complete awe. "you swore..."

"and?"

"you never swear unless you're completely frustrated," mingyu pointed out, a teasing look glimmering in his eyes. "you like yn, huh?!"

before wonwoo could even answer, mingyu's doorbell rang. saved by the bell, wonwoo thought.

"oh, this is not over, jeon wonwoo." mingyu said with a smirk, making wonwoo groan.

"seok, quit looking at me like that," you whined as you hugged the pillow tighter, placing your chin on top of the pillow.

"what?" seok grinned "it's nice to know that your beef with your coworker is slowly coming to an end."

"he was probably thinking how ridiculous i sounded for mentioning his shoulders," you grumbled. "why did i even mention his shoulders?!" you groaned.

seokmin couldn't help but laugh at how adorable you were being. "oh my sweet, ynnie," he cooed, ruffling your hair.

"here you go, yn," vernon said as he handed you a pint of ice cream. you were hosting a sleepover with seok, vern, and kwan. you three were waiting for seungkwan to arrive with the rest of the snacks.

you initially thought that you'd have the ice cream later but vernon thought that you might need it sooner than later. "thanks, nonie," you smiled at him.

"for what it's worth ynnie, he finally smiled at what you said." vernon said before taking a bite of his ice cream.

"and now yn is acting up because she thought he was cute," seokmin said teasingly, making vernon laugh.

wonwoo believes that the universe is out to get him. he kept complaining that you were always one step ahead of him and now, the universe is starting to retaliate.

"take yn," his manager tells him, making wonwoo clutch tighter on his notebook.

"sir?" wonwoo must be hearing things. there's no way that his manager actually asked him to take yn, right?

"take yn ln," his manager stresses your name. "didn't you two work on the last summit?"

"yes, but sir—"

"then it's final," his manager dismisses wonwoo "you two did a wonderful job with the last summit, i'd like you two to work on this year's professional development sessions."

"you two make a wonderful team," was the final thing that his manager said. without another word, wonwoo left the office feeling defeated. how can wonwoo be one step ahead of you if the universe is making him walk alongside you?

it was no surprise that wonwoo was everyone's office crush in the editorial department. people would often turn their heads whenever he walked by. this time was no exception.

the people on your floor knew the budding tension between you two. so when wonwoo was walking towards your desk with two coffees and a bag of dessert in hand, heads definitely turned and people were bound to talk.

"here," wonwoo hands you an iced americano and a bag of what you assumed was a slice of chocolate cake, catching you off-guard. your desk computer was showing the available job listings in the other departments. "are you thinking of transferring?" he asked as he leaned closer to your monitor— closer to you. his cologne was easily filling your nostrils. you hate that he smells good. how are you supposed to despise a man who smells good?! you thought. wow, the bar is literally on the floor.

"i'm keeping my options open," you answered as you crossed your arms, snapping yourself to reality. "it's not like you're making my life any easier here," you muttered the latter sentence, though you did hope that he heard it.

it's been a month since you and wonwoo started working on the company's professional development sessions. it's also been a month of torture. you've gotten frequent migraines that you started looking up if taking tylenol frequently will kill you. you didn't like the results.

wonwoo heard the latter sentence. while the month has been torture for you, wonwoo didn't mind your company at all. sure you were butting heads most of the time, but he noticed how much you were willing to compromise just to settle a conclusion between you two. wonwoo liked pushing your buttons. he found you cute even if you wanted to bite his head off.

"is this a peace offering?" you motioned to the coffee and the cake that was sitting on your desk.

"for what?" wonwoo smirked, playing coy. "you agreed to the after-session event, fair and square."

"bitch?!" you stared at him as if he's gone mad "if anything, you made it your life's mission to annoy me into agreeing that going to an escape room is what we need after overloading our brains from the sessions."

"yn ln, you know i can go to HR because you cursed at me, right?"

"jeon wonwoo, you know we're banned from that floor unless there's a serious allegation," you said, massaging your temples. "now humour me, what's with the coffee and cake?"

"oh, i stopped by at heaven's cloud café earlier and jeonghan practically insisted that you have these," wonwoo said casually, looking away.

you stared at him suspiciously, "thanks, i guess." you haven't spoken to jeonghan in a while since you've always been swamped with work. but maybe that's why you got free coffee and desserts?

before you could even ask wonwoo another question, he quickly left without even looking back at you. deciding to ignore it, you snapped a quick picture of the coffee and the cake, shooting jeonghan a quick text, "thanks for the coffee & cake, hannie! miss u! ♡"

"jeon wonwoo, is there a reason why yn sent me a text earlier, thanking me for the coffee and cake that i didn't give her?" jeonghan asked wonwoo, who was busy typing away on his laptop. wonwoo stopped at jeonghan's place after work as their other friends will be dropping by later as well.

"i don't know what you're talking about," wonwoo mumbled, not looking at han in the eye.

jeonghan was having none of it. "i'm texting yn that you gave those things to her," he threatened, pulling out his phone.

knowing jeonghan is probably going to commit to it, wonwoo sighed and threw his hands in defeat. "fine."

“and so the plot thickens,” jeonghan smirked, crossing his arms. “so is there a reason why?"

"she was having a rough day," wonwoo explained, closing his laptop. that report will be dealt with tomorrow. "i felt bad."

jeonghan raised an eyebrow at him. "i thought you didn't like her?"

"i don't."

"funny, because that's an odd way of expressing how you dislike her," jeonghan said, making wonwoo roll his eyes.

“i can at least recognize all the work she’s been doing in planning the pd session,” wonwoo replied, defensive.

jeonghan smirked because he knew. he knew that wonwoo was walking on a thin line. in fact, jeonghan was 100% sure that his friend has gone soft for you. “okay, whatever you say.”

“ynnie!” seungcheol calls your name as he spots you, busy choosing what kind of juice you are going to buy. you decided to stop by at the grocery to grab a couple of things for the fridge.

you gave him a small wave, smiling. seungcheol, however, was eager to give you a hug. you, cheol, and han shared a couple of classes back when you three were in university. you were always supportive of their endeavours that’s why cheol & han always had a soft spot for you— they considered you like a little sister that they always had to take care of.

“how was the cake from earlier? you know i’ve been taking a lot of baking lessons recently,” cheol said with a proud smile.

“oh, it was great, cheol!” you said sincerely “i sent jeonghan a text earlier, saying thanks.”

“thanks for what?”

“for the cake…?” you trailed off, a bit off-guard by the confusion plastered on seungcheol’s face.

“why would you thank jeonghan?” seungcheol asked, even more confused.

“jeonghan wasn’t there?”

cheol shook his head no. “unless jeonghan told wonwoo, but i assumed wonwoo bought it for you. i was teasing him about it too, since he doesn’t like chocolate that much.”

“ah,” was all you could say as you felt your cheeks burning, surprised by cheol’s sudden information. is that why jeonghan hasn't replied to your text at all?

cheol suddenly felt like he just triggered a bomb. oh, he fucked up. as if on cue, his phone started ringing. mingyu was calling. "okay, i'm heading off, ynnie."

you just nodded and waved goodbye, feeling confused. it was a good thing that you won't be seeing wonwoo during the weekend otherwise you would've gone mad.

heaven's cloud café was buzzing with people when you came in.

you spent a lot of time debating if you had to improvise how you would spend your sunday morning. you would usually stop by the heaven's cloud café and spend a good chunk of your time there— reading or chatting with jeonghan and seungcheol.

however, knowing that wonwoo might stop by at the cafe, it left you questioning if you wanted to derail your usual sunday routine.

and yet, your pride got the best of you. no matter how much you didn't want to see wonwoo, you weren't going to derail your sunday routine especially if it involved coffee.

although the café was usually busy on the weekends, today was unusually busy— you wondered if there was a special promotion taking place. jeonghan hasn't even acknowledged your presence yet as han is busy manning the till while also preparing the drinks. cheol is probably in the kitchen, preparing food.

you settled on the last empty table at the very back— dropping off your things, deciding to order a bit later once the line from the till calms down.

while you were busy scrolling on your phone, someone placed a tall glass of iced americano and a slice of strawberry cake on your table.

"you should try this, it's a house favourite," someone with a deep voice said. you looked up and saw jeon wonwoo with slightly messy hair, wearing your favourite black specs and a white button-up, smiling at you. fuck, he looks good. is hell officially frozen?

"are you perhaps a twin of jeon wonwoo?" you asked, completely boggled.

"yn, what the hell?" wonwoo laughs at your incredulous take, making you even more confused. why is this wonwoo variant laughing and smiling at you? most of all, why are they bringing you food when you haven't even ordered?! "what made you say that?"

you reached out your hand and poked his cheek, making him laugh. "are you really wonwoo from sector17 press?"

"yn, seriously, what makes you think that it's not me?"

"why are you so smiley all of a sudden," you cried, weirded out. "and why are you serving me food?"

"my, do you like it when i give you a hard time?" wonwoo said, teasingly "is that a kink of yours?"

"you're fucking weird, jeon wonwoo," you smacked his arm. "i've never met the weekend version of wonwoo and i don't think i like it," you cried quietly to yourself.

"cute," wonwoo says quietly, still smiling at you. "i'll talk to you later, okay? i'm helping cheol and han for the day and i feel like they'll beat my ass if they see me slacking off." wonwoo gently ruffled your hair and walked away, leaving you flabbergasted.

you felt that familiar feeling in the pit of your stomach. oh god, what the fuck just happened?

the friday night that jeonghan found out that wonwoo used jeonghan’s good name to protect his image, was the same night that seungcheol bumped into you at the grocery store.

drinks were getting passed rather at a rapid speed. for them, this night was a gem among other nights. most of jeonghan’s friends were at his place, enjoying the night away.

“ya, wonwoo,” cheol suddenly calls wonwoo, who was barely drinking— as per cheol’s opinion. “i thought tonight was the night that you were going to get loose.”

wonwoo chuckled, “i’m pacing myself.”

jeonghan snorted. “cheol, you’re talking to the guy who still cannot admit his high school crush on our ynnie.”

this earned a couple of laughs from the group, mainly from mingyu and jun.

“yoon jeonghan, just because you’re in a happy relationship—” wonwoo threw a balled up napkin at him, obviously not knowing how to reply.

“oh, wons, that reminds me…” cheol started rubbing the back of his head “i told yn that it was you who gave her the food and not jeonghan.”

as soon as the words left cheol’s mouth, it’s as if wonwoo felt annoyingly sober. he downed the tall shot of bacardi that was supposed to be mingyu’s shot.

“i don’t get why you’re tiptoeing around your feelings for her,” mingyu pointed out, filling the shot glass again. “it’s not like there’s a company policy against dating your coworkers.”

“isn’t there?” joshua asked. wonwoo shook his head no. “lucky bastard.” shua muttered, taking mingyu’s shot.

“you guys, what’s the point of doing rounds when you’re taking the shots as you please?” mingyu whines.

“i thought you didn’t like yn?” jun asked wonwoo, taking a bite of the kimchi jeon. “or is that like a weird defence mechanism against your feelings?”

"oh please," mingyu rolled his eyes "wonwoo had a huge crush on yn ever since our uni days," he pointed out, prompting wonwoo to hit him.

"weren't you two in like a school publication together?" jeonghan asked, taking the shot from mingyu.

"oh, right! you had like a one-sided beef with yn," jun's eyes lit up briefly, then proceeded to smirk at wonwoo, "ya! is that how you show your affection?"

"obviously not," cheol grins "our wonwoo is the type to show his affection through actions, not words."

"what are the chances that they'd end up working under the same company though," joshua commented with a fond smile.

"and in the same department too," jeonghan added.

wonwoo groans, before taking a shot, "i hate all of you."

"you two have a deep history, have you two never talked?" joshua asked, now invested.

wonwoo shakes his head, "we only talk about work."

"if they talk about work," mingyu laughs, "all they do is argue."

"how do you know all of this, gyu?" cheol asked in disbelief, laughing, "you work at a different company."

"i work with seokmin," mingyu replied "and seok likes to tell stories about yn."

"ya, didn't we invite him tonight?" cheol suddenly remembers, looking at his phone to check his message thread with seok.

"he's probably with yn," wonwoo muttered before taking another shot. this gets attention from the rest of the group— a series of teasing smirks and playful looks being exchanged.

like a kid on christmas morning, a bright smile appears on mingyu's face. "won, are you perhaps jealous?" he teased, with the new-found information.

wonwoo scoffed but didn't answer the question. wonwoo swore he wasn't the jealous type. but for some reason, he can't get over the fact that his friend was closer to you.

wonwoo knew that there was nothing going on with you and seok.

however, seok was your person, wonwoo would always think. you felt happier around seok. if wonwoo didn't know any better, he would assume that you liked seok. maybe she does, wonwoo can't help but think.

"you know they're just friends, right?" mingyu reminded wonwoo.

wonwoo doesn't say anything. he was just waiting for his friends to butt into the conversation. wonwoo's eyes caught jeonghan's. jeonghan smiles, that mischievous smile of his, leaving wonwoo confused.

"won, do you wanna know who she likes?" jeonghan instigates, leaning forward.

wonwoo waits, does he really wanna know?

jeonghan smiles, then says "you."

wonwoo didn't believe in signs— for him, every little decision a person makes is pulled by the desired outcome. however, you were his only exception.

"if ynnie stops by at the café on sunday, will you finally talk to her like civilized beings?" jeonghan's words rang loudly in wonwoo's ear.

"i don't believe in signs," wonwoo states simply.

"and you can't make an exception for yn?" jeonghan knew how to play the game. he's just waiting for wonwoo to swallow his pride and address his suppressed feelings.

"maybe." wonwoo answers, making jeonghan smile mischievously. and so, it begins, jeonghan thinks.

it was ridiculous— waiting for something to happen when he could've just started a conversation with you. but it's so hard when it's you. god, it's so hard for wonwoo when it's you because you make him feel things that he thought were only exaggerated by films.

wonwoo didn't know if jeonghan's revelation about you was a lie, but he'd be lying if he said that it didn't affect him— because it did. it felt like he was back in high school and he's not sure if that's something he liked.

jeonghan and seungcheol were very much aware of your routine. every now and then, you would visit the café every sunday— even during the morning rush. they were most definitely aware of what's waiting for you and wonwoo.

the two owners had tasked wonwoo to help with serving the orders as more people flooded the café. "make yourself useful while you wait for your girlfriend!" was all jeonghan said as he handed wonwoo an apron.

and so when you entered the café, wonwoo gathered all his strength to talk to you casually, even if it sent him through an overdrive.

while you were walking towards the washroom, you bumped into jeonghan who was grinning at you. you knew that man long enough to know that he's hiding something when he's smiling like that.

"ya," you pulled jeonghan to the side. "what are you hiding?"

"what do you mean?" han answers, blinking at you innocently.

"why is wonwoo being nice and smiley," you asked him with a huff, crossing your arms. wonwoo being smiley was something you didn't know would affect you this bad. "he's being too cute for my liking," you muttered the latter part.

jeonghan laughs at your dilemma. "isn't that what you wanted?"

"what do you mean—" you were confused with jeonghan's comment until it dawned on you. you remembered the time you went out for drinks with jeonghan and seungkwan. "yoon jeonghan!" you slapped his arm, making him yelp but he was still laughing.

"what?" he looks at you, acting confused as he rubs his arm. "i'm being supportive here!"

"you promised me you wouldn't tell him," you pouted.

"oh please, he was jealous of seok, i had to throw him something."

"so you told wonwoo about the time i got drunk with you and professed my undying feelings for him instead?!"

"no," jeonghan replies. his eyes moved past yours, looking past your shoulders, and smiled. "but i think you already did." jeonghan says, patting your shoulder before he left.

wonwoo was sitting across from you with a smile on his face. you've never seen this man smile at you this much, it was starting to freak you out.

"don't look at me like that," you grumbled, glaring at wonwoo.

"i can't help it," he looks at you almost tenderly. "you look adorable even when you're sulking like that."

you felt the familiar sensation in your stomach. how can jeon wonwoo just say things like these to you? does he not care about your well-being?! how you'd feel?

"that was a long time ago, by the way," you said in defence— as if the damage hadn't been done. wonwoo waits for you to continue your sentence. "you know, me having a crush on you," you continued, your tone getting quieter after each word.

"i'm sorry, what was that?" wonwoo leans closer, as if he didn't hear what you just said. you knew he was just teasing you as you noticed that he was trying to fight off a smirk.

"i don't like you, jeon wonwoo," you whispered, prompting wonwoo to only focus on your lips.

"that's too bad because," wonwoo paused briefly and leaned even more, "i like you."

his face was dangerously close to yours— wonwoo didn't care if half of his body was practically hovering over the table. he wanted to lean closer to you.

you felt frozen in your place. a part of you wanted to lean back and smack him, but there's also a part of you that just wanted to grab his stupid face and kiss it.

"ya!" jeonghan suddenly appeared beside your table "if you two are going to make out in my café, can you move to cheol's office? i'm planning to keep this place family-friendly," jeonghan snickered.

maybe you should just kiss wonwoo and smack jeonghan instead.

hello hello friends! i wrote this while i was sick in bed & was high on buckley's flu meds, so this is v cheesy. i hope you are all well & healthy! ♡

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johnbassplayercutie · 2 months

Text

Man-U-Lip-U-Lator

Warnings: 18+, manipulation, fem!reader x stephen glass

Word count: 1.6k

Summary: You work with Stephen, and after a few times of hearing his stories at weekly meetings, you grow suspicious of him. You stay late one day at work when it's just you and him there after everyone's left. Your plan is to interrogate him or at least figure out if he's really telling the truth. You notice he gets up to print some stuff in the printing room and decide on snooping through his things in his office. Once finding incriminating evidence that suggests he's faking everything, he comes back catching you sifting through his stuff (aka his little black book from the movie with all his "info" in it lmao).

part one ♡

— — — —

Stephen finishes up collecting his printed copies and walks back to his office. He's too preoccupied to notice that you’re missing from your own.

Stephen enters, gripping his copies tightly and stands frozen in shock at you leaning over his messy desk of papers.

"What are you doing?!" He whines loudly, noticing you holding his little planner, open to a random page.

You whip your head to the office door and almost yelp out at his sudden appearance. It's too late now to back out.

"You've been lying, haven't you?" You state matter-of-factly rather than a simple question.

"What are you talking about?" Stephen questions as he feigns ignorance to the topic, "Give me back my planner, that's important for my sources!"

"Yeah, yeah. Your sources." You rolled your eyes and finger quoted sarcastically.

"Look, if this is about if Dave ever picked up from the Hackers Organization, I already gave Chuck the correct phone number. I got it confused with another one of my sources." Stephen tried to derail the topic.

"Stephen, I know you’ve been lying. And that goes for the Hackers Organization, too." You state, crossing your arms and holding his planner close.

You know he would try to snatch it at any chance if it means saving his ass from being fired. There was no way you'd let him get the satisfaction.

"Are you mad at me?! Did I do something wrong?" Stephen questions worriedly, "I swear I just made a few mistakes with the details, but I gave Chuck all the correct information!" He babbles on with an anxious tone and demeanor.

His attitude begins to make you falter. Maybe it's all just in your head and you're jealous of his success. You almost feel bad for him, he's practically about to beg on his knees.

No, no, no, snap out of it! You were sure of it.

Stephen steps closer to you, obviously trying to get his planner back. You distance yourself from him but back up into his computer, knocking over his pencil holder on the desk, the contents spilling all over the floor.

"Y/N, watch where you're going! You could've deleted the files on my computer, they’re important!” He whines out like usual. You scramble to the floor, attempting to pick up the scattered pencils whilst placing his planner down beside you.

Stephen eyes his planner down beside you but keeps up with the manipulation tactics. He’s hoping he will dissuade you from what he knows is the truth. He kneels down, helping you pick up the pencils off the floor and returning them into the holder. Stephen stares at you intently before speaking, sure of himself that this lie will work.

"Look, if you really don't believe me, you could always come over to my apartment," You meet his eyes, confused as to how that could even be a solution. He continues on and notices you're not buying it before quickly conjuring up more lies with ease, "I have the cassette tape recordings of my sessions with the Hackers Organization. I could play it for you if you don't believe me. I even have tapes from other editorials I did."

You ponder if he could be really telling you the truth. It wouldn't really hurt to try and hear him out. You still have his planner and you could use it against him as blackmail if all proves false.

"Okay....but if you're lying about this, then I'm going to report you to Chuck. I have this to prove otherwise,"

You reach to grab the planner but notice that it's not where you placed it. You panic internally but try to act calm, then noticing Stephen is grasping the planner for his dear life. You flicker to his hands and his knuckles are white and veins strained.

His eyes meet yours and you can almost see him smirk. Almost.

Damn it.

"Look, I really don't like the way you're treating me. I feel really attacked!" Stephen states, getting suddenly defensive and angry.

"I'm not– I-I just want what's best for our readers and everyone working here." You say softly, feeling put on the spot as he scolds you.

"You're one of my editors! You're supposed to support me, but you're taking Chuck's side over mine!" He raises his voice again, visibly upset, chest rising and falling in agony.

He looks sad, tears forming in his eyes, but something is off. He quickly falters, and you can see him forming a shy smile.

"If you really don't believe me, you can come listen to the cassette tapes..." He says softly and shamefully, like someone denied him of something meaningful. He completely avoids the fact that he just took the notes, spoiling your plans of questioning him.

You have no choice but to do as he says. Your only solution from this disaster was that note planner.

"Alright, fine. Let's go before it's too late. I have more important things to do than deal with this all night." You say exasperated, urging him to grab his things and get this over and done with. The sooner you can hear or not hear these tapes, the closer you are to deciding Stephen's fate.

Stephen takes the planner and stuffs it into his leather briefcase, zipping it up. He can't risk you snatching it away from him again.

He returns to his usual chirpy self, babbling on about random facts, talking about things in his office or his apartment. It's like whatever outburst he had a few minutes ago never happened.

He glances over at you, keeping a close eye on you as he puts his arms through his suit jacket. His gaze is intense and you feel the butterflies in your stomach. The urge to look away is becoming strong but his eyes lure you in. You flush red in the face and suddenly you’re squeezing your thighs together. Only a look from him and you’re already wet.

Stephen’s eyes flicker down, noticing your tension before he looks back to your face, biting his lip knowingly.

You have to admit Stephen was always handsome. You've always kept a watchful eye on him at work, only solidifying the fact. There's no denying that you may have a crush on obsession with him. How else would you suspect he was lying when all you do is eavesdrop and watch him?

Stephen gives a small smile as he adjusts his collar, walking up to you. You feel your heart begin to race at his closeness. He leans in closer, reaching an arm around you. You can hear your heart stop for a second.

A second later, the click of the mouse awakens you from a daze. You can hear his slow breathing next to your ear as he's against you, trapping you against the desk. He whispers softly in your ear, "Just have to save my work and turn off the computer before we go." You can hear him grin before clicking the power button and moving back to face you.

You're in shock at the proximity between the two of you. Your mind is misfiring, confused as to where the shy and boyish Stephen had run off to. No, he was right in front of you...right?

"Stephen, I–" You're about to speak but no words come to mind. You sigh quietly as his hand grazes against your hip, steadying you against his desk.

He quirks a brow, urging you on to continue. He's pleased, his smile coming through as he resists doing so.

"Uh—nevermind." You falter before looking anywhere but at him. His face is so close you could kiss him.

"Okay," He pulls away and shrugs. He's smiling now, flickering his eyes away playfully before turning toward the door. "You should probably grab your coat." Stephen walks over to the chair and grabs his briefcase and coat, waiting for you by the door. His finger rests on the light switch, ready for you to exit his office first.

You're blushing and it's clearly obvious now that he's got you in his trap. You turn to him before walking out his door, "I'll be right back."

You grab your coat and purse and quickly flick off your office lights, closing the door behind you. Stephen's waiting for you by the elevator at the end of the room. As you slip into your coat, Stephen is facing the elevator before turning to you as you approach his side.

"You, first." He states as the door slides open, his gaze holding yours with intensity.

taglist: @nananooti @haydensbbg

#stephen glass x reader #stephen glass smut #stephen glass x you #stephen glass fic #hayden christensen smut #hayden christensen x you #hayden christensen x reader #hayden christensen x fem!reader #part 1 #hayden christensen #shattered glass

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peoplesgraves · 1 year

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I have yandere thoughts yet again

Imagine being a Model and you literally can’t get away from obsession.

Yandere Fans cover their walls in pictures of you. They rip out every magazine page your included on and papermache them above the ceiling so you can look down on them every day. If you have shoot with other models they’ll use those too but with cut/scratch the other people out or even crop their face over the other person. If you ever did a meet and greet it would be absolutely packed and would likely get shut down because everyone’s fighting over who’s your biggest fan and who loves you the most. Those who do manage to meet you end up lovesick,sobbing messes so the pictures usually turn out bad. But the fans don’t mind as long as you look good in them.

Yandere Models all want to be pictured with you and they’ll do anything to make it happen. From blackmailing other models to drop out or bribing whoever’s casting, nothing is too dirty or too illegal if it means getting to spend all that time with you. Models will starve themselves and do all matter of dangerous treatments or plastic surgery just to have a leg up and hopefully be chosen to pose alongside you. It doesn’t matter how much it hurts or how much they lose, it’s all worth it to have all the tabloid gossiping about the two of you after the latest editorial you were pictured in together.

Yandere Photographers who only care about you. Who call you their muse and only ever take perfect pictures. They’ll take awful pictures of other models who they feel are a threat to your career until they’ve been all blackballed from the industry. If you have shoots with other people then there’s a super noticeable difference in quality over the way you look and the way other people look. The photographer obviously plays favorites but no ones going to say anything. It’s what his muse deserves.

A Yandere Stylist who is just a little too cheeky. Always staring obviously at your lips when putting gloss on or making jokes about having to punish you if you smear your makeup one more time. They’re always jovial and smiling but there’s something dark in their eyes that only you get to see. Their touch lingers when they’re tailoring your clothes and their hands go from professional to more like a lover whenever they’re helping you take 100 Bobby pins out of your hair. They’re always by your side always joking and touching and waiting for the second you get lipstick on your teeth or a fly away.

A Yandere Manager whos always on your nerves. Who’s older and has more experience. They always have some excuse for steamrolling over you and just making whatever decision they want for you. They’ll keep you in line with their connections and their influence. In a way you both get what you want. You’re the most loved and sought after model in the industry and they have you too dependent on them to ever try to leave. Stylists and photographers are a dime a dozen but your manager has your entire career in his grasp.

Yandere Paparazzi who are ironically more ethical towards you as yanderes then they would be if they were normal. They don’t take bad pictures or catch anything embarrassing about you, or at least not that they show publicly. They might snap a few pictures at vulnerable moments to keep just for them, they’re the only ones who get to see you like that. While they may do their best to protect your reputation the same can’t be said for anyone else. They’ll slander other models left and right. Wether it’s true or a little editing magic they’re good at swaying the public opinion against anyone they need to. Just let them watch from the sidelines and you’ll never have to worry again.

#yandere #yandere x darling #yandere x reader #yandere x y/n #yandere x you #yanderes

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undiscovered-horizon · 1 year

Text

Return to sender - Kaz Brekker x Reader

[graphic descriptions of violence/injury]

SUMMARY: Someone from your past keeps sending you unambiguously romantic letters. While you think of them as nothing beyond an inconvenience, Kaz has a different opinion.

WORDCOUNT: ~ 2.9k

A/N: I'm going through the first editorial correction for my novel and as it turns out, I can't speak my own mother tongue lmao

Kaz has an eye for details. Whether it’s a pattern or an overlooked design, he always notices. That set of skills, either he learned them or was born with them, made it painfully obvious to him that your foul mood coincided with correspondence he never saw you actually read. The letter usually ends up in the nearest fireplace, its secrets never uncovered and you maunder around the club looking for a fight or a strong drink. A much bigger problem, however, was the fact that if you were in a sour mood, Kaz would become exceptionally chippy without an apparent cause. ‘Care for my investment’ he calls it, which makes a rather amusing euphemism.

In any event, he knows that the letter should arrive today. Exactly seven weeks had passed since the last time some mysterious correspondence pissed you off and the sender, as far as Kaz has noticed, is like clockwork. Strangely enough, he can’t recall a day when the letter should arrive that you’d come to the club already annoyed as though he has become privy to a rather obvious pattern that you remain oblivious to. If so, he has even more advantage - he can solve this inconvenience behind your back, in case you’d try to dismiss him. He wouldn’t listen anyway, of course. Not when it comes to you.

Knowing very well that you have a habit of arriving shortly after Inej, he’s quick to find the thief before you even get a chance of catching wind of his scheme. She’s fixing her clothes when she spots him hastily limping towards her with his face turned nearly into a snarl. A hand brushes through his hair. He’s agitated. But Inej knows better than to make the first move against the unmovable mountain. Kaz sought her out, after all, and if he means business, he won’t waste time.

And he does just as she thought. Speaking in a low tone, Kaz makes her part of his conspiracy: “Inej, I need you to do something but no one else can know. Someone will deliver a letter today. Follow them and find out as much as you can,” his voice is stern, not accepting refusal. The matter appears urgent, of utter importance.

Her keen gaze studies his face for a moment, looking for any way even the slightest tick of muscles could reveal a further piece of the mystery she isn’t yet privy to. “Is this about the new job we’re doing?” She elegantly manoeuvres around the subject.

Kaz knows what she’s trying to do. He clenches his jaw and gives her a blank, although somewhat impatient, look before slowly answering: “It’s rather loosely related.”

This is enough to put her curiosity on hold - for now, at least. The unmovable mountain remains, well, unmovable. Inej nods. “I’m on it.”

The moment she ends her sentence, the door to the club opens with a creek echoing through the otherwise empty venue, immediately earning the undivided attention of Kaz and Inej. The sound of heels against the wooden floor is unmistakable as is the fitting, rather short, coat. Inej smiles, stifling laughter as she notices Kaz immediately straightening his back when he sees you.

There’s a certain spring to your step, one that Kaz has learned to associate with complacency. Although this joyous aura is making his mind turn into quicksand swallowing anything coherent, he’s got enough grip on his thoughts to render his theory proved - you really do not have any idea that the letters come regularly.

With a triumphant grin, you wave a scroll in his face. “I had a hunch and did some browsing at the city archives. You’re going to love it.”

Inej is gone and the only thing Kaz can do at the moment is wait along with trying his best not to think about this mail fiasco. But considering you’ll spend the entire day a mere inch or two away from him, he’s hardly going to do much thinking anyway.

“Let’s see it then,” Kaz interposes before turning around and walking back to his office.

Making his way to Brekker’s office, Jesper examined the expensive stationery from every side and angle. No matter the perspective, the cursive letters on the front still spell out your name. Truthfully, he does that every time you receive mail, mainly because of how little you talk about the possible sender. There’s always a huff, an eye-roll and the envelope ends up turned into ashes, without any further explanation. You become short-tempered for the rest of the day and go ballistic on anyone trying to inquire about the mysterious correspondence. As much entertainment as it usually brings Jesper, he’s smart enough to know when to stop poking the bear.

Jesper knocks on the door but opens them right after - announcing his arrival rather than asking for permission to enter.

“...smuggling through the sewers.” He hears you finishing your sentence.

Both you and Kaz simultaneously tear away your gaze from the maps scattered on the table and bore your eyes into Jesper with anticipation. He lifts the letter, wriggling his wrist slightly, and immediately your expression falls. You clench your fist. A contemptuous grimace creeps onto your face.

“Letter for you,” he announces.

“By the Saints, not this again,” you whisper and roll your eyes.

“What do you mean again?” Jesper asks casually, half expecting you to break his hand and half hoping for an answer. Today, as it turns out, is his lucky day.

“A friend once convinced me to go to some socialite high tea with her. I met someone there, we wrote to each other a few times and then he started to be obnoxious, the whole ‘woe is me’ lark.” The memory must still be vivid to you as you let out an annoyed sigh. “He claimed he can’t live without me while never spelling my name correctly. But since I value myself a little too much to waste my time on pity parties, I simply stopped replying. The last letter I sent him, I don’t know, three years ago? And he just keeps coming back.” You clench your jaw, clearly stopping yourself from a string of profanities considered obscene even in this company.

Jesper puts on a playful grin. “You know, you never struck me as someone who’d have a secret admirer.”

Your irritated gaze makes him equally amused and nervous. “He’s not exactly secret, is he? More of a returning cockroach infestation. Worry not, boys, I’ll just burn this one like the rest and we can all forget about this little perplexity.”

“Come on, you’re not even a little bit curious about what’s inside?” Jesper coaxes as he hands you the letter.

“Believe me when I tell you that I don’t give a rat’s bald ass about this man and his pathetic wax poetic.” You snatch the envelope, all the while looking at your friend with squinted, piercing eyes. Considering who you are, a complete lack of curiosity whatsoever might as well be a symptom of a lethal disease.

In that short moment, when the stationery goes from Jesper’s hand into yours, Kaz watches the letter as closely as he can. Smooth paper, probably expensive. Careful lettering, written with patience and thoughtfulness. An aroma of mint and tobacco lingers on the parchment. The stamp has the current date on it and the postal code is only a few numbers away from the club’s - whoever sent it is in Ketterdam and quite close by.

Kaz makes those little observations just in time because you throw the letter into the fireplace behind him, without even glancing at the paper. The flames grow for a few seconds, devouring the dry stationery. Soon, there’s no evidence that any mail has been delivered to you on this day.

“Now, where were we?” You clap your hands. “Ah, sewers.” Jesper takes the change of subject as his cue to leave but you stop him right when he pushes down the door handle. “Oh, and Jesper? If you tell Inej, I’m ripping your arm off and beating you to death with it.”

He looks at you over his shoulder, a newfound sense of anxiety turning his vivid amusement into somewhat tame courtesy, leaving his smile unfaltering but tearing away the genuine joy behind it. “I will keep this enlightening piece of advice in mind, thank you.”

The door clicks as Jesper closes it behind himself. Returning to your previous engagement, you stumble upon Brekker’s stern gaze of disapproval.

“Do not maim my investments.” Although it’s supposed to be a scolding or a threat, it comes out with a certain note of disinterest.

“Don’t try playing all nice, Kaz. You and I both know you’d watch for like ten minutes before stepping in.”

His gloved finger taps the map. “Sewers.”

You mumble something along the lines of ‘yes, sir’ and pick up the single-handed divider again. Kaz examines your face out of the corner of his eye. Judging by your casual demeanour, the palm’s length between your heads is of no bother to you. Maybe you’re just too busy counting the segments with the divider. When you’re done, you reach for the other side of the desk, for a moment leaving broody Kaz to the, surprisingly cold, lukewarm air filling the room.

This day just can’t seem to end for Burr Lowther. First, he had to take his regular trip into the filth of the Barrel, he shudders at the memory, only to then spend another ten hours at the sewing workshop. Being a foreman pays exceptionally well and perhaps this is the only reason he’s still putting up with those lazy needlewomen.

Putting his well-kept coat on the hanger by the front door, Burr lets out a sigh of relief - compared to the factory, his house is a quiet oasis. He remembers to take out a pouch and a box of expensive cigars from his coat. Without much thinking, he opens the small bag and puts another leaf of mint between his teeth. What started first as an addition to his personal hygiene, has quickly become a habit impossible to kill. Now used to the strong, chilly sensation on his tongue, he’s grown to like it.

The house is drowning in darkness. Dim, yellow light from the streetlamps crawling in through the windows is barely enough to let him make his way around the furniture. Foreman Lowther is yet to start the fire in his living room but he needs to be quick - if he stalls too long his joints will begin to hurt. Even with laudanum, the ache is bound to keep him up for hours and that’s something he can’t afford. But first, he needs some light to be able to get the necessary things.

Chewing on the herb, Burr walks to the table across the room from the fireplace. He puts the new box of cigars down and begins looking for something to light the oil lamp. Once he blindly finds a box of matches, his muscle memory does most of the job - he’s lit up the lamp far too many times to think about the actions. In swift, mechanical motions, Burr takes off the chimney, lights the wick and puts the glass part back on. The fire brightens the rest of the table, reminding the foreman that he forgot to put away the made-to-order McKinnon & Co. stationery. He pushes the paper farther away from the lamp, just in case.

Burr’s knees make a cracking noise when he crouches in front of the fireplace. Carefully, he lights a match and puts it between logs and old newspapers. The fire smoulders for a moment, balancing between starting and being put out, before a bigger flame begins gnawing at the dry wood and paper.

Foreman Lowther is about to stand up when something hits the side of his head, making his face clash with the seat of a nearby armchair. Scurrying and turning around, he sees an outline of a man, looking more like a feverish mare of the night than a real human. He’s thin and tall, dressed rather elegantly. The model crow on his cane glistens in the newly started fire.

“Who are you?” Burr’s voice cracks, giving away his panic.

“A scorned businessman, Burr Lowther,” Kaz explains slowly.

The foreman climbs backwards into the armchair. It’s difficult to look imposing while sitting beside a fireplace but his fear is far too severe to let the man stand on his own two feet.

“I’ve no business with you!” he yells. A few droplets of spit fly out of his mouth. “Get out!” Burr’s shaky hand points vaguely in the direction of the front door but Kaz, as it seems, is not going anywhere just yet.

In slow steps, Kaz gets closer to Burr, the difference in height painting him even more menacing. Lowther’s hand falls limp on a small table meant for trays with food.

“Perhaps you don’t. But I have plenty with you.”

Before foreman Lowther can ask another question, Brekker drives a sharp blade through the man’s palm, pinning it to the wooden counter. A howl of pain cuts through the night, scaring away the birds sitting outside the windows. Thick, crimson blood spills from the wound, falling to the floor in long drops. The fireplace’s flame glistens in the growing puddle, the reflection dances in morbid anticipation.

Kaz walks over to the table with the oil lamp. The first thing that catches his eye is the ivory paper. Somehow, he stifles the visceral reaction it elicits from him. Grabbing the wad of stationery, he folds it a few times and puts it in the inner pocket of his coat. Then his gaze trails towards the wooden box of cigars. The name of the company, Starling, is burned in cursive lettering on the front. In a swift movement, Kaz slides the package open, knowing exactly what he’s going to find inside - a cigar cutter. For people who can afford Starling tobacco products, it definitely doesn’t befit to chew off the end.

Firelight cascades off the metal cutter when Kaz turns back towards Burr. The man’s eyes widen in panic, recognizing the sharp device put against him.

“No, sir,” Burr begs with a frantic shake of his head. “Oh, Saints, please, no! Don’t! I’m begging you, sir! Please, please! No, please!”

Brekker’s face doesn’t change its indifferent expression. The pleading is not putting him off, never faltering his already-made decision. Perhaps, if it isn’t too morbid to consider, he’s enjoying having someone at his mercy. The cigar cutter clicks quietly as Kaz closes it a few times to check the state of the mechanism.

Kaz makes his way back to the foreman. Casually, he puts his cane against the table but away from the nailed palm, careful not to get it dirty. Then, he snatches Burr’s other hand, the swiftness diminishing all doubts that he’s inexperienced in bringing suffering.

“You have laid your hands on something that isn’t yours, Lowther,” Brekker explains as he forces one of the man’s fingers through the cutter’s opening. “Now you must pay for it.”

A muscle in his face ticks as he presses the cigar cutter. Burr howls in agony, tears streaming down his face. The finger falls to the floor with a wet slap as blood begins to pour. The white tip of the bone sticks out from the pulsating flesh, glistening in the warm, dim light of the burning fireplace.

In a feverish delirium, Lowther mumbles something under his nose, the string of incomprehensible words sometimes interrupted by sobs. Kaz can understand only two things from the ramblings of a madman: ‘wench’ and ‘reply’. Scarce information but he hardly needs more.

“Wench?” he repeats in a low voice.

With a snap of his wrist, Kaz twists the knife still residing in the man’s hand. A bone cracks. But there’s no scream this time - not an ounce of strength left in the victim. Lonely tears stream down his grey face, mixing with cold sweat as he blankly stares ahead. A gloved hand yanks his head back by the hair, forcing delirious Burr to look into Brekker’s eyes. They look darker than they should, clouded with something far too horrible to be considered human.

“Not only did you lay your filthy hands on something of mine,” Kaz’s voice is low enough to resemble a growl as though something carnal inside him has finally woken from its slumber, “but you also dare insult her.”

Burr makes a strange guttural noise, something between a gag reflex and a murmur, as another one of his fingers is cut off. Considering his vacant expression, it’s hard to say whether his consciousness even registered the loss.

Kaz tosses away the cigar cutter. It clutters and clicks falling in the largely unknown corner of the room. Reaching inside his coat, he pulls out the folded stationery. Pressing tightly on Burr’s cheeks, he forces the man’s mouth open.

“I don’t think you will be needing this anymore.”

Even if foreman Lowther was in his right mind at the moment, there wouldn’t be much he could do to prevent Kaz from shoving the dry paper down his throat. A match, a spark, a smoulder - the ivory stationery is burning inside Burr’s mouth.

Leaving Burr Lowther to his own devices, Kaz Brekker leaves the house, joining the otherwise grey and indifferent citizens of Ketterdam. The sunrise is just a few hours away. He’s making his way back to the club, uninterrupted and unbothered, to enjoy another day of your hardly divided attention.

#kaz brekker #kaz brekker x reader #kaz brekker x you #kaz brekker fanfiction #kaz brekker fanfic #kaz brekker imagine #six of crows #shadow and bone #six of crows x reader #six of crows x you #shadow and bone x reader #shadow and bone x you #shadow and bone fanfic #shadow and bone fanfiction #shadow and bone imagine #six of crows fanfiction #six of crows fanfic #six of crows imagine

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tower-girl-anon · 2 years

Text

9th house and your experience through university

In this post will talk about the 9th house through the signs and your experiences, or possible experiences, through university and the all the careers that you could choose since one of the meanings of that house relates to our higher education. As always, I apologize for any mistake and don't copy or share this post without giving proper credit to the owner.

Note: please take this with a grain of salt. There are other things to consider such as planets in the house, aspects, and aspects to the ruler to define with most certainty about your time at university and the possibles career that you will choose to follow. The same can be said about the very general list of careers that I've put in each sign.

Aries: throughout your university years you will face, or faced (depending on the situation), a lot of competition. Maybe you had to study very hard in order to enter to the university of your dreams. Most probably than not, you wanted to enter a career or university that has too many applications each year and that's why you had or have to study really hard in order to get accepted. In a way, you remind me of the indian movie "3 idiots" (I highly recommend you to see it) in which various engineering students have to basically compete to reach the highest score and those who doesn't reach or pass the mark each semester are expelled. On the other hand, maybe you will face a lot of movement, activities or competitions throughout your learning. A few careers or professions that I can think of are engineering, physics, athletism (you could try to compete in a specific sport), gimnastic teacher, firefighter and policeman.

Taurus: your journey through university could be a slow but steady one. Maybe throughout those years you will have to save or earn money, or maybe your family will do it, in order to access the career or university of your choice. Overall, those will take a lot of effort from your part. A lot of study and a lot of work but, unless there are malefic planets in the ninth house or hard aspects to the ruler, I can totally see that those years can be or could have been pretty much a smothly process for you in which you will probably create some stable but caring connections with the those whom you'll consider your friend. A few careers or professions for those who have this sign in that house can be of a sales man/woman, an artist, designer, an economist, a cook or a business person.

Gemini: for those who have this mutable sign as the ruler of your ninth house, let me start telling you that I can totally see you studying more than one subject. Those who have these signs are more prone to earn more than one degree due to the natural curiosity of the sign of different topics (is rulled by Mercury). Usually, since this sign rules communication, the natives will pursue a career that involves these topic. For example, periodism, literature, linguistics or maybe will try to work as a writer, on an editorial or transcripting texts and audios. Your journey through university will be filled with curiosity and you will like to spend time with people who have an inner curiosity of things like you. Maybe you will like meeting new people there because that will be a perfect oportunity to learn about other people too.

Cancer: for those who have this sign, your experience through university will be a very emotional one. You will remember every experience, every joy at recieving good notes or connecting with your friends, every sadness at not passing a test, every anger, every fright, every cry. No matter if you are conscious of it or not, the university period will be very much attached to your emotions, that´s why you will remember almost every second of that period in your life even if times passes. I can totally see someone looking at his/her diploma and crying with emotion while the memories run through his/her mind. In a way, you will like to study/work on anything that makes you emotionally satisfied or something that relates to emotions or children such as psychotherapy, nursery teacher, nurse, cooking, a teacher in general, etc.

Leo: if there are other planets and aspects that support this, your years through university could have been the best years of your life. Maybe those years gave you or will give you the time and space to shine, to show your abilities, knowledge and talents. You could have been very popular at that time or maybe those years will give you a boost in terms of self confidence, chances of meeting new people and forming romantic relationships. On the other hand, maybe you were able to study in one of the most prestigious universities of your country or you will be able to study in those in the future. One of the posibles careers or profession for those who have this sign are acting, politics, fashion, modeling, director, business, maybe you will like to be an entrepreneur or start your own business, etc.

Virgo: those who have this sign mutable sign as the ruler of this house, just like gemini, could have more than one degree or will want to earn more than one. But this sign is slightly different from Gemini even though they are both ruled by Mercury. And that difference reside in the fact that this sign is, most of the time, a perfectionist. It's a very detail oriented sign so that's why those who have this sign wants to learn more. To increase their knowledge in the area they choose to study. To improve demselves. In generall, they will try to study something that involves a lot of memory, details and technique such as medicine, nursing, editing, therapy, psychology, veterinary, etc. Throughout those years, you could have been or will be very strict with your time and hours of studying since most of the careers mentioned about requieres constant learning, technique and goos memory.

Libra: the journey of this individual through university could be a very balanced one. With this, I mean that they will know how to balance the times of studying and socializing when it's needed so they won't fall into the situation of overworking themselves to exhaustion or socializing too much to the point of being so hard for them to keep with their works and test. Since this sign reminds me so much of the Justice card in Tarot, I know that they are smart at putting a balance between fun and work during those years. In matters of possible careers and jobs to study for these individuals there is art due to Venus being the ruler of the sign, law, any career that involves the contact with other people and helping them such as a counselor, advicer, psychologist, etc.

Scorpio: your journey through university will complete change you. In my opinion, those who have this sign in this house will suffer some kind of transformation. It doesn't matter if it is good or bad, you will, somehow, change during the period of your university years. Of course, it also depends on the planets that resides in your ninth house but, just by looking the sign, it speaks of a life-changing and intense period of your life. You may struggle to keep the peace through all the subjects and lectures of your chosen career. Maybe there is a risk of loosing your chosen career due to bad grades or you won't like the path that you choose so you will change careers abruptly. Either way, it won't be easy but these changes can bring a huge potential of evolution and healing. A few careers or professions I see with this sign are a scientist, a healer, a banker, a politician, a terapist, astrologer, tarot reader or detective.

Sagittarius: for those who have the natural sign that rules the ninth house, your time at university could have been or will be pretty much an ejoyable time full of oportunities, grow and expansion. Of course, there is planets and aspects to the ruler to consider before trying to reach this conclusion but, with this sign, it can give you these effects since the planet of Sagittarius is Jupiter, the planet of expansion. Since this is also a mutable sign, you could have done more than one career. On another hand, there is a huge chance that you will travell aboard for your education. Maybe you will study or studied one semester or more in another university. Maybe it was a study exchange or, plainly, you did your hole career in another country. Possibles themes you could seek to learn are teaching, religion, turism, piloting, etc.

Capricorn: in the case of Capricorn as the ruler of the ninth house, you could struggle, or could have struggled, to enter to university because of circumstances. Maybe you don't have the resources. Maybe your culture or religion don't approve your choice. It could be anything. That could be one of the options that could unfold with this sign since his ruler, Saturn, create some karmic situations that seems to limit us or block us. On the other hand, your time at university or your career could be complicated and hard. You are responsable and hard working and yet there is a possibility of struggling with all your works, tests and evaluations. There is also a change of ending your chosen career and pursuing something else if there are other aspects that confirms it. Some possible themes I see you pursuing are ingeniering, medicine, law, bussiness, politics, history, etc.

Aquarius: there is a huge possibility that your chosen career to study is something totally different from what was expected for you. Maybe somebody believed that you were going to study something classic like medicine or law and you chose to follow arts. Or maybe you follow the path that was expected or you really liked to try but, one day, you've realised that you wanted to do something different and so you've changed your career abruptly. Those who have this sign will like to learn more about human kind, technology, any career that involves helping communities or something thats original and unique. Possibles examples are technician, influencer in social media, astronaut or investigator, actor/actress, director or worker of an humanitarian organization, etc.

Pisces: the foginess, mysterious and sometimes confusing energy of this sign can tell me that those individuals who have this in the ninth house struggles to find a topic or theme to study in the university. Or maybe they have a certain picture of themselves in the future with things they want to achieve but they don't know which path, career and university to chose in order to achieve their dreams. This confussion or uncertainty can make you to switch careers during your years at universuty. Maybe even more than one. On the other hand, maybe you have an inner interest in learning about the mysterious side of nature, the universe and life, that's why one of the many possibles careers or themes for you to study are alchemy, cience (especcially quimic), tarotism, astrology, etc.

This is all I have for you. I hope it resonates.

Love and light.

Tower Girl Anon.

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scintillyyy · 6 months

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I love your Stephanie Brown post. It verbalized this feeling I've had about her character for awhile but didn't quite know how to phrase.

Just wanted to thank you for that!

ah thank you <3

yea to me, the super frustrating thing is that dixon's sexism gives her flaws that i find super narratively compelling and interesting and 3-dimensional and overall strong in a way that other writers somewhat miss the mark for me (i actually have a lot of criticisms about bg2009 and how bqm wrote her--overall i find it a very surface level girl power story veneered over pretty standard 2009 era sexism wrt the dynamics between women that has not aged super well and doesn't do much for actually giving steph interesting depth as a character & i find it's weakened by the fact that it is a doylist apology for the absolutely horrific way editorial treated steph prior to her death (which. she does deserve an apology and to be treated better), but also by doing that it makes almost every other character such as babs seem unreasonable and bad for their very understandable watsonian response to being wary of steph for many valid reasons and also makes it hard to actually give steph any flaws that aren't just quirky or clumsy--she's not perfect because she's adorkable). dixon steph has so many problems, being written by dixon, but she's truly my favorite flavor of steph because despite how horrid dixon is, you can absolutely tell how much he truly cared about her as a character. like. i bet if you asked him, he would have nothing but positive things to say about her personality and other characteristics. in fact, i believe a lot of the letters to the editor that talked about her back in the early robin issues had a lot of super positive things to say about her! like he created her! she's his blorbo! he wants to put her through the struggles!

like so many of her struggles when he's writing her is so much due to his sexism (she's never quite as competent as tim, and shouldn't be because she's The Girlfriend--compare to characters like babs and dinah and helena that were women but also written as extremely competent and good at what they do) and also because he wanted to put her through the wars, give her adversity to overcome! like steph is treated horribly a lot. by everyone. but it's partially because he wants her to perservere through it because he likes her and wants her to succeed. like a couple of very common threads through dixon's storytelling for her are the following:

tim is condescending (because that's how boys and girls are. see also: every 90s tv show that had a beleaguered sensible man with a nagging, over the top, ridiculous woman who does silly things that the man Puts Up With) -> steph gets mad -> tim thinks to himself that he shouldn't be so hard on her and usually apologizes -> well, actually tim was probably right because steph did get into trouble but steph making constant mistakes isn't actually narratively seen as "hey, maybe she should stop if she's making mistakes" because dixon wants her to continue.

more experienced vigilante (male or female--tim gets a lot of flack, but honestly, almost every single vigilante in batbooks at the time seemed to think steph wasn't quite good enough--batman, dick had his reservations about her, barbara didn't really necessarily want to train her, *cass* straight up told her she shouldn't be doing this, dinah didn't want to be her mentor, etc) tells steph not to screw up -> steph screws up -> steph has to get bailed out by more experienced vigilante -> steph keeps trying despite this

like so many of her diary entries that steph writes involve some flavor of "i've been told not to do this, but i have to, it's something i need to do despite all the naysayers". and it's sexist! because chuck wouldn't necessarily write the 'screw up and overconfident which usually leads to needing to be bailed out but keeps trying anyways' kind of a narrative for a male lead character (male characters get the 'i'm super competent but insecure/humble about it and when i make mistakes i'm able to figure out how to fix them by myself' narrative). but at the same time, it's what he truly believed for her--that she deserved to keep going despite any naysayers. if he truly believed that steph shouldn't be a vigilante or thought poorly of her, she would have been written out and/or he would have written her as making a mistake so bad she wouldn't have continued her activities as spoiler and finally agreed with everyone that she's not cut out for this. but he didn't. dixon writes her as not as competent as her peers because he has a worldview where girls are lesser and not capable of being as good as the boys. but he writes her with dogged determination to keep trying despite this because dixon truly thinks she deserves to keep going despite any mistakes he writes her making and that her perseverance should be rewarded.

like consider the arc where steph finds out tim's identity. dixon makes steph seem unreasonable for daring to change her mind and realize that yea, she does want to know the boy under the mask she's dating after all (because dixon thinks that girls are fickle and change their minds and boys shouldn't have to put up with that kind of nonsense behavior, not because this is a super valid thing to want) -> he has her go beat up an innocent boy named tito and stalk him in the hospital (because dixon is a sexist who things girls are just like this) -> tim does rightfully get mad about this and leaves in a huff -> batman tells steph tim's identity and she gets what she wanted?? -> tim is mad at her and batman until JLL when this is all swept under the rug and they go back to happily dating again + at this point everyone is open to training her/finally giving her a chance (until murderer/fugitive when she gets locked out again--which also leads into the era where dixon is no longer writing her--and after this is when we really get a lot of the really iconic unfair treatment towards her because at this point didio wanted her gone). and it creates this absolute interesting dissonance where you can see the overt sexism in dixon's writing and it's infuriating. and at the same time dixon also rewards her for the sexist way he writes her and she does generally get what she wants because dixon wants to give her the reward for her perseverance.

hell, consider the pregnancy storyline which is beyond overtly sexist and conservative but is probably the part where steph is most treated the best/in the right. tim and her mom are shown as in the wrong compared to her "correct" decision to keep the baby and they have to come around to support her. not just that, but for her to be given a teen pregnancy storyline in the 90s and not be shown as a Bad Girl for getting pregnant as a teen? dixon hates women and yet to him steph is a good girl who makes a mistake (something something he'll judge others, but when it comes to his daughter that's a different case. exceptions apply.) and she gets an ultimately supportive good boy boyfriend who helps her go to birthing class despite the fact that i'm sure dixon looks down on unwed teen mothers a lot.

it's just. i want to study it under a microscope. there's so much to unpack there.

#anyways apologies for the super long answer #i am just fascinated by dixon's treatment of her #it's sexism! but he does it because he wants to give her something to overcome! but it's definitely sexist!#scintilly ask tag #annah-kitathryne

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fashion-runways · 8 days

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Your tag on one of the Moschino posts made think, who exactly IS buying those particularly outlandish clothes? Like you don’t often see their most over the top stuff on a red carpet, or at after parties/events, and that’s understandable given how difficult they would be to pull off. But someone MUST be buying them right, in order for the company to keep making a profit? Do rich people just….buy those outfits and keep them in a closet? Are they sold to charities or museums for display? I understand if you don’t know or don’t feel like answering, or if nobody really knows, just kinda curious.

well, it depends! the craziest or most detailed looks obviously aren't mass-produced or anything, more times than not there's probably only very few (maybe even one? not 100% sure) of each look, i guess it all depends on the designer but it's not like they have 500 of the same dress at hand for anyone to come get. if someone wants it for a red carpet, the designer will either fit it to the celebrity or maybe even make it all over again from scratch depending on the measurements the garment has vs the celebrity, and probably depending on a bunch of other variables that i can't even imagine. i assume level of fame, if they're lending it vs buying it, what event is being used for, maybe if the brand already has a relationship with the stylist or the celebrity. who knows.

a lot of the quirky crazy ridiculous looks are mostly made for editorial rather than events, too. so a celebrity will use it on a magazine, or an album cover, or an ad campaign. there's fashion historians and fashion collectors who will buy clothes for archiving purposes, there is museums and stuff like the met or other exhibitions that move around the world.

sometimes designers also, at least i remember learning this in fashion school, sometimes present a collection that isn't meant to be sold or worn at all? it's more like... a concept, so it's a little crazy and kooky and over the top, and then the clothes they actually sell are like toned down versions of that. im sure if someone asked to buy the crazy dress they might sell it too, but it's usually not like the point when making them.

or sometimes the way the clothes are presented and what the clothes actually are worn are two different things too. i remember a designer from here presented a collection where the models were wearing jeans as like, a top/vest kind of thing, they were held together with a belt iirc? i don't know, it was a while ago, and it was meant to catch the eye, it was shock value to make you actually look and try to figure out what was going on and really look at the clothes, but you're not supposed to buy the jeans and wear them like that, they're literally just jeans wear them as jeans lmao or like sometimes thom browne has a crazy outfit with a jacket and a vest and a button up and a skirt and pants and platform shoes and socks over the pants and another coat on top and it's insane, but you can just... buy the vest. and wear the vest alone, and that's a perfectly normal piece of clothing you can wear anywhere. or just the pants and the jacket. etc.

anyway all that to say that... i don't know but also i kind of know maybe? i don't know what each brand/designer does individually, i have no idea if moschino sells the burger skirt or if they only made one for that shoot and called it a day, but i know there are a bunch of different ways the crazy clothes can still exist out there i guess. and god knows where they are, maybe some people who work in the industry know and i don't because i live in the middle of fuck nowhere and i'm poor lmao but they might be somewhere.

#inbox

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vertigoed · 1 year

Text

tinder || satoru gojo

PART 2 out

gojo: do you want to have sex?

you stare at your phone with a mixture of disappointment and disgust. this satoru gojo that you matched with was truly a wasted potential. he was your ideal type- tall, massive shoulders and muscly forearms with a pretty face and beautiful blue eyes. every photo on his profile looked like an editorial just by his aura that oozed from the screen.

seriously? not even a hello, how are you? you think to yourself and a sigh escaped your lips, wondering if you should delete him.

normally you would instantly unmatch the guys who asked such vulgar questions upfront. usually, you don't even bother replying, but this time, you found yourself replying to this 30 year old man.

a part of you enjoyed the shred of attention given by this stanger. even though you knew he probably sent the same message to every women he's matched with and fucks anything with a hole.

the man was atrociously stunning, the type to have you squealing on the bed when you realised he swiped back on you. the type to have, without a doubt, thousands of matches spamming his inbox with beautiful women all over the globe asking to meet up with him.

your heart beats fast as you press send.

you: no

you knew you were just playing hard to get, he was probably aware of that too. you wouldn't be surprised if he didn't answer. but within a couple minutes, you get a notification.

gojo: well that's unfortunate

gojo: i really wanted to be with you

your heart pounds faster. you were ashamed at the fact that you were blushing over a stranger asking you for sex. he didn't even have the common courtesy to ask what your interests are, let alone ask how your night is going. you were better than this, right?

you: it's unfortunate that you're such a pervert.

he begins typing back straight away.

gojo: do you want me to take you out on a date before or something?

your eyes roll at how cocky he sounded. this man obviously knew he was attractive and could get away with saying anything he wanted. you chew on your lip as you type your response.

you: obviously why would i sleep with someone i don't know?

gojo: you'll like me though

you decide you'll wait a bit before you reply, not wanting to give him too much validation. you go on his profile, raising an eyebrow at the vague description he had.

Satoru Gojo, 30

occupation: sensei

i like quick texters

perfect, he can wait two hours then, you think to yourself and placed your phone down. it was hard for you to ignore the buzz of your phone, instead you try to focus on the anime playing on the tv screen.

you found yourself checking the time every ten minutes or so, until you couldn't resist seeing what he said.

gojo: let me take you out then and we'll see if you let me fuck you

this time round, something else inside of you fluttered. you hold back the smile creeping on your face, fingers hovering over your phone as you thought of what to say.

you: i dont like to meet strangers without getting to know them first

you had a slight feeling he was going to give up by this point as he just seemed desperate for a quick fuck. even though the man was irresistibly hot, he could be a deranged serial killer so you had to play it safe.

gojo: wanna facetime then?

your eyes widen, your hands instantly reaching to your bed hair as you read his message. there was no way in hell you were going to facetime him. you gulp and toss your phone to the bed again, not knowing what you were going to say.

an hour passed and your phone buzzed again.

gojo: stop playing hard to get, it doesn't work on me

you smirked and typed your answer: it's working isn't it?

gojo: facetime me or you're a bitch

you: i guess i'm a bitch then

gojo: can i call you other names when i fuck you?

your mouth drops at his obnoxious message. you feel yourself tingle at the thought and that truly made you hate every fibre of your being.

normally, guys like satoru disgusted you. turned you off, made you want to gag. as your eyes were glued to the television, you were deep in thought, questioning your entire morals and self esteem. were you really going to let a random man objectify you, just because he was hot?

you look at his profile photo again and you don't even realise that foolish smile you had. i guess a face like that gets a free pass, you think to yourself.

you: we shall see

PART 2 out

masterlist

#gojo satoru fic #gojo x reader #gojo satoru smut #gojo satoru x reader #gojo satoru #jujutsu kaisen x you #jujustsu kaisen x reader #jujutsu kaisen imagine #jujutsu kaisen #gojo #gojo satoru fluff

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starryhutcherson · 2 months

Note

do you do male requests? If u do I have an idea 😄 maybe a one shot where the reader is pinning desperately over clapton, but doesn’t think he’d like someone like him since he’s a bit nerdy. But in reality clapton is also the biggest dork ever and likes him just as much:3

━━ OPPOSITES ATTRACT

author's note: i try to keep all my fanfiction gender neutral, except for smut which i write with a female reader, just because i don't really know how to write good male smut, so seeing as this is just a fluffy fic i made it gender neutral as usual thank you for your request! also i stayed up until the ungodly hours of the morning to finish this so pls dont judge if its shit i did my best

'୧ ‧₊ pairing: clapton davis x nerdy!reader warnings: swearing word count: 2500+ ⋆ ✩‧₊

After you’d reached Junior year at Grizzly Lake High, you’d accepted the plaguing reality in which you were a nerd. With your plethora of knowledge regarding random facts, active participation in the school newspaper editorial committee, and expertise in your pre-calculus class, it’s reasonable to say that you were not a typical, soulless high-school student like the rest of the Grizzly population, and it was something that you’d grown to accept.

Being sort of geeky wasn’t all that bad – you had a close knit circle of friends who shared similar interests, and you were excelling in all your classes, so there wasn’t really a reason for you to have contempt towards your social status, right?

Wrong.

You had one very strong reason, a reason adorned in obnoxiously colored clothes and a reason that you were recently paired up with for a science project.

Clapton Davis.

You’d had the privilege of sitting near him for nearly a year now, thanks to Ms. Hudson’s seating plan which had situated you just a few desks away from him. To state that you stared at him for the duration of most (all) lessons would be a little creepy, but it was hard not to, when the afternoon hit its peak and you were able to watch the syrupy sunlight crease right over his figure like fine silk — how are eyes that warm possible? Is that shade of brown even real?

You’re in far too deep for someone who you’ve hardly spoken a word to, sure, but could anyone blame you? You couldn’t help it– the lingering glances sent from the overcast shadows of your desk, tucked into a corner of the classroom, pining hopelessly, bouncing your knee with repeated, tense motions and scattering love-heart encircled initials all over your paper.

Fuck.

The real kick in the teeth was the fact that Clapton was somebody, at least at this school. He was propped up by popularity and people, effortlessly perched at the head of the social pyramid of Grizzly High, and you certainly were not. Superficial bullshit like this never bothered you in the past, but the fact that Clapton was so comically out of reach felt like a deliberate joke aimed squarely at you, and for lack of better words, it sucked.

It was taxing labor to try and tolerate your complete lack of a chance with him at the best of times, when you were nestled in the back of classrooms, hopelessly admiring his figure, or passing him in the halls and basking in the fleeting smiles you exchanged – but seeing him up close, being a mere breath away from him, hands making contact for abiding moments that spark against your skin… you deem it the cruelest torture of all.

The project you’d been paired up for was relatively simple – creating some predictable poster on mitochondrial DNA, but considering the prospect of working alongside Clapton, it became of far greater interest than it should be, science became a highlight of your timetable, a rarity even for you.

And it’s where you are currently, tense against the stool you’re seated at, knuckles pulsing with a dull ache from cracking them right against the maple wood of the desk — Clapton’s complaining about the point of this whole thing and you attempt to explain the delicate concept of nucleotide composition, while trying not to sound like a complete and utter loser. You’re failing substantially.

“No, so– the phosphate group is part of the main components which are what form the DNA, but deoxyribose–”

“De–what?”

You huff, wiping sodden palms against the plane of your denim-bound thigh.

“It’s not—”

“I can’t focus here anyway. It’s too loud,” he grunts, opting to etch his initials onto the side of the desk with deliberate, harsh carvings of his pencil.

Your gaze swallows up his convex figure. Boredom. Ouch.

“I can just do it all, if you, uh, want.”

His head cocks upwards – it’s a tempting offer. But he’s not a douchebag. No matter what people might insinuate. A gradual smirk tugs downwards at the curvature of his lips, hands stilling their previous motions as he turns up to you.

“No, you don’t gotta do that. Just come over to my place after school or something, you can explain it there, right?”

Your throat clots as though you’ve swallowed mud— your words feel heavy on your tongue and you don’t dare glance upwards from the paper in front of you, in fear of him finding the elation that’s erupting across your guise.

His house? His house? It feels like an elaborate prank – how how how were you supposed to resist him if he was openly inviting you over? Your nails bite into the exposed flesh of your palm, leaving raw crescent marks in their wake. You couldn’t turn down the opportunity, even if every second would be agony, having him dangled in front of you, so close yet so far.

You croak out a weak, “Oh, sure, that sounds good—” it sounds better than good.

But it also sounds worse than it as well. You develop a looming sense of nervousness, forcing your fingers deeper into your skin, choking back a scream of intolerance. What would you even talk about? Sports? Shoes? Or just this stupid project?

He seems to sense your displeasure, because he answers it with a chuckle. “Chill. I don’t bite. Y’know, unless you want me to.”

Cocky prick.

✩‧₊˚

The walk to Clapton’s house went smoother than you anticipated, casual conversation playing on loop as you wind through the bends of each mundane neighborhood that Grizzly Lake has to offer – his house is the same as a thousand others, but you wear a smile and offer lousy compliments anyway, to which he rolls his eyes a little and tells you that it’s nice or whatever.

Maybe he’s picked up on your inherent adoration, maybe he’s just toying around with you. You’re not sure– but his damn hypnotic eyes are distracting you from your purpose– mitochondrial composition. Super interesting.

The pair of you are slumped against his bed, surrounded by sunwashed memorabilia as the afternoon begins to bleed into the evening. Your progress is limited, but you don’t care. Your proximity is the only thing settling in your mind, like dust upon your shoulders and in your throat– you can taste his breathing as it fans across your neck.

Cedarwood seeps into every crevice of your skin – he’s too damn close. You’re not sure you can take this.

“It’s sort of like lego.”

Your voice cuts through the incessant tide of your wandering thoughts.

“Lego?” “Yeah. Y’know— like, okay, the phosphate is the base, and then the sugar molecule connects to that, and then the nitrogenous base is like, your unique pieces, y’know, color, size, whatever, it gives the DNA it’s unique features.”

“Sort of… following?” You grin at the achievement.

“That’s good!”

“I never usually get this stuff, so uh, thanks.”

Your heartstrings tangle into one unfathomably tight knot, and your nerves pulse in sharp bouts beneath the surface of your skin. He’s thanking you. And he’s smiling too, pearly whites seeming near opalescent, but maybe that’s your mind, warped with ecstasy. You wished you had more to talk about though. More to offer. But what were you supposed to bring up, your comic book collection? He’d probably laugh in your face.

“It’s all good. I’m glad I could help you.” His grin widens fractionally.

“I’m glad too.”

A moment’s silence flutters by.

“So uh–”

"Should we-"

You chuckle, a smidge awkward, as your sentences overlap.

“You first,” he tells you, and you shift timidly on his bed, accompanied by the dull squeak of his mattress.

“Just uh… wondering if I should go.”

He appears to tense, just for a moment, as if your words had implications that you weren’t aware of, but it dissolves as quickly as it came and you can’t analyze his feelings in time.

“Yeah, sure. Whatever you want.”

Whatever you want. You’re sure he doesn’t want the true answer to that. What you want, what you absolutely want, is mere inches away from you, looking preternatural in the first whispers of a mid-autumn sunset, splayed across his bed with a boyish grin, whatever you want is right there, waiting and daring you to try and take it. You don’t. You can’t.

“Okay. Uh, see you tomorrow then.”

Shit.

✩‧₊˚

The aforementioned tomorrow is so inconsequentially boring that you debate coming home early. You’ve got nothing planned, no important subjects, and every time you pass Clapton in the hallways, greeted with an elusive raise of the eyebrows or a blink-and-you’ll-miss-it grin, it gets harder and harder to ignore the fiery feelings in your body.

You can barely take the spiderwebs of angst growing across your stomach, tangled into your thoughts– Clapton. That’s all you can seem to find threaded into every fissure in your psyche. It feels like every stray thought is the gnawing reminder that Clapton isn’t yours. How are you supposed to focus on physics when those honey-sweet eyes are eternally burnt into the forefront of your mind? You’re seconds away from tearing out your own fucking hair, it’s so unlike you to get worked up by something like this.

Yet here you are.

Here you are, staring emptily down at your worksheet, filling in the answers with ease, wondering how much easier it would be to attract attention if you had more appealing interests. If you knew how to skateboard instead of the elements of the periodic table, if you spent your money on clothes instead of comics. Shit. Shit, you really liked him and he really probably didn’t like you. It stings like a childhood wound, like hydrogen peroxide festering amongst skinned knees.

Fuck this.

✩‧₊˚

The day is achingly slow, boredom clinging to the air and swallowing you whole. Each class just feels like going through the motions, your thoughts are stuck on one thing and one thing only, and you hyperfixate on every previous interaction with him, sourly regretting every word you’ve ever spoken, praying he didn’t think they were as weird as you did.

You want to scream! The schoolbell released you after what seemed like decades, and now you’re shuffling down the streets back to your house, where you can hopefully catch a break from your constant stream of deprecating thoughts, but no.

The roll of a skateboard pounding against the graveled roads becomes audible as it slows behind you, a familiar voice cuts through the silence.

“Going home?”

It's him.

You turn around, plastering a weak smile across your face.

“Uh, yeah. Why?” He inches a little closer, picking up his board and tucking it under his arm. “Can I come over?”

Your stomach snags on itself, an airy sensation spreading across every tense limb. It’s a bold move, but it’s a welcome one.

“For the project?” He shrugs. “Yeah, sure. Also just to hang out.”

You perk a smile at this, for a brief moment, before it melts directly from your face. Clapton in your house? Clapton in your room? You visualize each poster, each stupid certificate your mom made you hang up on your wall— he can’t go in there. You’d die of shame.

“Oh, uh, I’m kinda— busy.” He frowns. “Seriously? C’mon, just for, like, an hour.”

“Clapton—”

“Please?”

It should flatter you, how desperate he comes across, but you’re too worried that after he sees you, like, the real you, presented through your room and your stuff and your interests, that he’ll be weirded out, and scamper away to some cheerleader or something. Still, those pleading eyes work wonders on you, and it becomes impossible to refuse them.

“Okay, fine. An hour,” you mumble, and set off back on your journey home with him following close behind.

You make it to your house, hesitantly guiding him into your bedroom– he doesn’t seem to have much of a reaction. You were definitely overthinking it.

He makes himself welcome, collapsing on your bed with a sigh, laying sprawled on his back with his eyes trained on your ceiling, eye to eye with your collector’s edition Return of the Jedi poster, limited edition, signed.

You tentatively join him.

“You like Star Wars?”

He asks, gesturing to the poster, no teasing present in his tone.

“Oh, uh, yeah.”

“Seriously? What’s this one about?”

You can’t help yourself– he seems properly interested, and even if the question was merely to start conversation you attack it, spluttering eager sentences about the plot and the characters and oh fuck, you’re really going on about it. His eyes have left the poster and he’s rolled onto his side, vision stuck straight on you, he’s probably judging you.

You cut your own sentence midway, feeling the apples of your cheeks redden with embarrassment as you shrink back down to your previously timid self.

“Sorry. My bad,” you mumble, picking a loose thread on your duvet. He notices, faltering a little.

“What? No, come on. I’m invested now.”

You sigh, your eyes drilling holes into your shoes, where they stay staring. “Why? Why do you keep, like, talking to me and stuff?” He sits up so he can join you, shoulder resting beside yours. “What’d you mean?”

Your body feels uncomfortably taut with the suspense of this tangible moment, and you decide that you might as well get this swollen feeling off your chest before it bursts inside of you.

A moment’s silence. A bated breath. You harness whatever confidence you can find in yourself (though it’s pretty barren), and go for it before your thoughts can catch up to you.

“I just– I’m not, like… I’m not like your other friends. And I… I dunno, I… look, I like you. Like, I really like you, and I know it’s stupid, but I feel like you keep on giving me, like, mixed signals– but I don’t wanna—”

“Wait, you like me?”

You let out a begrudging exhale. “I know, it’s stupid–”

“What? You’re kidding right? You’re, like, perfect.”

Your head jolts to him so quickly you’re surprised you don’t get whiplash.

“I mean, don’t get me wrong, you’re super pretty, but like– you’re smart, and you’re nice, and you’re funny… you seriously like me?”

You’re barely processing. It feels like you’ve swallowed rose thorns, like every grain of sand has settled in the pit of your stomach, filling you up from the inside out, drying out the cavity of your throat.

“Y–yeah?”

He chuckles, a noise you want sewn into your memory forever. “I like you too. I totally have for ages.”

Your eyes nearly bulge out of your skull. “Are you serious?”

Again, he flaunts that grin that you’ve marveled at for far too long. And it takes you a moment to realize he’s not replying– not with words. But his face is closer than before, and suddenly you could count every freckle, you could name every color in the ring of his iris, and he’s closer still, and only your eyes are doing the talking, and then his soft lips hit yours and everything stone inside you cracks.

He moves gently, as if you’re made of frozen sugar; his hands find your waist, he paws at it slowly, too much, not enough— and then he pulls away.

“That serious enough for you?”

You stammer out a butchered sentence, before roping yourself together, somewhat. “You can’t do that!” You choke, though there’s no malice in your tone, because he can hear your smile, even before he can see it.

“Just did, baby.”

“You’re unreal. This— this isn’t real,” you chuckle in awe.

“Mmm… I’d say it’s pretty real,” he smirks, reaching for your hand and squeezing it for emphasis.

“Why’d you like me?” If you hunt for it, you can still taste the vestige of him on your trembling lips.

“I just said, remember? You’re really generous, and you’re, like, patient with me, when nobody else is. And you’re painfully hot.”

You snort at this. “You’re the hot one.”

“Hey, we can both be hot.”

You giggle, squeezing his hand back, you fall into a pattern. You fade into him.

“Oh my god, I actually can’t believe this.”

He presses a chaste peck to the canvas of your cheek, spreading a ruby flush that’s all for him.

“Believe it.”

And you start to.

masterlist

✩‧₊˚

#clapton davis x reader #clapton davis x you #detention 2011 #josh hutcherson smut #mike schmidt fluff #clapton davis fluff #clapton davis smut #clapton davis #josh hutcherson #josh hutcherson x reader

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nejis-desk · 3 months

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Jack Jeanne Complete Collection - Interview with Ishida Sui and Towada Shin Translation

This interview is from the Jack Jeanne Complete Collection art book, it’s available on CDJapan and Amazon jp. You can also purchase a digital only version on bookwalker jp. I encourage anyone reading to purchase the game (if you haven't already) or the art book itself to support Ishida and Towada directly. 💕

This is a VERY long interview so I apologise for any typos or errors I may have missed.

~ ~ ~

An interview with Ishida Sui and Towada Shin, who both worked on writing the story of Jack Jeanne. In this interview they reveal what went on behind the scenes during production, rejected story ideas and much more. This interview was conducted remotely on the 9th of February 2021.

Interviewer: Yui Kashima

How did Ishida Sui end up making an otome game?

—How did the production of Jack Jeanne begin?

Ishida: It was sometime around Autumn 2015 I think… On an old personal site that I used to run, I received an email from the company Broccoli to an email address that I no longer use. It was a commission request for character designs.

—In 2015 Tokyo Ghoul was still being serialised wasn’t it?

Ishida: Yes. Usually job offers like that go through Shueisha first, so I contacted my editor asking why this one was sent to my private email… At the time, in addition to working on Tokyo Ghoul, I was also drawing illustrations for a tear-off calendar and very busy with various other things, so when my editorial department heard about the offer they seemed very shocked like "What!?".

—Why did you decide to accept the offer even though you were so busy?

Ishida: I would often receive offers asking for me to draw manga or illustrations, so I figured that this one was a similar case. However, some words in the email caught my eye. Like ‘Gender Swap’, ‘Takarazuka’ and ‘All Boys Opera'. When I saw these concept ideas, a dream began to swell in my chest and I felt like giving it a try.

I think if it had just been a normal character design job, I would have turned it down. However just from reading the short brief in the email my interest was piqued. While in discussions with the Young Jump editorial department, I also casually mentioned the kind of offer I’d received to Towada-san.

Towada: Yeah, Ishida-san asked me for some advice. I was also drawn to the ‘Gender Swap’ and ‘Opera’ concepts. I could easily visualise the setting of the story. Additionally, it seemed like it would be a story that included many different themes such as gender. When I thought about that, I figured that Ishida-san would be a good fit, since I knew he would be able to draw something that went beyond all genders.

Ishida: I’ve been drawing androgynous characters for a long time, so Towada-san and I talked and wondered if that's what they must be looking for. After that, I created my own proposal and submitted it to Broccoli.

—You created your own proposal, Ishida-san?

Ishida: When I looked at the original proposal that Broccoli had sent me, a lot of it differed from my personal tastes. It was a very upbeat and dazzling story. It would’ve been hard for me to match my art style to that, so in my proposal I noted things like ‘if it were me, I’d do something more like this’. I was interested in this unpolished gem of a story, so I thought it would be a waste to turn it down altogether. I wanted to at least try throwing my own ideas into the ring, so I spent a week creating the six main characters and sent them in.

—At that time, I heard that the game wasn’t titled ‘Jack Jeanne’ yet, but was instead called ‘Jiemarie’.

Ishida: At first, I wanted to try creating a word that doesn’t exist. So using French as a base, I came up with ‘Jiemarie’ as the game's provisional title. But then a month later when I was reconsidering the title, I looked at it again and thought, damn this looks lame. So I hurriedly called Towada-san on Skype and we entered a discussion that lasted about ten hours over what the title should be.

That’s when we decided on ‘Jack Jeanne’. The male roles take the name from the knight, or the ‘Jack’ in a deck of playing cards. And the female roles ‘Jeanne’ take from the word parisienne and Jeanne d’Arc. When these two terms are put together, I feel like you can comprehend what the game is about with a bit of nuance. Plus you can shorten it to ‘JJ’… That’s also the title of a magazine though (lol).

—Taking on another job whilst your manga was being serialised sounds like it would be tough on you both physically and mentally.

Ishida: I think I must’ve been a bit unwell (lol). My body was fine, but being able to work on something other than a serialised manga was a lot easier on me mentally. I may have seen it as a way to escape, so I didn’t feel that working on two projects at the same time was difficult. When it comes to game development, I can only create what I’m capable of, and there was no set release date yet. Of course, I would work on and submit things whenever I could though.

—What kind of things would you submit?

Ishida: I would sketch character designs, discuss and create story elements with Towada-san and try to put Univeils history into chronological order. Then I would share the progress with Broccoli and have meetings and such with them. In the beginning, rather than having to draw anything yet, it was mostly just brainstorming and planning. That’s why I think I was able to do it all concurrently with the serialisation of my manga.

~ ~ ~

How Ishida Sui and Towada Shin know each other

—Do you chat with Towada-san often?

Ishida: Well yeah, she is my older sister after all.

Towada: We talk a lot. When we both have the time we chat over Skype.

Ishida: Once we start the conversation can last up to five or six hours. We mostly talk about things that happened throughout our day. When I’m talking to someone I often bring up something that’s happened to me and ask their opinion on it. She became someone that I could chat with whilst working on my manga. Ever since my student days we’d talk until early morning, I usually told her about storyboards I’d drawn.

—At the Ishida Sui exhibition it was revealed that Towada-san had even given you advice on some of your earliest works.

Ishida: Yeah that’s right. It was a work I’d prepared for a 'bring your own work along' induction course in Tokyo that I attended back in my student days. It was a manga about two characters who eventually became the prototypes for Tsukiyama and Hori Chie in Tokyo Ghoul. It was only about 30 pages long, however when I showed it to Towada-san the day before the presentation, she told me that she thought my linework was too thin.

Towada: Yeah, the overall linework of the manga was thinly drawn. Once I told Ishida-san this thought, he began tracing over his linework and making it thicker. And then when he looked at it again, he said “Yep, I need to redraw the whole thing”.

The linework being too thin was only my personal opinion and the presentation was in Tokyo the next day, so in horror, I began hastily telling him, “You won’t make it in time, stop, stop!”

Ishida: All I could think about was that the lines really were too thin, so I wanted to redraw it. All of the screentones had already been affixed to the panels, but I didn’t want to bring something along with me whilst knowing it wasn’t the best that it could be.

Towada: Ishida-san handled the linework and I helped with redoing the screentones. We worked throughout the night and finished redrawing the whole manuscript. Once it was done, it wasn’t even comparable to the previous version, the lines were powerful and the characters' expressions conveyed a lot. I was seriously worried though (lol), I didn’t know if we’d complete it in time.

Ishida: I couldn’t think about anything other than the lines being too thin, so I wasn’t even worried about whether I had enough time or not.

Towada: I fell asleep halfway through, but you continued and boarded that Tokyo bound flight without having slept a wink, didn’t you?

Ishida: Yeah. I let Towada-san sleep and continued applying the screentones myself right up until the very last minute. I was still applying them whilst on the plane and also after my arrival in Tokyo. I used screentone number 10 a lot, so I remember the scenery around me gradually began to look grainy like the screentone. It felt as though I was hallucinating.

—Sounds like it was a tough manuscript to complete. Towada-san was also the author for the Tokyo Ghoul novels, has your relationship always been one akin to work partners?

Ishida: When it was decided that Tokyo Ghoul would be getting a novelisation, I was given other authors' works to look at. However, none of their styles really clicked with me, and they didn’t seem right for the series. I knew that Towada-san wrote, so I tried reaching out to her.

Although back in the days of Tokyo Ghoul’s serialisation, Towada-san and I didn’t talk as much as we do now. If I had any concerns I would just try and sort them out by myself. We’d always gotten along as brother and sister, however we didn’t really start to have a ‘work partners’ kind of relationship until we started working on Jack Jeanne together.

Towada: That’s true. Back then, we only occasionally conversed regarding the novelisation of Tokyo Ghoul. Before :re we only spoke once every few months over Skype. As Ishida-san said, it wasn’t until I started working on Jack Jeanne that we really started properly talking to one another.

—How often would you contact each other?

Towada: Depending on what stage we were at, we would bounce ideas off each other once every three or so days. Ishida-san would make a request like “I’d be happy if this part of the script was done within the next two weeks.” And then I’d present what I’d written and we’d discuss it and then I’d return to writing again. This process was repeated until Jack Jeanne reached its completion.

—Was Ishida-san the one that reached out to Towada-san to write the script of Jack Janne?

Towada: He didn’t ask me specifically to write the script, early in development he’d ask me to help with some research like “I’d like you to look up some information on this, could you help me?”. I’ve always liked ikusei games and within that genre I also enjoy romance and otome games. So I think that’s why it was easy for Ishida-san to consult me about it. We’ve had a common interest in games ever since we were kids.

Ishida: Back then I played games like ‘Pinnochia no Miru Yume’ and ‘Angelique’. I wanted to try and conquer Marcel in Angelique but it was one difficult game, so it was a tough task. Before I could even raise any flags with him, the training aspect of the game was so hard that no matter how many times I played I never got any good at it.

Towada: I’m the type that loves playing games, so after talking with Ishida-san, I went on to play every popular otome game that had been released around 2015, as well as every Broccoli published otoge. I completed every single character route in those games. I began analysing otome game trends and Broccoli’s brand identity and relayed my findings to Ishida-san. After that, I went along with the Jack Jeanne production team and Makasano Chuuji-san from Shueisha, who was the scriptwriter of the Tokyo Ghoul anime. We all visited the city of Takarazuka for research.

Ishida: I was also supposed to be there for the Takarazuka trip but since I had my manga to worry about, I had Towada-san go and take in the atmosphere in my place.

Towada: I did have to gather material but I think I visited Takarazuka a total of five or six times. From morning I would watch the Takarazuka theatre from afar and simply watch the guests move about, soaking in the atmosphere of the city.

Along with the Takarazuka plays, I also watched student plays, in total I probably went and watched one hundred shows. Theatre shows that are performed by professionals are fully realised and flawless. So getting to see the contrast to student plays, where they progress and improve until the show is complete was a very helpful reference.

I’ve always enjoyed watching plays, so everything I had to research overlapped with my own hobbies. I still shared my own input with Ishida-san though.

Ishida: I’d never formally been asked to write a script before… I felt like a fraud (lol). I think it’s because I’m not very good at being considerate of other people. I don’t think I’d be able to work with anyone other than Towada-san on something.

—Why is that?

Ishida: Well, for one I don’t want to talk to anyone for long periods of time (lol). Because Towada-san understands what aspects of a story are important to me, she’s also able to comprehend what I mean when I talk in abstract concepts. We could save time by not needing to have any pointless discussions.

Towada: Back then Ishida-san was still very busy publishing his manga, so bringing in all sorts of new people to work on the project probably would’ve put quite the burden on him. That’s why I wanted to help him out in some way.

After researching all sorts of things, I ended up participating in a production meeting for Jack Jeanne, but I was not expecting that I myself would end up being in charge of writing the script. Rather, I was more just looking forward to getting to play a game made by Ishida-san. As things progressed though, I was asked to try plotting things out, or to write part of the script to be used temporarily. Eventually I came to think, why don’t I just write the scenario myself?

I’d never written the script for a game before though, so that’s what had been holding me back. Unlike novels, it’s commonplace to not have to write descriptively. Novels are made up of dialogue and descriptions, like describing the setting and characters' expressions or emotions. So I had to spend a lot of time working out how to write to properly convey a story through dialogue alone.

When I first started getting the hang of it, I tried writing a script that still included descriptions but I quickly stopped. Jack Jeanne is about theatre, so I figured that it would be easier to convey the presence and narrative of the story through conversation. I usually write novels, so I was uncertain, but since Jack Jeanne has sprites of the characters on screen, I thought that I could do it. I suppose it’s closer to writing for a manga rather than a novel.

~ ~ ~

The rejected character routes

—Before Tokyo Ghoul was completed, what kind of things did you work on?

Ishida: The first two years were mostly spent creating the game’s world and mechanics. Like deciding how many performances there would be, how the plays would be presented. Would it be a dialogue drama? Would there be mini games? Things like that. We also had to decide whether summer break would be included or not, how raising affection would work and how the choices would be presented. Those are the sort of things that were talked about first.

—You got to watch over the entire game’s development then.

Ishida: At first, I got carried away and envisioned a stage play game full of skill mechanics that I personally enjoyed. A busy game full of specs you can raise and improve in mini games, however when I explained these details to a friend of mine, they were like “You’re just imagining a game that you would like, right?”.

They asked me if that’s what the eventual players of Jack Jeanne would be looking for. That same friend said that since it’s a story that deals with the theme of theatre, it would be better if the player could witness the performances themselves. So I took that advice and the prototype of the current Jack Jeanne was created. I told all of this to Towada-san and had her handle the script.

Towada: You can’t write a script without knowing how the game’s system works after all.

Ishida: Now that I think about it, before Tokyo Ghoul was finished, rather than build the game's foundation, all I was really doing was scattering the sand to prepare for said foundation.

When Tokyo Ghoul entered its endgame especially, I really had to concentrate on it, so I took a six month break from Jack Jeanne. Ending a story requires a lot of energy and attention, so I left the practical work of Jack Jeanne to Towada-san and only supervised the music production and attended any important meetings.

—So during serialisation you were making preparations to jump right into it afterwards?

Ishida: Yes exactly. I wasn’t able to do much practical work, so I had Towada-san prepare the script in advance for me. And for the time being, create one character route.

—Which character was it?

Towada: It was Shirota. I wrote about the equivalent length of a short book and it was more or less complete. In the end, we scrapped the entire thing though… Because the atmosphere in the beginning was quite dark.

Ishida: It was dark because I was too used to Tokyo Ghoul. It included issues like a troubled household and severe bullying. Reading something like that wouldn’t put the player in a happy mood.

Despite it being a story about the theatre, my attention drifted to other topics which didn’t fit. And it was me who had asked Towada-san to write something like that… A couple months after the Shirota route had been completed, I read over what Towada-san had written for me once again and realised that it was a bit too gloomy. I’d forgotten what prompt I’d even given to her in the first place (lol).

The first character portraits and CGs that I created were for Shirota too. The reason being that Shirota is the only second year student and he was already a complete individual, so he was easy to create for. As for the third year students, there’s three of them, Fumi, Kai and Neji. Along with Kisa, Suzu and Yonoga are also first years, so continuity and character relationships need to be taken into account in order to create them, so they were a little more complex.

—How did the other characters come to be?

Ishida: At the proposal stage, the first character that I created was Kai. It’s a game where characters will be falling in love and confessing to one another, so first off I wanted a character that was handsome. Then I made Fumi who would be Kai’s partner. After that, I think Shirota was next.

Towada: At first you created the characters by basing them on plays didn’t you?

Ishida: I’m a fan of Yamamoto Shugoro’s work ‘Kikuchiyosho’ so Shirota was created using that as a base. In Shirota's case the genders are swapped, but Kikuchiyosho is a story about a girl who is born into a samurai family and raised as a boy. It has an element of androgyny and portrays the confusion and anger concerning gender quite well.

—How did you select the plays to base the characters on?

Ishida: I chose plays that lots of people are familiar with and would be easy to assign characters to. Kai is ‘The Phantom of the Opera’, Fumi is ‘Salome’, Neji is ‘Faust’ and Yonoga is ‘Shintokumaru’. Kisa and her classmate Ootori are ‘Don Quixote’. Ootori ended up becoming a side character though.

—So Ootori was originally meant to be a main character?

Ishida: Yeah. If I were to compare it to Tokyo Ghoul, Ootori is in the same position as Tsukiyama. I wanted a pompous character like that in Quartz. However I may have made him a little too unique (lol).

I received feedback from Broccoli that they want the main six characters to be an elite group, so a more easy to approach character would be better. So I moved the bright and cheerful character that I had originally made as Onyx’s Jack Ace over. That character was Suzu.

Making the characters personifications of plays started to become difficult to stick with though, so I abandoned the idea entirely halfway through.

—Despite appearing glamorous, the characters are all dealing with their own issues, like certain complexes and family troubles. I think that they’re all conflicts that are easy to sympathise with, how did you decide what the backbone of each character's conflict would be?

Ishida: First I created the character's appearance and then decided what personality would match them. Like with Fumi, when I began to think about making his story about the unique struggles that come with being born into a respected family, if becoming a successor was going to come into question, then he needed to have a brother.

In this way, I worked backwards from the vibe of his appearance and created his home life. I did the same with the other characters too, thinking things like ‘to have a personality like this they must not have parents, or they must struggle with expressing themselves’.

I think that if you let your characters do human-like things, then aspects of them that are easy to sympathise with will be born.

Jealousy, setbacks due to failure, inferiority complexes… Each and every character naturally ended up having some form of theme attached to them.

—I feel as though Kisa had a different sort of personality than that of a typical heroine.

Ishida: To put it simply, I want my protagonists to be fighting something. If they’re not giving it their all, then it’s no good. If they’re just standing around, then you can’t empathise with them.

—There’s times where she draws others towards her or supports those around her. She also has some masculine aspects to her.

Ishida: I think that I’m moved by characters who make me think “This kid’s really admirable”. That’s why I made Kisa a girl who works hard no matter the difficult situation that she’s in. I like Kisa and I’m sure Towada-san feels the same way.

Towada: She’s the result of both of our preferences. While due to the game’s setting, she of course has struggles related to being a girl, but I was careful to write the main thread of her story in a way that transcended gender and instead simply showed her charm as a human being.

—Regarding gender, I was impressed by how neutrally it was portrayed.

Ishida: Yes. Originally, I was going to make Shirota a character with a feminine personality, but I ended up scrapping the idea. In the end, he ended up having more of a masculine mentality. The premise of Jack Jeanne is that boys also play the female roles on stage, but it’s not a metaphor for anything and I didn’t want it to raise any questions. I simply wanted to give it my all creating plays with that setting and create something new and refreshing.

I don’t struggle with any gender related issues myself, so it’s not like I can fully understand what it’s like, but in general I’ve never considered gender to be a very big deal. If someone born male were to tell me “I have the heart of a woman” then I’d just think ‘ok cool’.

To me it feels strange to place so much weight on such an issue. I don't see why others need to be bothered by someone else's gender, I'm not since I myself am not able to speak for such experiences.

Towada: At first, it was possible to take that direction with Shirota but as I continued to write, I came to realise that there was no need to exaggerate any emphasis on his gender identity.

To those looking from an outside perspective, it may seem like a unique identity such as that is a person's defining trait, when in reality it's only just a portion of their whole self. If you consider it to be all they are, then you end up denying the other aspects of that person.

Whilst considering the individually of each character, I kept in mind to write them in a way that seemed natural for them.

—The side character, Tanakamigi Chui of Amber, had a very striking presence. How did you go about creating him?

Ishida: I wanted someone that’s easily understood to be the antagonist, so I went ahead and tried to draw someone who looked like an unstoppable genius. Despite being a second year, it’s as if he controls the school. I wanted an enigmatic and intriguing character like that. Once I named him Tanakamigi Chui I felt as though he was complete and his inclusion in the story was quickly decided on.

—On the flip side, were there any characters that you had a hard time creating?

Ishida: I had to think a little harder about the other members of Amber. They needed to have the aura of the enemy but since they’re only villains in the context of the stage, they’re not actually bad people. So it was hard to find that balance between them.

Visually they’re edgy and have a talented vibe, but they also have their own individual quirks, they’re not all homogeneous. I struggled with Kamiya Utsuri especially, I wanted him to visually look like he could be a Jeanne while also still looking like a boy, so it was difficult to get him right. I didn’t have to do many redesigns though and all the other characters came to be without much trouble.

What I actually had more trouble with, was the fact I made the cast too large. I initially created almost double the amount of first year characters, but when I looked back over the script that Towada-san created, I told her “There’s way too many characters, please cut some of them out.” To which Towada-san replied, “Ishida-san, you’re the one who created them in the first place.” (lol).

Towada: That’s because the cut characters had already appeared in the script (lol).

Ishida: I feel that when there’s too many characters a lot of them get wasted, so just like that I end up creating and scrapping a lot of my characters. I think even Broccoli were surprised by the amount of times I’d suddenly tell them “Oh that character doesn’t exist anymore.”

—Apart from characters, were there any other aspects of the game that were abruptly discarded?

Ishida: The performances I suppose… Originally I had wanted there to be a larger variety of shows, but if you were to put all of them in the script it probably would’ve ended up being three million characters long.

In the beginning of development, I had originally planned for each character's route to have a different final performance. There’s six main characters, and including Kisa’s route, that would total to seven unique shows.

Before that there’s the newcomers, summer, autumn and winter performances, so I arranged to have a script written for each. Basically I wanted to include more shows and increase the amount of sub stories, but that would be confusing to play through and development would never end. The game engine has its limits too, so I decided to keep it simple.

Towada: It would’ve been difficult to play through all that as well (lol). For the final performance, we settled on it being one show and letting the player enjoy it from each character’s perspective instead. And even then, there’s still over 20 different endings to the game, so it still took a long time until everything was fully complete.

—Newcomers, summer, autumn, winter and the final performance, were these five show’s scripts all original?

Towada: Yes. However at first, like the characters, we had planned to base them on famous productions. Like Shakespeare or fairy tales. We figured that players would find it easy to get immersed in plays that they were already familiar with.

Ishida: For the newcomers' performance, I thought we could have a show called ‘House of Biscuits and Candy’ based on Hansel and Gretel. I had also originally planned to use each character's motif to base the plays on.

Towada: Like Shintokumaru, right?

Ishida: Yeah yeah. I even went as far as getting permission to use it, but if the show were to be following a story that already exists, then the script would be bound to it. Once I understood that it would make it difficult to relate the stories to Univeil, we decided to create the plays ourselves.

Since I acquired the permission to adapt Shintokumaru though, maybe I’ll have to make a manga about it someday…

By the way, the one who was saying “Let’s do this” and then changing it to “Nevermind let’s not” was all me. I’ll start on something wholeheartedly thinking that it’s the right choice before realising halfway through that I can’t actually take it anywhere and stop. Jack Jeanne’s development was full of trial and error.

Whenever I’m about to start something, Towada-san will express her concerns with my ideas but I always end up pushing on with them only to ultimately scrap it.

I probably have at least ten books worth of scrapped drafts alone. I had no real knowledge of how to properly craft a story. I hadn’t drawn anything other than Tokyo Ghoul, so even though I had no idea what the fundamentals of storytelling were, I misunderstood that I could write other kinds of stories too. This time around I studied and revised each time… I really learnt a lot.

Towada: You learn things by doing them, so I think I just got used to it (lol). Also, you don’t commonly see stories presented within stories, I thought that it was a rare case for a game especially.

~ ~ ~

The story behind ‘Lyrics: Ishida Sui’

—You also wrote the lyrics for each of the songs used in the performances didn’t you, Ishida-san?

Ishida: Yes, that’s how things ended up. It goes without saying, but no one, including myself, thought that I’d be the one writing the lyrics.

Originally Broccoli brought in several professional lyricists and had me look over what they’d written. However I couldn’t help but feel that they were lyrics I’d heard somewhere before, or they at least didn’t leave a unique impression on me. I did feel the finesse of a professional, and they were beautiful lyrics that fit the story in one way or another… But the words used didn’t touch on the core of the story.

The songs in Jack Jeanne are stage songs that Neji wrote for the members of Quartz. So unless you’re familiar with the setting and understand how the characters are feeling, then you won’t be able to write lyrics that perfectly fit the scenario.

While I knew that my lyric writing technique would be far from that of a professionals, I thought that no one understands and loves these characters more than me, so I approached Broccoli about it. I’d poured my heart into not only the character designs, but also the story and system of the game, so I didn’t want to compromise on the lyrics and have them pale in comparison.

So, to the best of my ability, I wanted to at least try my hand at writing them. I had Broccoli check whether or not what I’d written was viable and asked them “If there are no problems, then please let me write the lyrics.”

—Did you sing the temporary vocals for the songs too?

Ishida: When I submitted the lyrics to Broccoli, I got the normal response of “Thank you, we’ll leave the temporary vocals to you.” Along with this message they also wrote “You can hire a professional vocalist if you’d like, or you could record the temporary vocals yourself.”

Because of this I started thinking that maybe I should record them myself. Similar to how one wouldn’t be able to write lyrics for the songs without a deep understanding of the story, if you weren’t the one who wrote the lyrics, you wouldn’t know how they’re supposed to be sung either.

So, after deciding that I had to be the one to do it, I made preparations to acquire some audio recording equipment and downloaded some editing software. I divided up the parts and harmonised with myself and over the course of three days, I finished recording the temporary vocals. That’s more or less how I did it.

—When recording yourself singing, being self conscious about it can interfere, can’t it?

Ishida: I don’t think I was possessed by him or anything, but… When I tried to go all out, as expected I felt a bit hesitant, so I began recording whilst imagining I was Neji.

In the game, Neji is the one who writes the scripts, so surely he would also write the lyrics and subdivide the song and do everything himself. So I got through it thinking like that. In that pumped up mental state, I sent in the temporarily recorded songs but all Broccoli said back was “Alright, let us know your upcoming schedule”, I got so carried away that I was somewhat bewildered by the cold response (lol).

~ ~ ~

Recruiting via DM, gathering specifically selected creators

—It appears the creators you gathered to handle things such as the concept art and music are all people whose work you enjoy.

Ishida: Yes. Almost everyone was sent a targeted offer. For example, I’ve always loved the concept artist Lownine-san’s work ever since I was a student. I suppose you could say I was jealous of how high quality their artwork is… They’re someone who I thought I'd never be able to beat in my entire life. Lownine-san is an amazing artist who is especially good at blending characters into their backgrounds.

When we were creating Jack Jeanne, I wasn’t sure if I’d be able to pull something like that off, so I definitely wanted to recruit Lownine-san for the job. After getting permission from Broccoli, I reached out to Lownine-san myself through Twitter DM’s. I had only appreciated Lownine-san’s work from afar, and we’d never actually interacted before, but we did both follow each other. I received a reply that Lownine-san was fully on board to accept the job.

Towards the end of Jack Jeanne’s development, I got the chance to speak with Lownine-san, so I asked them “Could you teach me how to draw?” They gladly accepted this request and taught me how to draw whilst screen sharing over Skype. However, in about 10 minutes, they’d already drawn such an amazing piece that I felt I should just put my pen down (lol).

Towada: You were a little down after that, weren’t you?

—Had you been a fan of Kosemura-san, who was in charge of music, since you were a student as well?

Ishida: Yes, I’ve listened to Kosemura-san’s music a lot since I was a student. When I was brainstorming what kind of music would fit Jack Jeanne, Kosemura-san’s ‘Light Dance’ immediately came to mind, since it fit perfectly. Because I didn’t have any personal connections to Kosemura-san however, I didn’t know how to get in contact with him, so I made the request through Broccoli. I only found out about this recently, but apparently Kosemura-san almost turned the offer down*, I was quite shocked to hear that (lol).

*When the initial request was sent, it was under wraps that the game was being made by Ishida Sui, and since Kosemura-san didn’t have much experience in writing game music, he wasn’t optimistic about the offer. However, later, when he learned that it was a game being made by Ishida Sui, he readily accepted the offer.

—How did Seishiro-san, who was in charge of the choreography, get chosen for the job?

Ishida: A very long time ago I saw the group Tokyo Gegegay appear on a program called DANCE @ HERO JAPAN and I remember thinking ‘this group is crazy good’ and I was immediately charmed by them. After that, whilst I was looking through more videos of Tokyo Gegegay on YouTube, I happened upon a studio workshop video and discovered Seishiro-san.

—What about him caught your eye?

Ishida: Whilst first and foremost his dancing was super sexy, it also had a certain strength to it. I remember thinking that he danced in a way that embraced the best elements of both masculinity and femininity. And that had stayed in my memory ever since. When Seishiro-san was recording motion capture for the game, he allowed me to interrupt and even taught me some of the choreography.

(note: you can watch Seishiro dance here, he is also the choreographer behind this RADWIMPS music video!)

—I hear you’ve known Gyudon-san, who was in charge of making the movies, since your Tokyo Ghoul days.

Ishida: Yes. Around the time volume 13 of Tokyo Ghoul was set to be released, we held a still image MAD (Music Anime Douga) contest. The grand prize winner of said contest was Gyudon-san, who at the time was still only a student. The way they made a video by manipulating the manga panels to move so fluidly was really cool and stood out from the rest.

Around when Tokyo Ghoul had ended and :re was about to start, I had Gyudon-san make a minute long video for me. After that, Gyudon-san grew in popularity and became someone whose work is in high demand, so they seemed very busy.

However when Jack Jeanne was announced, we were able to have them create a promotional video for us. Since I’ve known them since Tokyo Ghoul, I figured I couldn’t go wrong entrusting the job to Gyudon-san. They didn’t just deliver their finished work without a word either, Gyudon-san also made a variety of suggestions and worked on the project with a positive attitude. For the videos used in the performances, I was asked to provide materials and became very involved in the process. I think it took about two weeks… Despite the really tight deadline, Gyudon-san allowed me to catch up and was super helpful.

I was also the one who reached out to Touyama Maki-san, who was in charge of creating the in-game chibi characters and the 4koma manga used for promotional purposes. During Tokyo Ghoul’s publication, Touyama-san would draw short comics for the series as a hobby, I thought they were a nice person for doing so. Their art was great too and I was very thankful. So when it was decided that we’d be displaying chibi characters during the game’s lesson segments, I wanted to leave it to Touyama-san and sent them the offer.

(note: this is the MAD that gyudon won the contest with, they now regularly make moving manga CM's for jump titles, they make the Choujin X ones too!)

~ ~ ~

The winter performance moves into Quartz’s ending, and the divergence in the story since the beginning of the year drastically branches off

—The performances, packed full of each of the character’s skills, continue for a year and pass by in the blink of an eye. Once the new year breaks, it feels as though the atmosphere of the game drastically changes. What were your intentions behind this?

Towada: That’s when the character route specific endings begin. So we packed all the needed material to set them up into the winter performance.

Ishida: The winter performance is like an ending for Quartz as a whole, so we packed it full of good lines and scenes without holding back. I may have used up all of my cards but by using them all without compromise, we were able to make the story reach a nice peak. After that, the story switches to focusing on each character's individual ending.

Towada: We used a lot of great material in the winter performance, which meant the final performance would have to be even better still. In a good way, it gave us a higher hurdle that we now needed to overcome.

—So you needed to create even more anticipation heading into March?

Towada: From January to March, each character’s route is completely different. From the new year onwards I needed to create seven different scripts, so it was very challenging. The amount of text for the last three months of the game alone just about eclipses the amount of text from up until the winter performance. There was so much to write that I began to fear I wouldn’t even be able to finish it.

Ishida: Having more choices that drastically change the ending of the game makes the player feel more involved. So, despite it making things tougher on ourselves, around the time we were working on the autumn performance is when we began thinking about how the game’s big branches should work. Along with the main routes, we also planned for there to be the option to deepen your bonds with the side characters.

—How did you go about creating the confession scenes?

Towada: Before the winter performance, to some extent each character has already grown closer to Kisa, so I kept in mind not to disrupt that flow. Since if I didn’t make it a confession that respected both Kisa and her suitor’s feelings, then I felt it would spoil the fun.

—Is that how you approached the ‘realising Kisa’s a girl’ scenes as well?

Towada: Yes, I suppose so. As I was writing the script, I knew that a point was going to come where Kisa would have no choice but to acknowledge the fact that she’s a girl. There’s characters that realise her true gender once their bond deepens and on the flip side, there are some who don’t realise it at all. There’s also the case of Yonaga, who knew Kisa’s situation from the beginning. I guess you could say each reveal followed one of these three patterns. Those who came to realise it, those who didn’t notice anything and those who knew from the start. I think they ended up being nice variations and I put careful consideration into writing them to make sure none of the realisations felt forced.

Also, the beginning half of the story is akin to that of a sports drama about teenagers putting on shows together, so the room for romance to be added is limited. That’s why, when I first started adding romantic elements to the character routes, it felt strange to me, so I discussed it with Ishida-san. I wasn’t able to effortlessly soak the story in romance. I think I had to rewrite Shirota’s ending at least three times…

Ishida: Shirota was who you tried writing an ending for first after all.

Towada: Shirota and Kisa aren’t the sort of people who’d be all flirty, and Shirota’s initial route was already muddy, so it was difficult to pull everything together. However, once I stopped trying to write in a way that forced romance on them and instead wrote them becoming closer as partners, things went more smoothly.

It may not be a stereotypical sort of love, but it was a human love. I thought that the natural way these two would be drawn together wouldn’t be through whispering sweet nothings to one another, but instead by coming to understand one another without having to exchange words at all. Once I’d completed Shirota’s route, to some extent, I continued writing the other routes in a similar way.

Ishida: While it’s true Shirota acts like that, the other characters all act differently. To the point some aren’t even comparable. In contrast to Shirota, Suzu’s route ended up being more of your stereotypical kind of romance. I thought that it would be nice for each character to have their own unique form of love.

Towada-san’s strong suit is writing a love story with your more classic otome guys like Suzu and Kai. I have no idea about that kind of thing, so I left Towada-san to pour her own ideas into their routes. On the flip side, characters like Fumi and Neji were dyed more with my own ideas. Neji’s way of flirting especially were mostly lines that I requested.

Towada: He’d say “Make him say something like ‘Try seduce me!’ Because I want this CG to appear.” (lol).

Neji especially plays with his words a lot, so unless Ishida-san told me what wordplay to write, I wouldn’t have been able to expand on it. Ishida-san has a very unique way of phrasing things, so I asked him for advice a lot to make sure I was making Neji speak in a Neji-like way. I then arranged the lines and created events in order to reach the intended goal. I constructed the route in a way that wouldn’t disrupt the flow of the story. As for Fumi, Ishida-san wrote his route himself.

Ishida: Yes, I wrote it all myself.

—Well isn’t this quite the exciting plot twist?

Ishida: I turned into quite the young maiden myself (lol). Even though I’m clumsy at it… I began wondering why I ended up loving writing it so much. I added some lines that have more of an adult and deeper meaning to them, so when I played the route myself I was like “Woah!”.

Towada: It’s more interesting if at least one character is that way. From the early days of production, I’d quietly wanted Ishida-san to write a character himself, so I was happy. I was unsure how to deal with Fumi too, so it was a big help that Ishida-san took him on. His route ended up being a lot sweeter than I’d been expecting though, it got my heart racing (lol).

Ishida: I was also the main writer for Kisa’s solo route. There’s no romance in it, but it’s an ending where long lasting friendships are born and it ended up being the kind of story you’d see in an uplifting shoujo manga.

Towada: It’s full of Ishida-san’s flair, I loved it.

Ishida: If love is a lie, then how do you face that lie? That’s the sort of thing I thought about. Kisa is lying about her gender and pretending to be a boy, but Neji, Suzu, Fumi, Yonaga and so on, are also hiding lies within themselves.

The fact they’re all hiding their true motives is something that they have in common with Kisa. Whilst hiding, the two grow closer. I think that a confession is a scene where all these lies intersect and burst open. Everyone is lying, and I thought that was like a play, without realising it I think that slowly became the theme of the work.

As people, we meet others whilst lacking something and some people end up becoming a necessary part for someone else. I wanted to see a drama like that. Despite it being a game with confession scenes, I wanted it to be a story that both women and men alike are able to identify with.

~ ~ ~

From thorns to rounded edges, how the style of work transformed

—If there was a small novels worth of rejected material, then how many books worth of words made it into the final game?

Towada: In terms of paperback books, probably about twenty volumes worth.

—Because as well as the main scenario, there’s also the sub scenarios and the stage plays?

Ishida: As much as time allowed, I put my all into creating the game. However there was a deadline for things like the voiceline recordings, so I was working both day and night to get things done in time.

Towada: I was only getting around three hours of sleep. I feel like at one point Ishida-san didn’t sleep for four days.

Ishida: I was in a serious pinch so I don’t remember it well, but when I was writing the script I would hole myself up in a manga cafe for around thirty hours at a time. Multiple times a month. Once I felt as though I’d written to a good point, I’d go home only to return to the manga cafe again. Why? Because I was sleeping in the manga cafe. I mays well have been living there…

Towada: Once Ishida-san had finished writing his part of the script, he’d have me check it. So at the same time, I’d have Ishida-san check what I’d written.

Ishida: For a period of time it seemed like Towada-san was always awake. Whenever I would send a check request she always responded right away regardless of the time, so I figured she must not be sleeping.

So that my productivity wouldn’t be affected, I made sure to sleep at a regular time, however I’d be awake for like 30~40 hours at a time and then sleep for 10 and then be awake again for another 40. My sleeping patterns would repeat in this cycle. During Tokyo Ghoul’s serialisation my sleeping patterns were similar, so to some extent I might’ve gotten used to it.

—That’s just like Neji-senpai, isn’t it?

Ishida: Yeah yeah, I worked in a similar way to him. However in Neji’s case, he can complete a script just one day after coming up with the idea for it, so he works way faster than us. It took us around two months to write parts of the script, so Neji really is a genius isn’t he? I was writing whilst wishing I could be like Neji.

After experiencing writing a script, I’ve come to have a lot of respect for authors. Writing is completely different from drawing. When writing I need to really concentrate on it, I can’t multi-task or think about anything else. Whereas with drawing, there are some things that can be done as long as you can move your hand, so I can talk to someone whilst drawing or watch a movie in the background or work whilst thinking about other things. I can’t do that when I’m writing though, I was starting to wonder if I really had to think so deeply about everything I wrote.

—During the production of Jack Jeanne, as you worked on the script or the lyrics etc, did you notice any changes in how you worked?

Ishida: For Tokyo Ghoul, I was always consciously adding things, meaning I would draw everything that I came up with. I thought that it was fine to only put 20% of my output into the characters and dialogue. However, when I was working on Jack Jeanne, I began to think that my method of just adding things was incorrect and that I should also consciously remove things. It’s ok to just be left with what’s necessary. My way of thinking ended up being the exact opposite to before.

—What brought about this change in thinking?

Ishida: It was early in production, when I had asked Towada-san to write Shirota’s route for me, I got concerned about the ‘sharpness’ of the story. As I mentioned earlier, I ordered Towada-san to add this and that and sent her walking on a long journey. Except, what lay completed at the end of that road was such a painful story that even I myself was shocked by it. When I looked down at the world I had created it was as if I’d received a psychological shock. I think I even smelt the faint scent of blood.

—From thorns to rounded edges. I still remember the comment you made during a press conference saying, “I was careful to not kill off any characters”.

Ishida: Stories where characters die are usually fast paced with high stakes, however, the kids at univeil are living a different kind of story. I had to consider the best way to create drama in that kind of setting. I thought about it a lot and it may have only ended up being possible because of the fact it was a game.

—Why is that?

Ishida: Because of the flow of the dialogue, backed by Kosemura-san’s music while it's being read out by all of the voice actors. It all comes together as one… That’s what I think at least. Writing and illustrating are Towada-san and I’s main domain of expertise, but I think that it was thanks to all of the other various creators involved that we were able to create something new.

—Do you think anything about yourself changed, Towada-san?

Towada: It came down to the fact I wanted to create something for Ishida-san whilst there were also things that I wanted to add myself. This dilemma caused me trouble at times, however when I started to consider what components I should add, or which ones I should remove, I began to discover what elements I liked and what my own skillset was.

The way that Ishida-san and I go about creating stories is different. I came to understand that Ishida-san’s strong point is creating impactful scenes, whilst mine is plotting and world building. Ishida-san being in charge of the pivotal scenes would make things more exciting, so I concentrated on writing everything else whilst keeping the balance in mind. Through working on Jack Jeanne, I’ve become able to say that my strong suit is being able to create a story that flows well.

It may be true that by working with other people, you come to understand more about yourself. Starting with Ishida-san, I also looked at what the other creators were doing and thought ‘so this is how they interpret the story.’ Seeing what they came up with made me notice different approaches that I hadn’t thought of.

I’d write whilst listening to Kosemura-san’s music and decide which way to take a scene. Or I’d watch Seishiro-san dance and think about how I could make the performances more exciting. We were all connected in some way. Novels are usually written alone by one person, so I came to learn the thrill of working on something in a team.

—The way you all came together as gears to create a single work sounds similar to the story of Univeil.

Towada: True. I never thought I’d experience something straight out of my youth again at this age. Being helped by other team members or being supported by them, being motivated by simple phrases like “It was great” or “I like this idea”.

For example, when I was working on the final phases of the story, I was just writing and writing with no end in sight, I couldn’t take it anymore and my pen just stopped moving. During this dire moment so close to the end, my proofreader messaged me saying, “You’re almost done.” And with that simple message alone, it was as if a burst of light appeared before my eyes. Everything had gone pitch black, but they lit everything back up again. Ishida-san also wrote some of the script, so I didn’t feel as alone.

Ishida: At that time I left all my drawings alone and decided to solely focus on the scenario.

Towada: Yeah, because I hit a point where I wasn’t able to write it on my own anymore… When Ishida-san sent me the script he’d written, it was interesting and I let out a breath of relief. I felt the joy of being able to see someone else's work. I was the same as the Univeil students who find joy in performing with others. I definitely wouldn’t have been able to do it if I was alone.

Ishida: You’ve got that right. I think that if anyone was missing from the team, it wouldn’t have worked out. Not to mention that in my case, everyone’s contributions were directed to me, and they were all people that I’d personally gathered.

With manga, even if it comes to the worst case scenario, at the very least it would all just fall on me. However this game isn’t just something I made on my own, I need to contribute as much as I can or the efforts of everyone around me will go to waste as well. There was a moment where I felt afraid of having such a heavy responsibility placed on me. However, if I had tried to do it all on my own, I think I would have given up.

By listening to wonderful music, reading interesting scripts and moving forward together with everyone, I was inspired. Coming together with fellow creators to make one work came with a lot of challenges, but it was fun. It was refreshing being in an environment working alongside other people, and because of it I was able to experience something new.

—Has working alongside other people changed the way you work at all?

Ishida: Right now I’m still in the state immediately after being swept away by the raging waves of a storm, so I’m not sure how I really feel yet. I’m in the phase of just watching what becomes of Jack Jeanne as the waves subside.

Even though the script and illustrations were done, like bonus stages lots and lots of new tasks kept popping up. So I was still busy with work up until the beginning of October last year. When I looked at some of the thoughts people had on the demo version of the game, it felt as though what we’d all been working so hard on had finally taken shape, and I was relieved.

Working on this project I’ve come to learn both the hardships and the fulfilment that comes with creating something with others. So, I suppose I’ve started considering working on something by myself again… I’m not trying to say that it’s in my nature to want to work alone, I think I’m just experiencing some kind of aftershock. I think the waves are returning.

Towada: I’m still working overtime and supervising Jack Jeanne (lol). Like checking content that will be posted on social media, as well as the 4koma manga. Content is still being released and there have been bug reports from some people who played the demo… Meaning that my journey is still not over yet. I think that things should calm down once the game has been released for a while.

Ishida: Yeah, probably after around five months (lol).

—After their final performance, the members of Quartz all threw a party to celebrate. Did you and the rest of the creators do the same upon the game's completion?

Towada: I celebrated with Ishida-san as siblings. And then afterwards we got swamped with work again (lol).

Ishida: Yeah, we didn’t end up meeting with the other developers or the voice cast. Big project after parties aren’t as common these days, but I do want to hear everyone’s stories of any struggles they had.

Towada: There were way too many people involved in total for me to be able to speak with them all, but I’d still love to convey my impressions to them. Like letting them know what I thought was good, or letting them know that a certain thing really helped me out.

Ishida: Ideally I would like to gather everyone and really have it feel that ‘this is the team of people that created Jack Jeanne’ and I’d like to express my gratitude to them all in person. I hope that an opportunity like that will come one day.

~ ~ ~

#jack jeanne #sui ishida #towada shin #translation #jack jeanne translation #jack jeanne interview #sui ishida translation #otome game #jack jeanne art book

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utahlive · 1 year

Note

whats your morning routine like going to work king

Thank you for the question!

[transcript below]

Anonymous Caller:

whats your morning routine like going to work king

Wilbur Soot:

My wake-up time is pretty inconsistent. It depends on my shift, or if I have the day off. Usually it's somewhere between 6-7am, or 3-4pm.

I make sure my window is still closed and locked. It always is

I always make sure to brush my teeth and wash my face. cavities are awful

I try to take a bath at least three times a week, usually on days off or after my shift.

[editorial note: we did NOT film wilbur soot in the bath, this is an artists rendition done at 5 in the morning so please. please]

I wake up with bad headaches, so I usually take some ibuprofen in the mornings, too.

Then I usually go outside for a smoke break and some coffee, and maybe [eat] some leftovers if I have any.

#utahlive #wilbur soot #wilbur soot ask blog #wilbur soot fanart #ask blog #dsmp #dsmp fanart #dsmp ask blog #dream smp #dream smp fanart #dream smp ask blog #revivebur #revivedbur #guys . guys this ask took literally three days to answer #if it looks inconsistent thats why #utahlive episodes

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javiddenkins · 1 year

Text

Javid Denkins is not interested in answering questions.

It's 9:30 in the morning and I'm sitting across from Denkins in a conference room at the AMC Studios offices. Denkins declined to meet anywhere more personal than this beige and glass room, impersonal Muzak buzzing through the speakers, windows overlooking an empty studio lot. There are posters on the wall but none, strangely, for Blow the Man Down, the runaway hit Denkins conceived, writes, and now showruns.

Blow the Man Down, or BTMD as it's frequently referred to by fans and journalists alike, is a workplace comedy set in the Golden Age of Piracy. This unusual premise would be interesting enough even without the top-tier leads brought on by AMC to play opposing pirate captains Sam Bellamy and Olivier Levasseur—Oscar Issac and John Boyega light up the screen and bring surprising comedy chops to the pirate-filled stage they share with such talents as Michelle Yeoh ("Zheng Yi Sao") and Sam Neill ("Captain Benjamin Hornigold").

But beyond that, BTMD seems to be that rare thing in mainstream media: a slow romance between two middle-aged men finding love for the first time. The first—and so far, only—season ends on a cliffhanger, our heroes separated by an ocean but determined to reach one another, and their love story—if it is one—stays unresolved.

Usually an interview like this—between seasons, after renewal and filming but before advertising—would be the perfect opportunity to delve into the mind behind the magic and attempt to tease out hints about what's to come.

But Denkins seems determined to ignore Hollywood's traditional playbook.

Whether this is the standard conference room used for interviewing reluctant showrunners, or if Denkins picked it especially for the purpose, I'll never find out. I've already been waiting half an hour, uncertain if Denkins intends to join me at all. When he does finally arrive, he makes his position clear.

"I'm only doing this because you agreed to my terms," he says.

I'd describe what he looked like, if he had a coffee or a snack or a smoker's twitching nerves, if he sounded tired or amused or angry—but I can't. If you see a description here, it's because Denkins decided, for whatever reason, to approve it. Otherwise, sharing my impression of Denkins is off the table, one of many terms and conditions my editorial team and I had to agree to before Denkins would accept this meeting.

Denkins doesn't want to make my job easy. Photos of him do exist from the few red carpets he's attended; enthusiastic interviews with the cast, writers, and production team of BTMD definitely paint a picture that belies Denkins's apparent efforts to avoid perception. But here and now, in the oppressive air conditioning of the AMC offices, I am contractually obligated to interview a cipher.

If he can be all business, though, then so can I. I hit a button on my phone's recording app, set it down between us, and ask what made him decide to tell the story of an obscure pair of pirates like Sam Bellamy and Olivier Levasseur.

He shrugs. "Why does anyone write anything? This is my job."

It's not the kind of answer I was expecting. Something must show on my face, because he follows with, "That's unsatisfying, isn't it. No definitive answer."

"It's not what I expected," I hedge.

"What did you want to hear?"

I try to gather my thoughts, but I'm definitely stalling, uncertain that this is what Denkins intends. "I did a little research," I say. "Not as much as I imagine you did, but I found some of Bellamy and Levasseur's history together and, later, apart. Bellamy's ship is the only fully authenticated Golden Age shipwreck in the world, so it makes sense that the wrecking of the Whydah is an important turning point in season one. Levasseur, on the other hand, is best known for the mystery of his encoded treasure map, flung into the crowd at his hanging and only ever partially solved, which you seem to have used as a foundation for the coding and decoding motifs throughout. But for a show that seems determined to discuss the consequences of fame and reputation, it's fascinating that you've chosen two men most casual viewers have never heard of."

"Outside the narrative they built for themselves," Denkins corrects. "Is there a question in there?"

I remember again that Denkins isn't here to make this easy for me. "Why not choose one of the more well-known pirates of the era? Henry Morgan, Captain Kidd, and Blackbeard are all arguably more famous both now and when they were alive. What made you choose Bellamy and Levasseur for this story?"

"I think," Denkins says, "I just answered that. There's a difference between how you perceive yourself, and how the world perceives you. Those famous pirates retained their notoriety even after death. Sam and Ollie did have reputations when they were alive, but if people today know them at all, it's typically for reasons completely unrelated to whatever little fame they achieved in life."

"And that fascinates you?"

Denkins looks irritated. "It doesn't matter what fascinates me. That's the story, that's—look, I don't know how to write a puff piece like this," Denkins says. "I don't know if it would really sound like this, if anyone would bother caring enough about what I want to get this far."

"Excuse me?" I say.

"Do you honestly think," Denkins says, "there's a single journalist out there that would actually agree to these interview conditions? This is a fantasy, a what-if, and it still doesn't work."

"What do you mean?"

"I mean," says Denkins, "I didn't even give you a name."

And that's true, I realize. I don't have a name.

"Right," says Denkins, as if hearing my thoughts—and I suppose, in a way, he does. "And you don't know how you got here, and you don't know where you'll go after. I made you up. I made all this up."

I look at my recorder, which isn't a recorder. I look at the room, which isn't a room.

"Okay," I say. "So what did you want to happen?"

Denkins taps my phone's screen to stop the recording. Denkins imagines me noticing that he taps the screen, and so this must have meaning. There is no room for junk words and actions in prose, and even less in television. Whatever's on the page has to have meaning, or it's wasted space, wasted time, a moment that could have been useful now gone and never coming back.

Denkins shoves my phone back to the center of the table and says, "I wanted to see if I could just talk about the story without making it about me."

"But you're part of it," I point out. "You have to be. It came from you. It was something you thought was important, and then you put the effort in to create it. The story exists because of you, in relation to you. That's why people, why fans, want to know more about you. They love the story, and you made it, so they want to love you, too."

"I don't like that," says Denkins. "Rephrase it."

"They love the story," I say, parroting back at my creator, "and you made it. They want to know about you so they can know more about what the story means."

Denkins's chair creaks as he pushes it back, puts his head in his hands. I wonder if he's doing that in the real world, too, in the place where he's imagining this interview that will never exist.

(Except I'm not the one wondering. He is. He's wondering what an interviewer would think of him if he allowed himself to show this weakness. Rephrase. Show this ache. Rephrase. Show this.)

"I'm not a story," Denkins says, face still hidden. The Muzak piped into the room seems too loud, too discordant now. Maybe that's what the world sounds like to him. "I'm not imaginary. I'm not a specimen to study under a microscope until every part of me is uncovered and connected one by one to every part of the show." He drags his hands back down and I think I can say that he looks very, very tired.

"Yes, maybe I put some of myself in Blow the Man Down," he continues. "Maybe I did in season two as well. Maybe I put something in The Gang, and maybe I'll put something into whatever else I make for the next fifty years. And what I put there is—will be—has to be—my choice. All things I chose to share. But this?" He waves a hand at the nonexistent conference room, at nonexistent me. "This isn't a choice. It's a demand. I'm being held hostage for answers, as if me keeping my boundaries somehow ruins the show, ruins the story."

"Because you're not a story," I repeat back, watching for confirmation. "Because what you choose to reveal is the only story the audience should need."

"Yes," says Denkins. "That's it."

That's not it, though. I know this, because I'm him, talking to himself. Thinking all this through.

"So you cut yourself off," I say. "No one can know anything about you, because they're already clawing for what you're not willing to share—so how much worse would it get if you gave them a chance to come closer, right?"

"To take, and get it wrong anyway," he says. "Or get it right, but not like it. Not like me. How I'm perceived might change how the story is perceived. And even skipping over the whole art of it all—this is a business. How the story is perceived affects dozens, if not hundreds of people and careers. And all of it can get destroyed in an instant if there's some aspect of me that the audience decides is wrong."

Denkins pushes back from the table, stands up as if to leave. I'm not done yet, though. He's not done yet.

"Sounds lonely," I say.

"Sounds like something a fan would say," he shoots back, and I shrug.

"Blame yourself for thinking it and making me say it, then. It sounds lonely. It is lonely. It's lonely to think there's no way that you could open yourself up, talk about who you are and what your art means to you, without feeling like someone, everyone, will take advantage of that vulnerability."

I pause, and in that pause I find something to latch onto. "You've imagined me," I say. "You've imagined this scenario, where you stay cut off and oblique and hidden." I pick up my phone from where it's placed between us, and I shut it down completely—not because it exists, but because it's a symbol he understands. "What would happen if you imagined being part of the story?" I ask. Rephrase. "What would happen if you imagined being free?"

We look at each other. The tinny music of this artificial space comes to a sudden halt.

Denkins leaves the room.

I am—

Denkins comes back. He sits down. He looks at me.

Time doesn't exist in the beige and glass room. But behind him, now, there is a poster of Sam Bellamy and Olivier Levasseur, a drilled coin on a cord stretched taut between them. And the Muzak hasn't restarted.

Denkins looks different. Or maybe he just feels different. Those things are functionally the same, here.

"You know the old movie trailers?" Denkins starts, not really a question. "The ones that start with 'in a world…'"

I nod.

He smiles a little. "Okay. In a world where Blow the Man Down doesn't exist. Let's say there's something else instead. Let's say it's called Our Flag Means Death. It's a workplace comedy, it's the Golden Age of Piracy, the works. They even manage to kiss in the first season, though the cliffhanger is worse. And in that world, there's a different guy who runs it, a guy named David Jenkins, who seems nicer and more outgoing and shares a lot more of himself than I do. And I think it goes mostly okay for him, except he has to scrub his social media, delete most of his Instagram, and never gets to name his wife anywhere in case a fan might notice and start following her around."

"Sounds grim," I say.

He shrugs. "It's another way of handling it. David, in that world, has made a choice to draw the enemy fire toward himself, instead of hiding away and letting it scatter at random. It seems to work okay for him, and maybe it would for me too, but, you know. Maybe that's a little of myself I gave Ollie. Because I also like the idea of testing something first, all the way to destruction."

A little of myself. This—this is personal information. Something that, in the negotiations that never happened, he said he'd never give me.

My phone, with its blackened screen, is right there. I keep my hands still, folded together, decidedly not reaching for the phone. Denkins watches, sees. His shoulders loosen; neither of us, I think, realized how tense he'd been.

"In that world," he says, "there's a second season coming that no one knows anything about and there's a fandom going feral. Echo chambers that feed off their own theories because there's nothing new to add to the pot. Just like our world, right? In the absence of good data, overwrought ideology works just as well.

"And in the middle of this, to provide a distraction, maybe, or to draw that enemy fire like he so often does, David Jenkins says he'll get a Tumblr—you know, one of those not-really-social-media internet places. And maybe he does. He doesn't tell anyone his username, so it's a mystery whether he really did it or not. But someone opens an account. And someone says they're definitely not David Jenkins."

Javid Denkins is holding a cup of coffee. So am I, now. We take sips, mirrors of each other. The coffee tastes like it has seven sugars in it.

Denkins swirls his cup gently, not looking up at me. "When you're trying to figure out something that's terrifying," he says, slow and careful, "and enraging, and so big and so much that it feels like you'll collapse under the weight of it…sometimes you need to find a way to conceptualize it more abstractly. Make it manageable. Put it in bite-sized chunks.

"So instead of me, dealing with all this fame, and these expectations, and these pulls to turn me from a person into a plot point…maybe there's this other guy. In this other universe, with this other pirate show. Another writer, who says he's definitely not David Jenkins. But—he could be. He could be. And either way, there's enough uncertainty that the fandom can't tell right away."

"Schrödinger's showrunner," I say.

Denkins tips his mug at me. "Yeah, that gets pointed out, too. Because either it's really him and the fandom will eat at him—death by a thousand needy bites of demand, and something that feels like connection but by its nature can't be—or it's not him, just a fan pretending to be him, attention-seeking, scamming, stealing unearned laurels to crown a meaningless triumph: successfully mimicking the concept of David Jenkins."

"Pretty binary."

Denkins shrugs. "You saw the first season. I'm a sucker for duality."

He hums and looks out the conference room's window. The AMC lot is gone. More accurately, it was never there. Outside the window is an ocean. The water is green-screen perfect, and there are two tall-masted ships in the distance: Bellamy's Whydah Gally and Levasseur's La Louise. They float angled toward one another, counterpart to their captains on the poster behind Jenkins, missing only the drilled coin between them.

"Except," says Denkins, slow and musing as he watches the distant ships, "in the vast multiverse of imaginable possible outcomes, it turns out that there is the very slimmest possible chance of a third thing happening."

There is another ship floating now between the Whydah and La Louise. It's freshly painted, poorly rigged, and its figurehead is a unicorn. Instead of one flag, it has half a dozen. And I know, because Denkins knows, that instead of gunpowder in its hold, it carries jars and jars of harmless marmalade.

"So," I say, "David Jenkins—"

"Oh, definitely not David Jenkins," says Javid Denkins, amusement lighting up his face. He keeps his eyes on that third ship.

"So the person who is definitely not David Jenkins," I say. "He comes and starts a social media account. He answers questions."

"Sort of. Nothing specific, really. Just…narrative likelihoods. Enough to dangle hope. But the fandom wants more. There's a Richard Siken line he sees, that if he'd chosen to stay anonymous maybe he could've actually posted: 'but monsters are always hungry, darling.' It's like that. So he backs up a little, and considers how to hold off the inevitable. The season two hints are vague? Make them vaguer. Add some smoke and mirrors to hide how little substance they have. There are only so many general pirate tropes around? Stretch out how long it takes to get the ones he has. Add steps. Add puzzles. Make the fandom work for it, and maybe they won't notice how little there is to find. Give them an interesting enough box to open, and they'll ignore the fact that there isn't an answer on the inside, just another, smaller box." He tilts his head and looks at me. The light outside is now luminous pink and yellow, flashing off the water and highlighting his face like a duotone painting. "Then he…" Denkins sighs. Puts down his mug. "Then I sit back and see what happens. I see if it's as bad as I think it would be if I did it here, in the real world."

"And is it?"

Denkins reaches out with one hand, tugging my phone over to his side of the table. He starts fiddling with the buttons, attention on it instead of me. "To start with? Yes. And no. It didn't matter that the one thing I promised was that I wasn't David Jenkins. They—the fandom—found me anyway. They assumed I was him. And I was right, of course I was right, they asked me questions. Hundreds of them. Like that was the only reason I existed, like I couldn't just be a regular person like the rest of them, just on Tumblr to read about the Carpathia and get taken out by the color of the sky."

"For better or for worse, you're a public person," I say. "They think they know what it means when a public person breaks down the barrier between themselves and the fans. Even well-meaning people make assumptions."

The recorder is no longer a phone and app; it's an old cassette player with thick plastic buttons like I, or more accurately Denkins, had as a child. It matches the ones his elementary school classrooms had, which in turn looked like the device Mr. Spock carried at his hip to record and interpret data from strange new worlds.

Denkins, in the here and now, half-presses the play and record buttons, which would trigger the record function if pushed down completely. He holds back. Riding the edge of commitment. Over and over.

"Yeah," he says. "Yes. That's true. And I could've been completely anonymous if I wanted to be left alone entirely. I suppose I wanted to prove that everything I believe—everything I'm afraid of—is true, and that I'm justified in hiding away, refusing to be 'known' by anyone I haven't specifically agreed to. Hence the thought exercise. And when I was done, and I had my proof," he says, leaving off the recorder buttons to raise a pointed finger at me, "I wouldn't have to see you again either."

We look at each other. "But here you are," I say.

He laughs. It's rusty, but sure. "Here I am," he agrees.

"So what happened?"

"Turns out," he says, "that in that infinite universe of possibilities a writer can dream up, there's a world where, yes, all my worst fears are confirmed…but that's not all that happens."

He stops, and we are both silent for a long, long moment. His fingertips brush over the recorder buttons, repetitive and soothing, like he's calming something feral and unused to human touch.

"Would you believe," he says at last, hushed and small in this glass and beige room floating on a digital sea, "that there is a world where fans—people—don't ask for more than I want to give? Who see the box I'm in, and instead of ripping it open to grasp for whatever good thing they think they can find inside…they give something back.

"I played it all out, you see." He waves his hand over the recorder. Now there are two of them, sitting side by side, each with a row of thick black plastic buttons along the edge: one to play, one to rewind, one to record, and one to pop open its lid so that the cassette can be changed. One of the recorders is a little bigger than the other. "If I can imagine it," he says, "it has to be possible."

He looks at the two recorders; he's quiet now, talking to himself rather than me. I don't think I'm as necessary as I was before. I think maybe this is just him. Just Denkins in this lonely little room. He moves the smaller recorder so that it's lined up with the larger one, like he's lining up Matryoshka dolls as he reveals them.

"It started small," he says. "There were people who saw my puzzles, and made puzzles back for me, just to play along. People who saw my puzzles, and shared what they knew about them, just to help others play too. Small things. Little things. Possible things. I liked it. I didn't expect it. I…wanted to give back, too. Not just in the story, I mean. It was me who wanted it. Wanted to add to a world, to a community, where that sort of giving could happen. So I went further. I didn't just try to hint at common story beats this other show might hit—I started listening, following, asking what would be most welcome, and then gave that instead. And it grew. It grew until it wasn't really just an experiment anymore. It stopped being an adversarial proof. It started being…something else."

Denkins reaches out, and now there are three recorders on the table. The newest one is the smallest. He lines it up with the others.

"I'd already made David Jenkins," he says, "and in turn he'd made his own Javid Denkins. So why not do it again? This other Javid Denkins, this me who's me but not me, goes deeper. He uses the tools at his disposal. Our Flag Means Death has pirates named Edward Teach and Stede Bonnet. OFMD has a fandom like BTMD does, where people write stories about the characters, for themselves and—for others. Fan fiction. A thing that can be a gift, if you want it to be. So I started to write one."

One by one, Denkins hits the 'play' button on each of the recorders. The cassettes whir, a steady background hum. Each starts playing a part of some orchestral piece. Not the individual instruments, but something stranger. It's as if each cassette contains the whole work, but with fragments missing that the others complete. There are still some gaps in the playback.

Denkins waves his hand over the collection again, and a fourth recorder, smallest of all, appears. He presses play on it too, and the music fills in. It's a pretty little melody. Simple, if you know how to hear it.

Denkins hums a little of it before looking up, seeing me again. "That was it, really. That's what finally made all this small enough for me to understand. Made it small enough, far enough away from my actual world that I could finally let myself feel it. In this story that I'm telling, here is Edward Teach." Denkins touches the smallest recorder very, very gently. "Teach lives in a world where he's not the main character; he's just a fan of a gay pirate romcom called Blow the Man Down. He's tired, and he's angry, and he doesn't know how to deal with the world the way it is, with the fandom as he perceives it. He makes a Twitter account, anonymously, to prove that what he fears is real."

Denkins covers the recorder with both hands, only muffling the music a little. "Here's Edward Teach, made up of all my fears and saying them out loud."

He raises his hands, and now there are two little recorders, the same size, both playing the same parts together. He touches the new recorder with his fingertip, as if it's a bubble that could too easily break. "Here's Stede Bonnet," he says, "made up of all my fears coming true. And then having to live through it anyway." He stares down at this new recorder; the same as the Edward Teach one, but evidently special in some way to Denkins. He says, to me, to it, to the room: "It's a hell of a thing, to need to go so far away just to see what you've been carrying on your back the whole time."

After a moment, he looks back up at me. "In my story," he says, "Stede survives the disaster. My disaster. He survives it, because he has Ed—a love interest, yes, but not just that. He's someone he opened up to. And more than that, I saw—because I could imagine it, and so it must be possible, it has to actually be possible—I saw the fandom become…people."

With both hands, Denkins presses a button on each of these two small recorders.

Their lids pop open.

And from the walls, from the ceiling, from the glass windows and the limitless sea, there comes a multiverse of music.

"These people," says Denkins, tilting his head to listen as the swells of unseen instruments add to the gentle overture of his pocket worlds and turn the piece into something greater than the sum of its parts. "They're not some nameless collective made up of their worst impulses. They're just people. People are complicated. You can never know them completely; they can never know you. All you really get is what they—we—choose to do.

"And I saw people try to help Stede. People, strangers, who didn't know who he was, not really. And they felt compassion anyway."

After a long moment, just taking in the music, Denkins sighs and carefully closes the lids on the two small recorders. The singing universe becomes just a recorded orchestral piece once again—though no less beautiful for it. He gently pushes the two recorders together until they're touching, side by side, and covers them with his hand. He says, "Ed got to see this. He got to know that even if his worst fear happens, he'll be okay on the other side of it. And he won't be alone."

He lifts his hand; the two are now one, still playing its little melody.

Denkins picks up this amalgamated recorder and sets it on top of the next largest. He puts his hand over the stack he's just made. "Move it up a level," Denkins says. "David Jenkins, or someone who is definitely not David Jenkins, runs a Tumblr with games and puzzles and digital tools that stretch the boundaries of the narrative. He sees the reactions to his story. Sees fans who know it isn't real, who know that Stede and Ed are characters in a narrative—and nevertheless, these fans, these people, see that these characters are hurting. They try to help. They don't know who's behind the masks labeled 'Stede' and 'Ed,' not really. But they feel compassion anyway."

He lifts his hand. The little recorder atop the larger is gone. The music is different. Not lessened, but changed. It's come closer.

Once more, Denkins moves the smaller combined recorder onto the last one—or, I suppose, the first of all of them. "So move it up one more time," he says. The music isn't audible in the room now; but I hear it anyway. It's in me. Us. The last little notes coming from the final recorders just a reminder of what the world could sound like.

He covers the top recorder with both hands. His touch is aching and very, very soft. "Here's me. Javid Denkins. I don't know if there's a world where I could open myself up and not have everything burn down in flames. I don't know if it could ever be possible for me to leave this room, open my laptop, and start something, somewhere, called 'definitely not Javid Denkins,' and have it be as beautiful and awe-inspiring as it was in my thought experiment.

"But God," he says, "I want it."

He lifts his hands, and all that's left is the final recorder, the one that was my phone to begin with. The music dissipates completely. But the feeling of it remains. Denkins rests his hands on either side of this solitary recorder. He says, "I don't know if all of that—all of them, my fans, my friends, all of what we made together…I don't know if it already exists for me in the real world. Just waiting for me to be brave enough to look. I don't know. But I think I have to believe that it does. That they do. I have to believe that it's possible not just to imagine that kind of grace, but to live it."

Denkins brushes his thumb over the last recorder's play button. "I think that's what it means to be human," he says. "To try anyway. To unlock yourself despite your fears, and find hope there waiting for you."

He closes his eyes. I close my eyes. We take a deep breath together.

We open our eyes.

After a moment, I smile at Denkins, a little crooked. I've got one last question to ask, and it's one he might even answer.

"Who are you, really?" I ask.

It's something we all have to answer about ourselves eventually, and it seems particularly relevant now.

Denkins shrugs, and his smile mirrors mine. "Does it matter?"

"It feels like it does."

"How about this," he says. "Who are you, really?"

And knowing what I know now…if I'm anyone at all, then I suppose I'm Javid Denkins. An aspect. A reflection. A dream.

And so, in these universes he's imagined, is everyone.

"So," Denkins says. "You think I can start over?"

I smile wider. It feels good. "I'd love that."

He pushes the recorder back to me, and in my heart I hear his laughing request for one last rephrase—

Javid Denkins has been waiting for me.

It's 9:30 in the morning and I'm sitting across the table from a cheerful enigma. Denkins was already in the room when I arrived, a hot coffee by my seat and a box filled with fresh breakfast pastries and marmalade open and ready to be enjoyed. An advertising standup emblazoned with the unreleased (at time of writing) air date for season two of Denkins's Blow the Man Down takes pride of place at the head of the table. Through the windows opposite, bright sunlight bounces off the buzzing AMC studio lot, and I think I hear a certain pirate romcom's theme music playing quietly over the room's speakers.

Denkins grins at me, and it's easy to see why his actors and writers speak so highly of the experience of working with him. Because I can tell already: this is going to be fun.

It starts when he leans forward, eyes bright, and presses the record button on my phone for me.

"Let's play," he says, and—we do.

#definitely not david jenkins #definitely not javid denkins #btmd #ofmd

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