fic scraps
ik im like so off topic. but bc im already on this blog can I talk about togakure for a second and this little fic I wanna do SO bad but I'll literally never do bc I don't know fuckshit abt business
the plot would not be in THH! Byakuya would be a businessman leading his father's company and things are going decent (boring) but the place is kinda losing money fast as hell and they can't figure out what they can do to stop it
then yasuhiro shows up at togami's office trying to convince him that he can literally predict what's going to happen to his business and that he should be hired to prevent it (I haven't thought about if he's being genuine or just trying to scam).
byakuya calls major bull but has been in the same office surrounded by the same bland mediocre people for YEARS, so he decides "fuck it ill bite" and entertains the idea. despite his claims sounding so fictional hiro is actually right and knew exactly what would happen to the stock market two weeks ahead ?!?!
they talk about it over several meetings which are totally not just fancy business dates and kuya finds himself wanting to hear not just more about the (*business*) proposal but about hiro but wouldn't know how to put it into words, hence eventually hiring him and then yada yada slow burn 500k words
but i feel like it would just be so fun to write bc while byakuya is literally made of money, he ends up meeting someone who isn't as fortunate as him and somehow ends up tangled in his confident pitches and can't help but wonder if their strange little relationship was hagakures plan the entire time.
this would also give me a big opportunity to talk about how I DONT THINK YASUHIRO IS THE DUMBEST GUY AROUND LIKE.. he knows a thing or 2 u guys... and byakuyas response to him developing a crush being "oh so this is a new strategy" like no maybe he's just a guy you like kuya not everything is spreadsheet talk
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phillip wittebane x reader (sfw)
it’s hair dye time babeyyyy
@edgelordfucker gave me this idea
this is a short one, but it’s all i could think of and i wanted to write a fic to give me a break from drawing since that’s all i’ve been doing for the past few days
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"You know, you never answered me. Why do you do this to yourself, exactly?"
Philip's voice came from behind you as he had one hand in your hair and one hand on a bottle of hair potion. You regularly dyed your hair, but because it was such a pain to do alone, you recently enlisted Philip's help. He had some free time, and the bathrooms in the palace were all pretty spacious. He was making sure to get the potion evenly coated on your roots in the back like you'd asked, but he was still puzzled, hence his question. He'd asked earlier, but you dodged the question to get him to start helping you faster. Now that you were sitting there backward on a toilet with his hand in your hair, you decided it was probably time to give the man an answer.
"Well, I just like it. You know -- aesthetically."
"You don't like your natural hair colour?"
Philip sounded puzzled. You couldn't see his face, but you could hear in his voice that he didn't quite understand. It was a wonder he agreed to do this at all, really. It took quite a bit of prodding on your part, and he only relented when you left with a playful huff to go handle things yourself. It was clear he wasn't very comfortable with you using this potion for whatever reason, but you had managed to convince him that it was harmless. You weren't aware of Philip's distaste for magic.
You shrugged. Philip put a lot of emphasis on natural beauty. It was a gift from God, of course, and why wouldn't you cherish God's gifts? You didn't necessarily have the same view, though.
"Well, it's not that I don't like it. I just prefer this one. Since I have the option to choose, why not?"
Philip frowned, and you could hear it in his reply.
"Yes, well... It is a shame. Your natural colour is so beautiful. You wouldn't ever consider keeping it that way?"
His response made you snicker. Philip always sounded like such an old man, you couldn't help but giggle at him from time to time. He was very traditional, and those traditions were questionable at best, but you couldn't help but admit that it was pretty charming at times.
"Maybe. You really think it's that beautiful?"
"Must I repeat myself?"
"Well, it couldn't hurt. I'm always mentioning how handsome you are. Not to mention sweet, charming, organized, intelligent, b-"
"Alright, alright," Philip stopped you in your tracks, resting his gloved hand on your scalp as he leaned toward your ear. "Your hair is naturally beautiful, as is the rest of you. Would you consider leaving it that way? For me?"
Philip's voice sent chills down your spine. It was soft and cloyingly sweet, and he knew just what tone to take and what words to use to get to you. Philip was already under your skin -- he had been for quite some time. He knew your sweet spots, but luckily, you knew his. For the most part. You let out a hum through your smile. He was being sweet to try and persuade you, but two could play at that game.
"Well... I might be persuaded to keep it natural for a while after it grows out. Just for you. However, I would like to propose a bargain."
You turned around to face Philip, who raised his eyebrows in curiosity. He'd seen your sly smirk before, and it always meant you were scheming. This was going to be a hard one to pull off, but you felt like with enough coaxing, you might be able to get Philip to agree. Philip was already wary of that smirk on your face, but he was listening.
"Oh? And what would be the parameters of this bargain?"
"After it grows out, I'll keep my hair its natural colour for three whole months if you dye just a section of your hair for me."
Philip immediately laughed. Not his usual chuckle, but an actual laugh. It was short lived, but you enjoyed it while it lasted, even though you knew it was a rejection of your proposal. He wasn't completely unreasonable, though. Philip had never considered a lot of things before you, but something about you bent his will a bit. You bent his will just enough to get him to accept that he'd fallen for you, which was a feat in and of itself. That whole ordeal was an emotional rollercoaster, but a breakthrough you were proud of him for having. You knew that he would be willing to budge for you, even if he didn't think that he would. Philip did keep an ear open to the conversation, though. It was a tempting offer.
"Only three months? You're crazy if you think I would take a deal like that."
"Okay, six months."
"Getting warmer, dear."
"Fine, a year. A whole year, and all I want is a little streak of colour in your hair. A whole year after my hair grows out, and until then, we get to match."
Philip hummed, looking at you for a moment. He'd evenly covered the roots on the back of your head like you'd asked, so his work was technically done there. The prospect of matching with you really tipped the scales, though. He always liked letting people know that you were his. Philip never missed an opportunity to demonstrate that you two belonged to each other. His jealousy was just too cute, though. You couldn't help but use it to your advantage. After a beat, Philip caved with a sigh and handed over the potion bottle. He was still wary of the potion, but that bargain was tipped in his favor, and he knew it.
"Fine, just a streak. But only if you add a kiss before you put that stuff in my hair."
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Rosencrantz and Guildenstern Are Doomed
propaganda for @doomed-bythe-narrative's poll tournament
(I’m combining the propaganda I wrote for both rounds into one post)
vote for them here!!
Even though Ros and Guil identify some of the “logic at work” (31) they refuse to grasp the nature of their world to the full extent. According to William Babula, “SCRIPT IS DESTINY. For Ros and Guil in Stoppard's Rosencrantz and Guildenstern Are Dead destiny lies in the plot of an Elizabethan revenge tragedy”. They are compelled by the script of Hamlet, whose force renders them dead before the play even starts.
Guil tells the Player (a master actor) : “You die so many times; how can you expect them to believe in your death?”; yet Ros and Guil also “die so many times”: their death is in the title, they die every time someone reads or watches the play; in a sense, they die metaphorically and hypothetically every time they talk about their own deaths, but when it is time for them to ‘actually’ die, they simply “disappear from view”. This is how Guil thinks they should die: not by acting out their anguish and despair, but by subverting an audience’s expectations.
Dying according to Guil’s theory of death is the only choice they can make, the only way they seem to be able to take their destinies into their own hands, because “what they need, what they should be striving for, is freedom of will” (Keyssar-Franke). They want to have made an impact all on their own, they want to act unscripted: “Because if we happened, just happened to discover, or even suspect, that our spontaneity was part of their order, we’d know that we were lost”.
Thus, their novel way of dying fulfils for them that very same purpose, to somehow act outside the script, to make a real choice, to have a death that is final, a death that is real, a death that one cannot return from, death as human beings and not as characters. Yet, that is of course, impossible, but they cannot tell the difference.
What is more doomed than being caught up in an Elizabathen tragedy (THE Elizabethan tragedy), a play that’s been performed on stage for more than 420 years?
Imagine having a 400 year old conciousness that actually encompasses just a few moments of a tragedy that you get to relive night after night on stages all around the world. And then you’re taken and given moments of conciousness in another play. You’re given just enough time to sense that something is wrong, just enough time to start questioning the nature of your reality.
Just enough time to realize that you might have no free will of your own, no spontaneity, that your thoughts and actions are of no real consequence. Your are left on your own, destined to play with language, the very substance your world is made of, yet you cannot seriously alter it.
Your very identity is a joke. Ros and Guil cannot tell each other apart, their very identity is entrenched in the other (codependency to such a degree that they cannot exist alone, without the other). (But they were written this way by Stoppard, because across centuries, productions of Hamlet had the rest of the characters mix them up.)
Inevitably, Ros and Guil are at the mercy of the script, the power of which they do seem to sense at times. However, they are unable, or unwilling, to put all the pieces together: in their search for free will and spontaneity, the truth of their situation would crush them.
They would rather remain ignorant than discover that their only wish is perpetually unattainable. For the signs are there, they have some insight into the authority which controls their world and into how their very existence is constrained by it, they sense the “logic at work”, but it does not seem to pose an issue to them before they realize they have become its victims.
They are characters on the edge of sentience, never quite able to see beyond it. They are doomed to relive this turmoil afresh together every time the play is put on; because their other option is not to exist at all.
They come alive and die every someone watches or reads the play, every time someone reads the title; they are dying in your mind right now. Because they are characters (and in their fictional bones, they know it): they exist in the mind of an audience, only you can save them, only you can make their miserable lives worth suffering.
(so vote!!)
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