the liminal space.
Pairing: OPLA!Roronoa Zoro x Reader
Word Count: 1,575 words
Warnings: Swearing, mentions of alcohol use
[A/N: written with the cooper!reader from mise en rose in mind. i don't know where in the timeline this occurs, though. lol.]
cingulomania (noun): a strong desire to hold a person in your arms
Living in close quarters can really change how you see a person.
Roronoa Zoro, for instance, had always struck you as rather aloof, having traveled alone for some time before you joined him, and unused to physical affection. He never gave any indication that he was one to enjoy it, and he never sought it out from anyone. That certainly wasn’t odd. You respected his tendency towards personal space, subsequently believing that it extended to his sleeping habits as well.
So when you wake up, hardly able to breathe underneath the hulking mass of a snoring swordsman, you are more surprised than anything.
“Zoro,” you wheeze, patting his back with the hand that isn’t crushed between his chest and yours. Nothing happens, so you swat harder. “Zoro. You’re crushing me.”
His arms squeeze around you as he stirs, inhaling sharply next to your ear. You stop moving as he lifts his head and opens his eyes just wide enough to register you beneath him.
He pauses.
Good morning, sunshine is what you want to say in a cheeky tone. You want to prove that you’re unaffected by the warmth of his body pressing yours into the mattress, the sensation of his breath across your cheekbone and the way his gaze transitions from something bleary into something sharp.
The greeting refuses to leave your mouth. All you can do is blink.
The next thing you know, Zoro’s rolling off of you and out of bed with nary an apology, mumbling something about going to the bathroom.
You hum distantly in response and stare up at the ceiling as he shuffles to the door. Once he closes it behind him, you reach up and fold your hands over your eyes, cheeks hot.
Great.
—
It all started because you and Zoro could only afford a single bed at the inn.
(You use the term “afford” loosely here. The truth of the matter is that you grossly underestimated how much a room would cost, and the owner of the one place willing to lend you a room for half the usual rate demanded physical labor to make up for the rest. Given that Zoro would be spending most of his time hunting down a bounty, the majority of the unpaid labor fell on your shoulders.)
(But you digress.)
The room is small and bare, which is fine, because you and Zoro don’t have much between the two of you anyway. The only problem is that there is only one bed. Zoro had expressed no qualms about sharing so long as you didn’t disturb his sleep, and you had readily agreed, not wanting either of you to sleep on the floor.
After the first morning, you’re not sure if that was a lapse of judgement on your part or not.
Zoro doesn’t mention it at all before he leaves for the day, and you don’t, either. However, when he comes back in the middle of the night and you’re already in bed, squinting and shielding yourself from the bright hallway light as he takes his slippers off and walks in, he sits on the carpet just a few feet away from your side.
“What are you doing?” you ask as he proceeds to lay down.
“Sleeping.”
He closes his eyes and folds his arms behind his head. You frown.
“Why aren’t you sleeping up here?” No answer. You lift your head from your pillow, indignant. “Hey, don’t ignore me! I know you’re still awake.”
“I’ve had a long day,” he grumbles, “so I’d like some quiet so I can sleep. Thanks.”
You huff.
The thought that Zoro might actually be just as embarrassed flits briefly through your mind, but you extinguish it just as quickly. He’s never seemed like the kind of guy to be self-conscious about those kinds of things. A more likely reason is that he’s decided that he wants his own separate space after all and can’t be bothered to kick you off the bed.
So, you kick yourself off instead.
“What are you doing?” The phrase now comes from Zoro as you throw the covers off and grab your pillow, kneeling on the ground beside him. His eyes open and his brow furrows.
“Take the bed. I feel guilty.”
“I don’t want the bed.”
“Everybody wants the bed.” You lie down on the carpet and cross your arms over your chest, stubborn. “I’ve already slept in it. Now it’s your turn.”
“You’re an idiot,” Zoro says.
Neither of you budge.
The next morning, you decide that the first morning was in fact not a fluke, as you awake with your face smushed against his chest and the smell of steel in your nose once again. He’s not on top of you, at least, but the way he clutches you while you’re lying on your side, one ankle hooked over yours, is somehow ten times more mortifying. You wake him up in the midst of untangling yourself and pretend like nothing happened.
Who’s the idiot now? (The answer is both of you. Both of you are idiots.)
—
The third night, you and Zoro flop onto the hard mattress with twin groans, heads spinning and feeling overall miserable.
“That was the shittiest booze I’ve ever had,” Zoro slurs next to you, face down in his pillow.
“But you got a lead, right?” you mumble.
“Yeah …”
You had been there in the bar when he’d gotten that lead, but you can’t remember what it was for the life of you. Another inn? Another bar? Ugh, you’re never drinking there again.
“I’m cold.”
There are blankets on the bed. Unfortunately, getting underneath them would require a lot of moving, and you are physically incapable of exerting yourself that much right now.
You shiver and turn onto your side to curl up. You’ll fall asleep at some point, anyway.
Zoro murmurs your name.
“Hm,” you groan, eyes screwed shut.
He doesn’t say anything in reply. But you hear the mattress squeak, the bedsheets rustle as he shifts closer, and your breath catches when the small distance between you closes. He does not wrap his arms around you, no, but your knees touch, and the heat from his skin melds into yours. You hear his breathing slow to a crawl.
Through your drunken haze breaks through a sudden need to draw him into you, to tuck your face into his neck and keep it there forever. You want – you want. But you’re exhausted, and your head aches, so you find yourself slipping into a deep slumber instead.
He’s already gone when you wake up.
—
A suspiciously lumpy gunnysack in the corner of the room catches your eye once you enter, hand over your mouth to stifle a yawn.
“What’s in the bag?”
“Eight million beri,” Zoro says from his seat on the bed. Cleaning supplies for his swords are strewn around him, and he sheathes the Wado Ichimonji as you close the door. “I ran into another bounty on the way back.”
“Eight mill –” You clear your throat. “Wow. That was pretty lucky.” Eight million beri. Sometimes you wonder if you’ll ever get used to how much bounty hunters can make. (God, that would’ve been more than enough to pay for the room.) “We’re heading out to a marine base tomorrow morning, then?”
“That’s the plan.”
He puts away his supplies, setting them and his swords against the wall near his pillow before standing up to pull down the sheets on his side. You turn off the bedside lamp and do the same, crawling in with a sigh.
The two of you simply lie side-by-side until you decide to break the silence with your big mouth again.
“Am I a burden to you?” you ask.
“No.” The plainness of Zoro’s tone is a small comfort, you suppose. “Why are you asking?”
“Well …” You already regret bringing this topic up as you trail off, biting your bottom lip. “I feel like I haven’t really done much. I mean, I help with navigating and searching crowds and stuff, and I’ve been getting better at fighting, but I can’t help you, you know?” You fiddle with your fingers. “You don’t actually need me.”
There’s a gap between you and Zoro that you’ll likely never be able to close. You had always known that, and so had Zoro; in fact, he had told you at the start that going with him was a bad idea, given your inexperience in bounty hunting and traveling in general. And although you’d like to think that your ability to read a map and fix things convinced him of your usefulness, there are times when you think Zoro regrets bringing you along. Like now.
Zoro grunts, turning to lay on his back. His shoulder nearly lands on your hands, and you draw them to yourself as you wait for his answer.
It is brief and straightforward.
“I’m not forcing you to go with me,” he says. “And if you were a burden, I would’ve told you a long time ago.”
“Oh.”
It is brief and straightforward, and yet, there’s a strange lump in your throat. You swallow it and nod, even though he cannot see you do so.
Nothing more is said. However, as the night goes on, you reach out, and you find him, and Zoro finds you, and the space between your arms fills up with warmth and an unspoken promise. And you sleep very well.
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"The way Vriska introduces herself to John says everything about her, and about their relationship, and really, her relationship with everyone. She forcefully interrupts a moment that is deeply important and emotional to him, thereby probably denying that opportunity from ever happening again, just so she can insert herself into his life and force him to pay attention to her. Now here she is again, being kind of rude (e.g. calling him stupid), but more than that, being vaguely obsequious overall, which is something about her I was harping on in the last book. Vriska cozies up to certain kinds of people, namely those she wants something from or feels will elevate her status by association. John's the perfect mark for the manipulative, ass-kissing games she plays. Since we're in the Vriska Zone now and forever, I'll just keep talking about her. It bears more examination of how her manipulation strategy seems to deftly blend ass-kissing and aggression. Successfully manipulative, sociopathically charismatic people tend to have this balance down to a science. The strategy seems to involve controlling the interplay between flattery, appealing to common interests, charming or flirtatious rhetoric, and little jabs, negs, or outright insults to keep the target off-balance. The target gets sort of hooked by the fascinating spectacle, intrigued, and strangely disarmed. Too much flattery results in suspicion, too much negativity is a turn-off (or taken to an extreme like Karkat, results in not being taken seriously at all). The barbs mixed in with the flattery are effective because they lead the target to think, "If this person really wants something from me, why would they insult me?" Of course, this is how pick-up artists operate, which isn't far off from Vriska's mindset when pursuing her goals—which, although more broad than romantic goals, are still mixed in with them, with the end result being part of the overall power play. Over the course of her tactics focused on John to make herself more relevant, when actual romantic designs start seeping into the fabric of her manipulation campaign, that's when it all starts to get...A Little Bit Weird.
We've already seen a lot of Vriska's tactics on display in Hivebent, with mixed results. By now she's had a lot of practice, and she's bringing all her skills to bear on the perfect rube for her schemes, this nerdy, gullible Egbert kid. The romantic angle that surfaces from this effort, as I just implied, is vaguely troubling. How else to describe it... ? Icky, maybe? Something is off about it, and we feel that more than John does, obviously because we know a lot more about her than he does. For Vriska, are the romantic desires real? Is she such a mess inside that she wouldn't be able to tell whether the feelings are genuine or not? It's more likely that it's all about the ego boost, the power trip involved with grooming this hapless fool into the thing she wants him to be, and hoodwinking him into feeling something for her. But for him, it's probably more sincere. His first awkward experience with romance, albeit one contrived by a manipulator. Too bad he has no idea that none of this even has anything to do with him. It's still just about Vriska's gamesmanship with Terezi, who is another person exhibiting many of the aforementioned qualities of a manipulator. Terezi just uses hers to target a different boy. Both are highly successful with their boywork, but they take very different approaches." -Andrew Hussie
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