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dangerouscommiesubversive · 4 years

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Can you do a , smug and mean character of your choice, Z?

Anon, did you want me to write about Sengoku Ryouma? Because this is exactly how you get Sengoku Ryouma. (Kureshima Takatora is in here too, not that he’s at all smug or mean.) Z is my choice, so

C is for colors--and, if you’d also like musical accompaniment, M is for music and “you should see me in a crown,” by Billie Eilish, is available on Spotify and YouTube.

The first time Ryouma agrees to share a meal with Takatora, he brings a sketchbook with him. He’s drawing when Takatora approaches the table, in fact, drink in one hand and pencil in the other, intent on his work until he realizes that he’s not alone. Then the sketchbook closes, but not before Takatora can catch a glimpse of what looks like a cross-section of a plant. “What are you drawing?”

A smile like lightning--Takatora finds himself briefly wondering when the thunder will hit, and what might be burned to ashes in its wake. “Vegetation from Helheim. I’m exercising my botanical illustration muscles. I don’t imagine you’d be much interested, though.”

“No, no, I’m actually very curious. Your scientific work intrigues me as it is; I didn’t know you were also the artistic type. May I take a look?”

Ryouma gives him a look which might be considering or might just be shy; Takatora doesn’t yet know well enough to be able to tell which. “If you’re really interested...” He slides the sketchbook across the table. “Look away.”

They end up losing half of lunch to Ryouma’s drawings, Takatora turning pages in rapt fascination as he examines the fractal layout of crystalline seeds within those ever-dangerous fruits, the labeled diagrams of alien plants, the beautifully watercolored illustration of a Helheim vine overtaking a maple tree. Ryouma is delighted to explain them, his soft voice making it more an intimate conversation than a lecture. One pen sketch is so shockingly realistic that Takatora nearly reaches for it, wanting to see if he might pick a fruit directly from the page, only to pull his hand back before he can risk smudging the ink. “I think these might be almost as dangerous as the real thing, Dr. Sengoku.”

“Oh, please.” The lightning smile comes back, and this time Takatora is certain he can hear the rumble of thunder in the distance. “I may not have a lot of friends, but the ones I do have all call me Ryouma.”

Ryouma’s insouciant smile and elaborate courtesy tend to strike others as at least mildly disrespectful, if not outright rude. Takatora, of course, knows that it’s just how he is, that he doesn’t mean anything by it. The sketching during R&D meetings is a little irritating, but after the first couple of times it comes up he finds that the scratching of the pencil is oddly soothing, enough that finally he gives into the temptation to ask again, “What are you drawing?”

One of the other researchers rolls her eyes when she hears this, but Ryouma just smiles. “Lockseeds, of course.” He holds out his sketchbook for Takatora to take. “I think I’ve designed, hm, at least fifty at this point.”

The sketchbook is open to an exploded mechanical diagram, far more complicated than Takatora is prepared to try to make sense of. He tries anyway, nodding absently as the other researchers start to trickle out of the room, squinting at Ryouma’s tiny labels. “Fifty? Do we need to many?”

“Well, Takatora--” the last researcher heading out the door huffs irritably at Ryouma’s casual tone, “I don’t know about you, but I certainly can’t live on oranges alone. And they’ll do different things, of course, once I’ve perfected the driver designs. What’s your favorite fruit again?”

Takatora blinks. “Melon. I really only eat it at breakfast, but I do like it best.”

Lightning strikes. “Wonderful, I did remember correctly. Turn back a few pages--yes, there.”

“This is...a Melon Lockseed?”

“Yes, do you like it?”

The sketch is colored in with pencils, and it’s--beautiful, in the strange way that all of Ryouma’s creations are beautiful. “It’s lovely.” Takatora reads over the notes along one side. “I...’authorized by providence,’ Ryouma?” He raises his eyebrows. “What is?”

“You are.” Ryouma bows, one hand on his heart and a mocking smile on his face. “You’re the prince, aren’t you? I thought perhaps you deserved the reminder. And I am merely your humble advisor.”

“I don’t think there’s ever been anything humble about you, Ryouma.”

“Maybe not. I am very good at what I do, I don’t see any reason to lie about it.” A pause, and then Ryouma cocks his head to one side and the smile goes from mocking to teasing, sly and friendly. “I may have some melon at home, if you’d like to come over.”

“...for...breakfast?”

“Well, yes, eventually.”

Takatora feels his face go hot, and hopes he hasn’t turned too pink, and then furthermore hopes that no one else is lingering outside the conference room door as he says, “That sounds very nice.”

There are more armor designs than will probably ever get used, and Takatora says so. “Why so many?”

"I enjoy designing them. Although of course most people won't get to see more than the very basic one." Ryouma is settled comfortably against his shoulder, sketchbook balanced on one pulled-up knee. "I'm not going to share my best art with just anyone, you know."

"Oh, no?" Takatora cranes his neck to see the sketchbook over the top of Ryouma's head. "How are you going to manage that?"

"A series of if-then statements in the Sengoku Driver. They have to be able to scan the user's body and brain, you know, to do what they do; I don't see why I shouldn't have them test for particularly desirable personal qualities at the same time." Ryouma's pencil dances over the page. "For example, if it were to detect, say...hm." A sly glance upward at Takatora. "A noble soul, a cutting intellect, clarity of purpose, and oh, let’s say an offensively nice ass, it might produce...something like this."

He holds up the sketchbook, so that Takatora can finally get a proper look at it--a samurai, sleek and elegant but with a science-fiction edge. “This is...armor for me?”

“Roughly, this is a preliminary.”

“It’s beautiful.”

The smugness radiates from the line of Ryouma’s back against Takatora’s arm. “Thank you, I’m very pleased with it.” The sketchbook and pencil go on the bedside table, and then Ryouma turns around looking even more sly. “Of course, I’ll need to tailor the design to suit you better. I think I’ll need to make some figure studies, you’ll have to pose for me.”

Takatora raises an eyebrow. “Naked, I’m sure.”

“Oh, naturally, I’ll want to make a detailed study of your best qualities.”

“I think you said something about an offensively nice ass?”

“I am an artist, I want to display my subject to best effect.”

“So I’m your subject now.”

Lightning-flash smile, and Ryouma runs his fingers down the side of Takatora’s face, tips his chin up as if to study his profile. “No more and no less than I am yours. I ought to draw you with a crown on your head.”

When Takatora wakes from the coma--is woken from the coma, by the grace of a power he suspects he may never entirely understand--it still takes another two weeks before he’s discharged from the hospital and declared fit to go about whatever business he may have, and one of the first tasks that confronts him is the disposition of Ryouma’s notes. He can’t possibly ask Mitsuzane to take care of it, wouldn’t even want to mention the man’s name in his brother’s presence. Ryouma was, in the end, his fault and his responsibility. This is his cleaning up to do.

Mostly it’s straightforward. The laboratory equipment has already mostly been confiscated or destroyed; researchers and technicians have already scoured his computer files. It’s just the actual papers that are left to take care of, organized by some system that only Ryouma himself and perhaps Yoko ever understood, box after box of them. Takatora embarks on the project with four helpers--two from the Ministry of Internal Affairs, one from the Ministry of Health, and a man from the Ministry of Agriculture who seems to have an unwholesome interest in the actual growth capacity of Helheim plants.

“He didn’t go into the most technical details of his work with me,” Takatora says after the third question about what a particular notation might mean. “He was an...idiosyncratic man, to say the least.”

And then, near the back of the room, one of the Internal Affairs people says, “This box seems to be full of artwork.”

Takatora only freezes for a moment before saying, “Yes, Professor Sengoku was very passionate about the design aspects of his work. I’ll come over and take a look through them, there may be sketches of interest to more than one of you.”

Unlike most of the other papers and boxes, the sketchbooks are mostly clearly marked. Lockseeds, Vol. 1, says the label on one; Sengoku Driver Preliminary Sketches, says another. A third is, Armors, and Takatora recognizes its blue cover and thinks, suddenly, I never did ask him how he intended to have the Drivers identify desirable qualities in people, or why. That should have been a warning sign by itself.

Near the bottom of the box, though, is a sketchbook marked, Personal, and Takatora picks it up as quickly as he possibly can while still looking casual. He recognizes that cover too, and would rather not have people from the government seeing some of the drawings in it. “I’d like to keep this one, actually. I assure you, there’s nothing dangerous in it.”

The man from the Ministry of Agriculture says, frowning, “You’re familiar with the contents of this one?”

“I’m familiar with most of them, actually, the professor was very proud of his design work and shared it with me frequently.”

The sketchbook goes into Takatora’s briefcase, and he waits until he’s home and in his own bedroom to open it, because, yes--there, three pages in, is the first of several drawings of him. Most of them, as he flips through, are unremarkable, but a few are of an intimate character that he’s glad he wasn’t forced to share publicly. One in particular brings a blush to Takatora’s cheeks as he remembers the night it was drawn. On the facing page of the sketchbook there are a few lines scrawled in Arabic, a language that Ryouma read excellently and spoke passably, with a translation underneath:

He is a veiled one; but were he to pass in a darkness black as his forelock, his blazing face would suffice him light.

So if I stray for a night in his black locks, his brow’s bright morn will give guidance to my eyes.

Which does nothing but make Takatora’s blush much worse.

Of course, there aren’t only nude drawings of him, which is something of a relief. There’s a self-portrait on one page, a few sketches of Yoko on another, drawings of the various Beat Riders in a set near the back. It almost brings a smile to Takatora’s face, seeing how Ryouma managed to capture Yoko’s solemn resting expression and the angry twist of Kumon Kaito’s mouth. Sketches of animals, of plants, a cartoon of Oren that actually makes Takatora laugh.

Near the middle of the sketchbook, not far past the most memorable “figure study” and its snatch of poetry, is a drawing of the Yggdrasil logo. Or at least, Takatora takes it for that at first, but when he reaches the end of the sketchbook he realizes that something about it bothers him and has to flip back and look more closely. It is the Yggdrasil Corporation tree, but with grasping roots growing down beneath it, crushing something that Takatora realizes after a moment is the Earth.

Beneath it, in Ryouma’s neat, precise handwriting, is a note:

Unfortunately it has become clear that Takatora’s desires and mine are no longer in alignment.

Takatora shudders and closes the sketchbook, and when he finally manages to fall asleep, much later, he dreams of being struck by lightning.

#sengoku ryouma #kureshima takatora #fanfiction #anonamouse

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