kindness-&-courage

anonymous asked:

just a simple hypothesis. if akko confessed her love for you, would you give her a chance?

…I am certain that by now you are all quite aware of the fact that I have no experience in matters pertaining to romance.

However… it is my belief that every person should be treated with the utmost respect, especially in terms of their genuine feelings.

As such, if anyone - including Akko - were to express such an interest in me, of course I would give them proper attention in the matter. Confessing feelings for another person - romantic or not - requires an immense amount of heart and confidence. Should anyone manage to muster up that kind of courage, I would respond with the utmost respect and open-mindedness.

“Belle is the feminist princess so much better than Cinderella who is a bad role model for girls!”

Oh. Oh really

So she was a bad role model when she:

  • Stood up to her abuser twice
  • Didn’t whine or moan about only getting until midnight at the ball
  • Used the derogatory name her abusers had given her to proudly announce herself to the prince because she wouldn’t let them win
  • Remained kind and courageous through the abuse she endured
  • Worried more about the man who delivered her the news about her father’s death than herself (”that must have been very difficult for you”)
  • Forgave her abuser, because she knew continuing to stay mad would only bring her down.
  • Felt sorry for how her stepsisters because of what they had become due to their mother
  • Had just had her mother’s dress destroyed and the chance of meeting her only friend taken away from her, but still cared for the beggar woman who asked for some milk
  • Didn’t try to hide who she was for the prince
  • Told a man of wealth off for hunting after a stag - “just because its what’s done doesn’t mean its what should be done!”
  • Cared for all her animals

A female character doesn’t just have to punch things and not wear a corset to be a good role model. I love Belle, but don’t dismiss Cinderella when she’s just as good as a role model as Belle!

(also feel free to add what I have missed!)

9

moodboard: neville longbottom 

there are all kinds of courage. it takes a great deal of bravery to stand up to our enemies, but just as much to stand up to our friends. i therefore award ten points to mr neville longbottom.”

@harrypotternetwork & @nevilledefensenet creation event

The 1 Element Your Flawed Character MUST HAVE

If you’re a reader, you’ve probably experienced this before: you pick up a book, it seems pretty interesting, you nonchalantly decide to read it – “whatever, might be good” – and then … 

A paperback explodes life as you know it.  

Encountering a book like this can give life sudden clarity, it can change the way you look at the world, it can help you overcome something and grow, it can give you new purpose, it can inspire you to change your life, it can transform your future. By the time you’ve finished that book, it has become a part of your life – and will probably remain that way forever. (*Holds up my battered copy of Narnia as evidence*)

This magical experience is pretty much the ultimate goal for a reader. But if you’re a reader AND a writer, the fulfilling moment is inevitably marred by one depressing thought:  

“I’ll never write anything that good.”  

To which I say:

I beg to differ, little discouraging voice. With dedication and persistence, anyone can write a story that will be deeply meaningful to a reader. 

The trick? It needs to be deeply meaningful to the writer first. 

If a writer is going to give a reader a life-altering piece of knowledge, that means the writer already has that knowledge to give. We have all experienced things worthy of a story. We are all characters, journeying through arc after arc, becoming better or worse. From living these stories, we learn and see things more clearly, just as protagonists do. Which means we have something to say, something to write about, something to give. 

But to do so, we have to shoot for art.

The word art seems terribly vague, unattainable, and intimidating. But I don’t think it has to be. By “art” I’m going by the definitions given in two of my favorites quotes about writing (writing is art, so these apply): 

“Art is born when the temporary touches the eternal.” – G K  Chesterton

and

“…It is an art. It is the best of all possible art, a finite picture of the infinite.” – N D Wilson  

Both quotes state the same thing, in different ways. Art is about depicting and communicating something true, something universal, something everlasting about life and humanity, through something tangibly created. A definition which sounds an awful lot like the definition of metaphor: “a thing regarded as representative or symbolic of something else, especially something abstract.” Which sounds a lot like storytelling, because story IS metaphor. It’s life, condensed and magnified, all of its components there for a specific reason – to represent and convey some deeper meaning. So storytelling is naturally suited to being art. Which is good news for writers.

But it can also mean trouble. Storytelling is proven to be one of the most powerful teaching methods there is; a story actually has the power to get into someone’s head and heart and change everything, because to a reader’s mind the events on the page are actually happening. They’re living another life, a life that seeks to prove whatever the author wants to say. So writers have a responsibility to make sure the meaning of their story is true, morally and logically. 

BUT HOW DOES THIS ALL RELATE TO THE MAIN CHARACTER?!

Your main character is flawed, both in ways that only hurt themselves, and in ways that hurt others. These flaws are causing them to ruin their own lives. If they don’t awaken to this unwelcome truth about themselves, they will be lost. What happens to them over the course of the story, as they go after their singular goal, is going to apply pressure to these flaws until someone new – and most of the time, better – is made. The journey will teach them something, and that knowledge will enable them to overcome their weaknesses and forge a better life. 

And I bet you can guess what that story will teach them. That thing that is deeply meaningful for you, so meaningful you want to share it with readers? Yup, that’s what your main character is going to learn.

It’s going to be the SOLUTION to their inner problems. When it comes to characters, the meaning can be wrestled into three parts, adding up into one concise sentence. 

1) To achieve *a better state of being*

2) One must *moral and mental requirement*

3) Or else *the inner stakes*

To see how this works, let’s look at a fairy tale, the most straightforward example of this concept: 

Let’s see Cinderella (the live-action 2015 version). 

The meaning of the movie is summed up in this scene, and the story seeks to prove it throughout: 

“Have courage and be kind… It has power, more than you know. And magic.”

The story revolves around this notion, and everything seeks to represent it and prove it, in true Fairy Tale fashion.  

So in one line, that Ella’s arc proves: To achieve victory over abusers, one must hold onto their courage, kindness, and goodness no matter what – or else succumb and turn into someone like them. 

Exemplified in her last words to her stepmother, that truly defeat her forevermore:

So! Constructing these sentences can help give our flawed characters a destination to motor towards. Which makes writing their arcs much easier. And maybe we can construct a character arc and story that will become one of those magical reading experiences for a reader. And then, maybe one day, we’ll get letters from our reader, telling us exactly what our stories gave them and how it has saved their life in some small way (or maybe not so small way.) 

If finding a book like this is ultimate goal of a reader, I think getting a letter like that is the ultimate goal for a writer. 

Well, there’s my motivation. Time to go figure out what the heck I want my book to say. 

Emotional Starters

-Send one or two in my askbox and I’ll write a starter where my muse feels….

☀️- Joyful
🌙- Thoughtful
☁️- Gloomy
🌧- Sad
🌦- Hopeful
🌪- Angered
🌈- Proud
💨- Afraid
💥- Disgusted
⚡️- Surprised
🌟- In Love
🌨- Ashamed
🌑- Pitiful
🌝- Envious
❄️- Cruel
☄️- Courageous
✨- Kind
🌤- Shy
💦- Guilt

my boy lost his mom, his girlfriend, his sister as far as he knows, been dealing with the love of his life making time with hippies and haircuts, getting tortured and captured every other tuesday and his leadership contributions invalidated or minimized constantly while he walks around wracked with guilt and self doubt and the desire to be good and strong and courageous and kind and better than every day before and just

bellamy blake deserves so much love and happiness in his life,,,,, when will this show stop killing him and start letting him know what happiness is

The Thing about Mary

It’s been awhile since I made a post about Mary… it’s overdue. *crackles knuckles, limbers up fingers*

It made no sense. None of what they wrote made sense. What was the narrative point of Mary? To “create” Sherlock Holmes and John Watson? I call bullshit; they were already that without any external help. Moreover, if that was her purpose all along, she sure did a lot to destroy that very thing: the dynamic of arguably the most famous and celebrated male friendship in English literature. Just in case we’ve forgotten: 

Mary started undermining both John and Sherlock, individually and together, from the moment she appeared on the screen. She had already interrupted John’s attempted proposal once to excuse herself to the bathroom or wherever she went (”Now then, what did you want to ask me?”)*, then interrupted him and corrected him and laughed at him throughout. Her pattern of gaslighting, demeaning, and manipulating him continues through every moment of their shared time together on screen. Nowhere is it more evident than in the opening of His Last Vow, wherein she basically follows textbook procedure on gaslighting, from correcting his perceptions (”about a month, actually”, “see? That does happen!”) to doing it in front of a third party (humiliation) to questioning his motives and abilities (”why you?”) to outright forbidding him to do something (”you can’t go”) to inserting her presence where he clearly didn’t want it, then trying to sugarcoat it all by giving him a compliment - one which he reacted to not with pleasure or a softening of his obvious anger, but with a terse statement that he was already aware of what she was complimenting him on. It’s an abusive relationship, full stop. 

*Shout-out to @blogstandbygo​ for pointing this out in our recent hang-out with @addictedstilltheaddict​ and another friend in Toronto last week

She inserted herself between them from that very first scene and made it clear that any form of friendship they were going to have was to happen through the medium of herself, and only on those terms. This was so clear to John that he patently disguised his intention to see Sherlock to her as of their first conversation about it (during which she was openly mocking his blog posts about Sherlock, another form of demeaning and humiliation). This forced brokering of their relationship led to John eventually being ousted from his own friendship with Sherlock (who was too distracted by Moriarty to notice Mary’s machinations, alas). John was so unhappy with this dynamic that became the least like his canonical self that we had ever been shown before that point, going so far as to actively seek out an affair. This is decidedly not like John Watson, the man who got himself arrested because someone insulted his best friend. Loyalty is as much a part of John as his thirst for adventure. He was made to feel so superfluous by the wife who compared him to a dog and the friend who didn’t notice what was going on that he was looking desperately for escape. 

Mary, on the other hand, never gave John her loyalty. She never even gave him the truth. She died without him even knowing whether her name was really her name (doubtful, given the sort of work she was doing while using it). Mary gave John nothing but lie after lie after lie. He could never trust a word that she said, and he hated it. She was willing to do anything to him, as long as it kept him by her side. She was willing to shoot the man he was still grieving years after his (supposed) death and never tell him after, no matter how much it would have devastated him to lose Sherlock all over again. As for Sherlock, she shot him without a second thought, smirking and condescending. 

Mary never once showed a shred of remorse for any of it. Not for any of her past crimes, which included killing people for money - not for anger, not for principle, not for political manoeuvring - but something as tawdry and meaningless as money. Gross. And she never regretted it. Not that the creators of the canon decided to show us. She never expressed any regret for having lied to John, nor for the way she constantly treated him. She never expressed any gratitude to Sherlock for having rid her of the blackmailer that would have sent her to prison for a very long time. She accepted it as her due, without blinking. She never thanked Sherlock, John, or Mycroft for having become accomplices in her attempted murder on Sherlock’s life in not having reported it. She assumed that was her right, too. Mary was a psychopath and narcissist, not caring about right or wrong, just what benefited her. 

Mary never changed her ways. There was no development of character, no softening, no realisation that everything she had ever stood for was completely terrible. Right to the last she was calling a man she had tried to kill a “pig”, offensively mimicking accents, still owning and carrying around guns and enough drugs to knock out a seasoned user. If anything, what we were shown was someone who had not only not changed, but someone who kept repeating the same behaviour. When the .A.G.R.A. team got into trouble on its final mission, Mary cut and run, leaving the other 75% of her team to be tortured or killed. She never went back and checked to see if a rescue mission was possible, never followed up, never confirmed the deaths of her teammates, just blithely moved on with her life and got married without once looking back. Sherlock offered to help her, twice. With the weight and power of the British government directly related to him, this isn’t exactly an offer to be taken lightly, yet Mary attacked him on both occasions, first shooting him in the heart and running away, then drugging him and running away - just as she left her former colleagues behind. 

If you want to take the argument that motherhood somehow redeemed Mary, think twice on that, too. I’m not a parent, but just about every mother I know would never leave an infant behind. Obviously it happens; infants get abandoned all the time. Most mothers don’t, though. Was Rosie not nursing anymore? Was she ever? Did Mary think about that before she cut and run, or was she too busy with her offensive faux-Jewish accent and possible flight attendant murder there? My mother used to tell me that her own life took on so much greater weight once I had been born because she had something to live for, someone who needed her. She stopped taking any sort of risk that would endanger her, because she had a child to care for. Mary doesn’t seem to have been similarly affected by parenthood. Her inexplicable and unsupported decision to jump in front of a bullet says that perfectly, if her previous abandonment didn’t. 

Never forget that John had the measure of Mary. It was John who knew that Mary would turn on Sherlock, should Sherlock warn her about Ajay and offer to help her again. It was John who grimly suggested putting a tracking device in the USB, knowing that Mary would attack Sherlock and steal it from him. While she was living, John had no illusions about who Mary really was. 

Mary’s decision to defy physics and leap in front of that bullet was not the culmination of an arc of redemption. What it was is a completely out of character action that jars with everything that came before it. It’s wholly unsupported by any of her previous behaviour. This was, if anything, a “redemption split second”, not an arc. Followed by her DVD wherein she pointedly tells Sherlock to kill himself or get himself killed, it is to be understood that this behaviour was an aberration from the norm. Mary never changed. If she had, she would have gotten rid of her guns and ninja outfits and come properly clean with John without waiting until circumstances forced it out, and even then only giving him partial truths. It could almost be said that Mary was pathologically incapable of telling the truth, but that would be making excuses for her. She knew what she was about. She made all of these decisions by herself, to benefit herself and her own interests. 

The Mary in John’s head never existed. It can’t even be discussed in a conversation about Mary’s characterisation, because it wasn’t Mary. It was John. And what John said about Mary at the end of The Lying Detective is a displacement of his own thoughts about Sherlock. John has a lot of dissociation issues in this episode in particular, and what he says about Mary is a statement which actually applies directly to Sherlock, not to Mary. This is John simply unwilling to believe that his marriage was as abusive and terrible as it really was, and trying to make himself feel better about it. The one person who genuinely believes that John Watson is a far better human being than he actually is is Sherlock, who calls him the “bravest, kindest, and wisest human being (he has) ever had the good fortune of knowing”. Mary literally called John a dog. That’s decidedly not what he was aspiring to. The one time she says something genuine about John’s moral superiority over her, it’s worded as a complaint (”you don’t make it easy, do you… being so perfect”). It’s as close to a real compliment as Mary ever gets. Sherlock is the one who believes in John, who sees past the temper and the grumpiness to all of John’s sterling qualities of loyalty, kindness, courage, humour, and accepts him as he is in his everyday self, too. 

The post-mortem DVDs just don’t even make sense. How did Mary know she was going to die? Even if she suspected that one of the many enemies her life of professional criminality had made would come for her eventually, it seems impossible to avoid the conclusion that Mary was still, even beyond her death, doing everything in her power to drive a wedge between John and Sherlock, even to have Sherlock die. For her to finally assume credit for their friendship is an insult to the intelligence of the viewers. 

It is never truly wrong to crave love from someone. No one ever said that it was a mistake to fall in love with someone you know who won’t feel the same way towards you. They call it unconditional love when you don’t expect anything in return. Selfless. Brave. When you accept that feelings sometimes will not be mutual. Yet I hope that you should be willing to give the same kind of love to yourself. That even if you did a lot of mistakes, you resist the urge to hate yourself. Instead, I hope that you forgive yourself and learn from lessons you will meet along the way. Because that needs a lot of patience, kindness and courage my dear. Loving yourself even if the world tells you not to. Forgiving yourself even if other people say you don’t need to. Being kind to yourself even if you sometimes think you can’t. Darling, this is what you should always remember, especially when you feel like everything around you seems to kill every little piece of you. Do not ever forget that you deserve love, more especially from yourself. Do not let your light fade away. Stars are there with a purpose. And so are you. Shine brighter. Live.
—  ma.c.a // Self love
Love Conquers All (On Sherlock Season 4)

I’m currently re-watching Season 4, simply just to indulge myself, and mainly because I personally loved it. I thought I was done expressing everything I have to say about the matter in this post, but there has been an unending sh*t-storm still looming over S4 that has gone beyond what I had expected. Not to mention that things I’ve seen on Twitter earlier regarding the so-called Norbury movement.

I am not dismissing the fact that this season had its flaws, but there’s a significant meaning to it all that some people are dismissing because they’ve been blinded by their own illusions that I would want to highlight. For someone who had cried over and mulled over these episodes more than the past 3 seasons, this season gave my love for existentialism a baseline that tugged at the heart – the very reason why I wanted to talk about it.

Originally posted by esterlocked

Just a brief explanation, existentialism is the belief that life has no meaning in general. To quote Moriarty, “Staying alive… So boring, isn’t it? It’s just… staying.” However, what I like about it is the idea that society or any other factor is not responsible for giving life it’s meaning – it is solely up to the individual to discover it on their own.

With that said, I think this is why this season resonated with me so much, and I find the chaos in some parts of the fandom frustrating, especially to the point that the writers are being attacked for this. So as usual, I have to say something about it. Because instead of writing articles for work, I’m thinking about Sherlock.

Anyway, I’m just gonna go ahead with my point.


The Six Thatchers : Horrors Of The Past

This may be my least favourite among the three, but the message of this episode is clearly simple: we all have horrors that will come and haunt us in the future – and how we face it all comes down to the path we choose. 

We live hundreds, and even thousands of roles throughout our lives. And we all have our past; things that we regret, hate, cringe at, miss, still believe in, etc. But whatever that past might be, what I got from TST is that you can never run from your past as it catches up to you, but it is one facet of your life does not completely define you.

Originally posted by akajustmerry

Death has been played with through the past seasons that it seemed all too mundane to us now, in terms of the context of the show. But S4 is here to correct this notion in Mary’s persona. With Mary saying that Mary Watson was the only life worth living, it showed that we get to choose which part of our lives we live out the most.

Same with John and his ‘cheating’. To be fair, I’m pissed at the fact that this was completely out of character. But when the series culminated, I understood why they have to do it. We saw what we wanted to see in these characters as they were presented to us – John was supposedly honourable, kind, and courageous, but what is this? Who is this new John? 

This is where I head to my next point. 


The Lying Detective : Being Alive And Human

This episode made me cry buckets, to be honest. And it is because this is all about changing what you know about these characters and seeing them all in a different light. 

Here we see a Sherlock not led by the mind but the heart, a John who was weak against temptation, a cheater, someone who looked jealous from having the spotlight all on the detective – it showed that no one is ultimately good and that someone’s facade is not who they entirely are. It shows that everyone has their ups and downs because that’s what humanity is about. It illustrated that everyone was capable of being angry, desperate, conceited, weak, lonely, alone, etc. It highlighted how these characters are broken – especially Sherlock – and how redemption can mean so much more to a person. 

We all have our flaws, our downfalls, our agonies; but who are we really, at our most vulnerable? And who are the people willing to believe in us even if we’ve shown them our true, and sometimes, faded colours?

Originally posted by halloawhatisthis

“Taking your own life. Interesting expression, taking it from who? Once it’s over, it’s not you who’ll miss it. Your own death is something that happens to everyone else. Your life is not your own, keep your hands off it.”

This is a plea. That shutting down and ending your life is and should never be the answer. This is one of the most beautiful pieces of dialogue I have ever heard, and it’s a very upfront message about warranting a value on your own life. And for people to threaten the writers of the show that they are the ones who caused the lives that are put in the line or the self-harm that will happen due to their distaste for TFP is devastating to me.

And yes, there have been people tweeting Mark and BBC that they are and will be responsible for these lives, which is just unfair.


The Final Problem : On Love And Redemption

I’ve seen people questioning why Benedict said ‘love conquers all’ in one interview before the season aired. There has also been statements that this season will be ‘groundbreaking’, which others failed to see why, leading to the claims that the showrunners are queerbaiting.

Now, every single show, every single actor, not just in Sherlock, but basically everywhere, is being put in the microscope because they need to identify with something, and that they need to represent a cause — which I get! I advocate for this! But, just when the world is being careful about mixing up their characters or when they are inserting a gay character just because now, society is demanding them to, Sherlock had already presented that years before (note that some TV shows only became more open to having gay characters around late 2014, early 2015-ish onwards because people are becoming more vocal about it as inspired by those bold enough to make a first move, e.g. Glee). 

Here, we have an openly gay character (which is still another topic of debate but I stand by it when I say Irene used the term gay loosely), had openly gay actors play brilliant and unstereotypical roles, and for God’s sake, Mark Gatiss is a gay man who is behind this brilliant show, and  that’s the very reason they passed it off as normal. They didn’t do it in a way that we always have to be reminded that the character is gay, that there has to be a sex scene just to prove that they’re gay… it’s just there – again, as one facet of the characters. Sex, as something that has been explicitly expressed in the show, isn’t the only thing that defines a character or their relationships with someone else, and I appreciated that. They had a story to tell – the story of these characters as a whole and not just one side of them. 

And personally, I did see why they made their claims as indicated by my chosen title. When this season ended, Sherlock who claimed to have never been attuned to his emotions, had his eyes open and had embraced that he was also human, flawed, and is capable to love IN ALL FORMS. 

Originally posted by fangirlhani

He learned to value his life because of what happened to Mary, he had admitted that he also succumbs to his impulses with Irene Adler (texting or beyond that, depends on what you want to believe), he fully realised that he would never ever want to hurt and make Molly feel like she’s being used by him because she’s his friend, he was able to extend a more human side of himself to John more than he did before, he finally understood and accepted Mycroft’s intentions and actions which I think mended their relationship significantly (this one hits me to the core so much), and lastly, he discovered that if he was left in the air in isolation, he might have ended up like Eurus, which is why he never wanted to make her feel alone again. 

To me, it is groundbreaking because it left that cliche of someone running off into the sunset in the end and it’s all butterflies and rainbows. They wrapped it up with the characters still broken, but living through it day by day because someone chose to love, accept, and help them heal despite their flaws. 

It is what it is, they keep on saying, because that’s how life is. It can be unbearable and it can most certainly be shit, but in the end, whether you ship Johnlock, Adlock, Sherlolly, Sheriarty, Mollstrade, Mystrade, etc., if we all let love – self-love, romantic love, familial love, platonic love – all kinds of love in our lives, it will help us conquer all, within and beyond this show. 

Friendly reminder that Zuko was basically told a few hours before his Agni Kai with Azula that he was just as important to establishing peace as Aang was and STILL chose to sacrifice himself for Katara because he honestly believed that the world needed her kindness and courage and strength more than it needed him trying to fix his mistakes and if that doesn’t make your heart absolutely shatter into a million pieces I don’t know what to tell you.

Requests: Love at First Sight

okay so ever since i saw these i’ve been REALLY EXCITED to do them let’s get started

akira

  • this boy has been through a lot of really rough shit in his life so like
  • i kind of feel like if he fell in love at first sight it wouldn’t be something where he sees s/o and is just immediately like “lub dub hubba hubba”
  • but more he’d probably witness them doing something really kind or courageous?
  • like maybe he bumps into them and their hand shoots out to make sure morgana didn’t get hurt
  • or he caught them climbing up on someone’s balcony to leave their umbrella for a dog who was left out in the rain
  • or he accidentally knocked into someone and didn’t notice and they grabbed him and were like “hey!! apologize to my friend!!!!”
  • those are the sorts of things that would grab his attention right off the bat
  • and from there he’d extrapolate other details:
  • kind eyes or a really warm smile or a laugh that sounds like how raindrops feel when they run under your collar
  • and that’s where his heart would do the lub dub flipping over in his chest
  • he’d just fall over himself into this puddle of
  • wow this person is–wow i need to keep them around somehow
  • akira isn’t the kind of person who really trips over his words–because he doesn’t talk that much
  • and he isn’t the sort of person who blushes really easily–because he’s used to things that were much more harrowing than this
  • (and that doesn’t even count mementos or palaces)
  • but this person just might be able to get him to do that
  • stumble as he introduces himself, blush as he goes for a handshake and they go for a hug
  • something about this person just reaches out and grabs him and makes him want to reach out and grab them
  • so he probably does
  • since, y’know, it’s akira

ryuji

  • for ryuji it’s like
  • probably he sees this person in the middle of some kind of activity
  • like running to school, or playing on a team, or meditating, or hauling heavy club equipment from one floor to the next
  • and it’s in that moment, when they’re concentrating on what they’re doing and nothing else
  • when the entire world is lost to them and they’re totally focused
  • that’s what gets his attention
  • ryuji is a complete and total scatterbrain, we all know that, but he’s also an athlete and i’m sure that when he’s running and doing his circular breathing and his feet are pounding the ground
  • his head clears and his focus is narrowed down and he knows exactly what he has to do, exactly where he has to be, and that’s what draws his attention in someone else: that focus
  • after that he’d notice other things
  • like their arms straining or the sweat trickling down the back of their neck or how bright their eyes are as they manage to get some success in what they’re doing
  • he’d think man oh man i would love to be the person to make them smile like that i’ve got to figure out their name
  • and where akira is the sort of person who doesn’t get flustered BOY is ryuji the opposite
  • he’d flush and stammer and laugh at himself and rub at the back of his neck and apologize a million times
  • but he’d have this boyish eagerness, this bounce to his step, this light in his eyes
  • his cheeks would be flushed but there’d be so much nervous, boundless energy in him he’d be near to bursting with it.
  • he’d probably dog this person a bit, following them and figuring them out, before he really approached
  • but oh gosh when he does, you can bet it’ll be a wild ride for them both

yusuke

  • yusuke is all about the beauty in the universe so of course he’s going to notice just how freaking stunning this person is before anything else
  • the lighting will strike them in just this certain way and he’ll sigh and say
  • oh, there you are
  • because it’s like he’s been looking for this person for his entire life
  • sayuri is great and all, but maybe even that pales in comparison to how he feels when he looks at this person who’s utterly captivated him
  • he can’t help staring
  • or the itching in his fingers to grab for a bit of charcoal so he can immortalize this moment for as long as the paper will last
  • it’s after that first glance, that involuntary gasp as his eyes fall across that profile for the first time, that he starts to notice other things, too
  • like the way this person will tilt their head as they study him back
  • or how their eyes are always changing shades depending on the light
  • sketchbooks will fill faster than he can buy them
  • paint will dry on his palette before he can decide on the perfect shade for their skin
  • he’ll want to define every crease around their mouth as they smile so he can tattoo it on the inside of his palm to keep for the rest of his life
  • he would have so little trouble telling this person how he feels, how drawn to them he is
  • like everything else he does he’d throw himself into this new passion headlong, just dive in with all of his everything
  • it’s a little intense but all the more rewarding if this person decides to join him
  • he calls them his muse, not joking, probably from the moment they meet

akechi

  • love, the way we’re defining it, is a foreign emotion for akechi
  • not that he’s never experienced it before, obviously he loved his mom and all that
  • but romantic love, love at first sight, instantly head over heels for someone, that’s nothing he’s ever really thought would happen to him
  • so, of course, he wouldn’t realize it was happening at all
  • he’d notice this person, right?
  • he’d notice their face and their voice and the way they walk and how they laugh and the way their nose crinkles up when they frown and what clothes they’re wearing and where they bought their shoes and that they got their last haircut X amount of time ago (probably)
  • you can pry actual!detective Goro from my COLD DEAD HANDS
  • but he wouldn’t realize why each of those details was SO INCREDIBLY important to him
  • he wouldn’t know why his heart jumped in his chest like that whenever they looked his way
  • he wouldn’t understand what made them seem to stand out so much from their surroundings, almost like they were glowing and calling to him like a beacon
  • that is, he wouldn’t understand until he did
  • love isn’t an emotion you can talk yourself out of, though you can certainly try
  • it would take him several tries to realize his mistake
  • and at that point it’d already be too late
  • he’d be in too deep
  • akechi is a good actor, and he’d be more than capable of acting normal around this person if the need arose
  • he’d be able to smile and joke with them like they’re any other person he knows
  • but eventually he might start trying to distance himself from this person, if they ever got to be friends
  • he’d probably never actually tell them about his feelings

mishima

  • mishima is the kind of boy who falls in love easily
  • or maybe it’d be better to say he becomes infatuated easily because the way he acts about those crushes doesn’t really define love
  • his criteria for s/o’s boils down to “interested in me”
  • …….
  • and that’s basically it
  • boy’s self esteem is so low they’re planning an excavation to see if his anxiety predates the Mesozoic era
  • so he’s kind of desperate lonely and willing to take whatever he thinks he’s going to get, because he’s afraid that’s all he’s going to get
  • but for love, the kind of stuff we’ve been talking about here
  • like akechi, maybe he wouldn’t be able to define it at first
  • he’d think it’s just another infatuation, like all the other times, and he’d throw himself into it with just as much enthusiasm as usual
  • he wouldn’t realize that his heart is beating harder than ever over this person’s smiles, or that the flush on his cheeks is darker and wider spread than it’s ever been before
  • he’d just go on being infatuated with this person and tell himself it would fade eventually like all the other crushes he’s ever had
  • until it doesn’t
  • and he’s like “oh.”
  • mishima is the nervous laughter kind of anxious, always willing to let the situation turn into a joke at his expense if it will dispel the tension
  • he’d be no different in this situation, full of self-deprecating jokes and sheepish smiles and blushes staining his face like fine red wine
  • he laughs at almost everything this person says, breathless sounds that push out of him because here aren’t any words in any known language he can use to communicate with them
  • like akechi, he probably wouldn’t reveal how he feels to this person
  • just too much of a risk, too much embarrassment