asking and receiving (bonus below readmore)
[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.
The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.
Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"
More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"
In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."
A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]
[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]
3K notes
·
View notes
I think one of the (several) reason for why Shadowbringers is so good is because the narrative is more about the individual characters than it is the Greater Conflict.
Like, the Greater Conflict is definitely there, obviously, it's what keeps the story going, but the focus is always on the people, much more so than the other expacs. HW and STB also have some level of character focus ofc, but it's very selective and even then the focus is based on them in the specific context of the current conflict.
But in SHB, the story bends around the characters' narratives, rather than the other way around. The story forms to put them in situations that challenges their flaws and limitations, by forcing them to confront it and actually deal with it. Even just at the very beginning, you see the twins being dealt a terrible hand that very neatly clashes against their faults.
Alisaie is confronted with a situation that she can and could never do anything about. She has no means to help the patients (at the time at least). The only way for her to help them is by eradicating the source of the affliction itself: the Light. But the Light isn't just some Big Bad she can kill and be done with. Even when all the lightwardens are down the Light is still there, it's just more manageable. Alisaie learns to not only see the bigger picture, but to care for it for her own reasons. For all that she has participated in Big Operations, it has always been because that's what others were doing, what others cared for to be done. She feels for the people of Doma and Ala Mhigo, but she didn't set out to liberate their homelands because she has any personal investment in it. But other people do, and she cares about what other people- be they strangers or friends- care about.
Caring about other peoples feelings and opinions isn't a flaw by itself of course, but doing things without any sense of personal purpose, is. This is what SHB helps her fix and confront, because it is personal now, she does it because she cares.
Alphinaud is forced into a situation where diplomacy and negotiations does and would never work. He can't talk himself into Eulemore, and he sure as hell can't convince Vauthry or the free citizens to let go of their life of ignorant luxury. The problem here also isn't as straightforward as a corrupt ruler, because even after Vauthry is revealed for the bastard he is, it takes considerable effort and convincing to get them to get off their asses and get to work. It's one thing to change the minds of people who wanted the same outcome just in a different way (like Ishgard- they rejected unity with the dragons, but they still wanted an end to the war), but it's another thing entirely to convince people that another way of life is even worth it.
And this is what SHB teaches Alphinaud, that words and deeds can achieve much, but that there is much more to diplomacy than appealing to their wants and/or sensibilities to convince them of an alternative outcome. His development may not be as immediately noticable as some of the others (largely bc he had a lot of it already from HW), but it is still very much there.
Urianger's development had already been build up and sort-of started already, but we don't really get to see it until it near explodes in his face after we kill Vauthry. Even after he swore off secrecy, he's forced to confront his morals when the Exarch bids his assistance. Urianger has always been looking at the greater picture, to the point he'd almost lose himself in it if it wasn't for the overwhelming guilt he feels. He works with the Exarch, because he knows he's the only one capable of it, and he hates the very fact that he is. When the climax of the plan is about to be executed, he is pained to the point that even he can't mask it anymore. He has betrayed their trust once more and once more it will result in the death of a friend.
But it doesn't, and that's what's needed for him to confront himself. As terrible and unexpected as the circumstances around it was, it did show him that there are other ways. There is no one way to solve a problem, the first choice doesn't need to be the only one. And he would find those other ones of he had just talked to the others.
The pay-off doesn't quite come until EW, where we see him actively make the choice to go against his first instinct of acquiesing to the Loporrits' plans, and instead chooses to consult us, but that scene wouldn't have made sense or even happened had it not been for his development in SHB.
Now, Y'shtola is a bit of an odd one because while she does get her due focus, she doesn't quite get the same amount of development as the others. Rather, it shows how she thrives when not held back by others interests and (often somewhat needless) bounderies. Her intelligence and charisma have the chance to shine, her independence and confidence now rewarded rather than punished. In ARR, she is constantly annoyed by the Maelstroms way of dealing with things, and how no one bothers to actually listen to her. Her advice and reprimands are almost entirely ignored until the problem blows up in their faces and they have no choice but to concede that she was right.
Being independent and confident aren't flaws by themselves, but her sometimes aggressive approaches to telling others off does her few favors. In SHB, she has the Night's Blessed who actually heed her word and respect her, they listen to her and actually take what she says- be it advise or reprimand- to heart.
She does also, however, have to deal with Thancred who, much like the Maelstrom, ignores her reprimands and doesn't listen to her. The difference here is that her bluntness actually serves a purpose. In ARR, her bluntness lacks tact and meaning, simply a result of frustration. The Maelstrom won't listen to someone who doesn't come up with fleshed-out arguments and solutions, but Y'shtola doesn't bother giving them any until she knows they'll listen. But with Thancred, she does give him the solution. It's just that the solution is him. His words, to be precise, and his acceptance. And he needs to be reminded of that, and she does. It doesn't automatically solve anything, but that's simply how it is with complicated situations like that.
Speaking of Thancred, his narrative is probably the most important of all for SHB. He's always been shown as a capable, but ultimately self-destructive man who genuinely does not know how to deal with himself in a healthy manner. Theoretically speaking he knows, he recognizes that he is self-destructive, but he still has no idea how to actually fix it. It's been shown as early as ARR when it results in him getting possessed, but it's not really made a point of until it almost ruins his relationship with Ryne. Up until now he could just ignore his problems, but with Ryne he can't because now The Problem(s) aren't just his anymore. Anything that would hurt him now would also hurt her, meaning that if he wants to continue doing the one thing he actually cares about (protecting his loved ones) then he needs to get his shit together.
But Thancred doesn't know how to. And for all that his friends try and try to help him, he doesn't know how to. He's paralyzed. Thancred is so deep into his self-destructive habits that it takes the threat of both his and the person(s) he loves the most in the worlds deaths to get him into action. He doesn't know if it's Minfilia or Ryne who will return, and I'm not sure he expected to survive Ran'jit. He only has this chance, and if he wants to die without (as many) regrets he has to do something now.
And he does. He does and what it is he does is tell Ryne that whatever happens, it has to be her own choice. That he will accept any outcome, that he will still care about her no matter what, that as long as she lives or dies as she wants to, that he still loves her. He still loves her. And it works, because that's what he's needed to do all this time, to be able to just tell her that she matters. That he cares.
He tells her to live her own life, and he learns to live his own too.
410 notes
·
View notes
i need to get this out of my head before i continue clone^2 but danny being the first batkid. Like, standard procedure stuff: his parents and sister die, danny ends up with Vlad Masters. He drags him along to stereotypical galas and stuff; Danny is not having a good time.
He ends up going to one of the Wayne Galas being hosted ever since elusive Bruce Wayne has returned to Gotham. Vlad is crowing about having this opportunity as he's been wanting to sink his claws into the company for a long while now. Danny is too busy grieving to care what he wants.
And like most Galas, once Vlad is done showing him off to the other socialites and the like, he disappears. Off to a dark corner, or to one of the many balconies; doesn't matter. There he runs into said star of the show, Bruce who is still young, has been Batman for at least a year at this point, but still getting used to all these damn people and socializing. He's stepped off to hide for a few minutes before stepping back into the shark tank.
And he runs into a kid with circles under his eyes and a dull gleam in them. Familiar, like looking into a mirror.
Danny tries to excuse himself, he hasn't stopped crying since his parents died and it's been months. He rubs his eyes and stands up, and stumbles over a half-hearted apology to Mister Wayne. Some of Vlad's etiquette lessons kicking in.
Bruce is awkward, but he softens. "That's alright, lad," he says, pulling up some of that Brucie Wayne confidence, "I was just coming out here to get some fresh air."
There's a little pressing; Bruce asks who he's here with, Danny says, voice quiet and grief-stricken, that he's with his godfather Vlad Masters. Bruce asks him if he knows where he is, and Danny tells him he does. Bruce offers to leave, Danny tells him to do whatever he wants.
It ends with Bruce staying, standing off to the side with Danny in silence. Neither of them say a word, and Danny eventually leaves first in that same silence.
Bruce looks into Vlad Masters after everything is over, his interest piqued. He finds news about him taking in Danny Fenton: he looks into Danny Fenton. He finds news articles about his parents' deaths, their occupations, everything he can get his hands on.
At the next gala, he sees Danny again. And he looks the same as ever: quiet like a ghost, just as pale, and full of grief. Bruce sits in silence with him again for nearly ten minutes before he strikes a conversation.
"Do you like to do anything?"
Nothing. Just silence.
Bruce isn't quite sure what to do: comfort is not his forte, and Danny doesn't know him. He's smart enough to know that. So he starts talking about other things; anything he can think of that Brucie Wayne might say, that also wasn't inappropriate for a kid to hear.
Danny says nothing the entire time, and is again the first to leave.
Bruce watches from a distance as he intercts with Vlad Masters; how Vlad Masters interacts with him. He doesn't like what he sees: Vlad Masters keeps a hand on Danny's shoulder like one would hold onto the collar of a dog. He parades him around like a trophy he won.
And there are moments, when someone gets too close or when someone tries to shake Danny's hand, of deep possessiveness that flints over Vlad Masters' eyes. Like a dragon guarding a horde.
He plays the act of doting godfather well: but Bruce knows a liar when he sees one. Like recognizes like.
Danny is dull-eyed and blank faced the entire time; he looks miserable.
So Bruce tries to host more parties; if only so that he can talk to Danny alone. Vlad seems all too happy to attend, toting Danny along like a ribbon, and on the dot every hour, Danny slips away to somewhere to hide. Bruce appears twenty minutes later.
"I was looking into your godfather's company," he says one night, trying to think of more things to say. Some nights all they do is sit in silence. "Some of my shareholders were thinking of partnering up--"
"Don't."
He stops. Danny hardly says a word to him, he doesn't even look at him -- he's sitting on the ground, his head in his knees. Like he's trying to hide from the world. But he's looking, blue eyes piercing up at Bruce.
Bruce tilts his head, practiced puppy-like. "Pardon?"
"Don't." Danny says, strongly. "Don't make any deals with Vlad."
It's the most words Danny's spoken to him, and there's a look in his eyes like a candle finding its spark. Something hard. Bruce presses further, "And why is that?"
The spark flutters, and flushes out. Danny blinks like he's coming out of a trance, and slumps back into himself. "Just don't."
Bruce stares at him, thoughtful, before looking away. "Alright. I won't."
And they fall back into silence.
Danny, when he leaves, turns to look at Bruce, "I mean it." He says; soft like he's telling a secret, "Don't make any deals with him. Don't be alone with him. Don't work with him."
He's scampered away before Bruce can question him further.
(He never planned on working with Vlad Masters and his company; he's done his research. He's seen the misfortune. But nothing ever leads back to him. There's no evidence of anything. But Danny knows something.)
At their next meeting, Danny starts the conversation. It's new, and it's welcomed. He says, cutting through their five minute quiet, that he likes stars. And he doesn't like that he can't see them in Gotham.
Bruce hums in interest, and Danny continues talking. It's as if floodgates had been opened, and as Bruce takes a sip of his wine, it tastes like victory.
("Tucker told me once--")
("Tucker?")
("Oh-- uh, one of my best friends. He's a tech geek. We haven't talked in a while.")
(Danny shut down in his grief -- his friends are worried, but can't reach him. When he goes back to the manor with Vlad, he fishes out his phone and sends them a message.)
(They are ecstatic to hear from him.)
It all culminates until one day, when Danny is leaving to go back inside, that Bruce speaks up. "You know," He says, leaning against the railing. "The manor has many rooms; plenty of space for a guest."
The implication there, hidden between the lines. And Danny is smart, he looks at Bruce with a sharp glean in his eyes, and he nods. "Good to know."
The next time they see each other, Danny has something in his hands. "Can you hold onto something for me?" He asks.
When Bruce agrees, Danny places a pearl into his palm. or, at least, it's something that looks like a pearl. Because it's cold to the touch; sinking into Bruce's white silk gloves with ease and shimmering like an opal. It moves a little as it settles into his hand, and the moves like its full of liquid.
Bruce has never seen anything like it before, but he does know this; it's not human. "What is it?" He asks, and Danny looks uncomfortable.
"I can't tell you that." He says, shifting on his foot like he's scared of someone seeing it. "But please be careful with it. Treat it like it's extremely fragile."
When Bruce gets home, he puts it in an empty ring box and hides the box in the cave. He tries researching into what it is. he can't find anything concrete.
Everything comes to a head one day when Danny appears at the manor's doorstep one evening, soaking wet in the rain, and bleeding from the side.
362 notes
·
View notes