#my babygirl right here

[christadeguchi]

you think YOU had a bad day at work?

bonus: sid shrieking "no!!!! NO!!!!!" loud enough to be heard in the stands and on camera

[gdn019283]

They should have dwelled more into Merlin’s skills (and I’m not talking about just magic)

As I rewatched Merlin, I realised this man has so many skills?!

We often talk about how surely Arthur must have thought him how to use a sword (I agree 100%) but Merlin also knows how to hunt?

He dislikes it, yet years and years of going hunting with Arthur proves to be fruitful. Merlin founds the deer in season four before the entire Camelot patrol. He knows how to recognise tracks on trees and traces of feet in the mud (he knows how to build them in the right way with magic, too). And I have proof that Arthur teaches Merlin, because in season five, Arthur makes Merlin see what was wrong with the branch. when they went out and Arthur noticed that someone (Mordred) had walked past the woods.

Also, season four, episode two? Merlin wakes up before Lancelot and HE IS HUNTING FISH LIKE A MASTER?!

Have we talked about this? Who taught him? I believe most things he already knew how to do, since he grew up in a village with a single mother where everyone had to fetch up for themselves.

He also knows how to cook. And he gets compliments (even if they are jokes) from the Knights and Arthur himself too.

HE IS A PHYSICIAN, and I wished we could have seen so much more of that, because he is hot, because it proves that is so good at learning, listening and also teaching. He tells Daegal how to get rid of the poison, poison, in his body and HE IS STILL SO HUMBLE ABOUT IT?! He spent more than ten years being an apprentice and when Daegal tells him he is a good physician, Merlin denies it?! Bro has low self esteem.

Merlin also has all the skills required from a servant, like sewing, cleaning specific fabric in a certain way, polishing armour and so many other things, adjusting swords and weapons ecc.

I guess it pisses me off when Merlin is described (heavily in fanfictions too) like an incapable manservant, unable to do things for himself or defend himself without magic, when he spent ten years in Camelot doing new work after new work. Just because he was scared at the end of season five without his powers (because he had never lost them before) it doesn’t mean Merlin isn’t capable of using a sword, or help himself, since he does and challenges Morgana too, even without powers.

[sharpbutsoft]

wait so who’s Eddie dating again?

[samijey]

not this man jey uso physically interrupting a hug between sami and cody to pull sami to himself 😭😭😭

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[spectralarchers]

“This is 7-1, in the blind, how copy? Ghost, this is 7-1, how copy? Fuck... Where are you Ghost...?”

John “Soap” Mactavish - TF-141

ALONE - Las Almas, Mexico - 03 nov 2022 0000

Objective: Survive

[quietwingsinthesky]

hi losing my mind at this part where lucifer starts laughing at something marin says and then sam? smiles at him?? like he also wants to laugh???

[ruushes]

the second night??

[seleneprince]

File about Severus Snape's werewolf daughter (because she deserves it and I want to do it)

Name: Juliana Eileen Prince

Born: 30 August 1980

Blood status: Pureblood

Nationality: British with Italian roots

Also known as: Julia, Jules, Princess (by Draco), Prince Bastard, that viper (by Sirius Black), Snape's girl.

Species: Werewolf (since birth)

Hair: Ivory black

Eye colour: Onyx black with motes of grey

Family:

Severus Snape (father)

Unnamed werewolf woman (mother, deceased)

Eileen Prince (paternal grandmother, deceased)

Tobias Snape (paternal grandfather, deceased)

Boggart: Her father's corpse

Patronus: Snake

Affiliations: Hogwarts, House Prince, House Malfoy (she's practically one of them), wherever her father is.

House: Slytherin or Hufflepuff

Faceclaim: Jessie Mei Li (Shadow and Bone)

Trivia:

-She's half Asian on her mother's side.

-She's Severus Snape #1 defender and supporter. She adores her dad and will gladly fight anyone that insults him. She's not afraid of facing grown ass men is she sees them disrespecting him.

-House Prince has Roman-Italian roots, so Severus gave her a Latin name that means "woman of strong roots", and it can be abreviated to "Julia", a very common Roman name. Her second name is because Severus wanted to honor his mother but felt that it could be a bad omen giving it as first name. He doesn't want to accidentally curse his child to the same fate.

-She's only called Juliana by the teachers and her father. For everyone else she's mostly Julia. Jules is for friends only.

-To the public, she's considered an illegitimate child from House Prince, an ancient family of purebloods whose line was thought to be extinct.

-Severus wasn't going to ask the Malfoys to be the godparents because he didn't think they would want anything to do with a child with lycanthropy. They were furious at his reasoning and proclaimed that any child of his was considered family to them.

-So yeah Lucius and Narcissa are the godparents, because they wouldn't have it any other way.

-Because of this, Draco and Julia have been practically raised together and share a very close bond.

-He accepts Julia's condition but it doesn't apply for others like her. He's an hypocrite like his parents.

-She has her own room in Malfoy Manor because of how often she has spent the night there, thanks to her father's busy life. They also have a special room for her during the full moon nights.

-The only people that know of her condition are Severus, the Malfoys and Dumbledore.

-Remus finds out as soon as he interacts with her and he's flabbergasted.

-She's been learning Potions ever since she was old enough to hold a spoon. There's no way in hell Severus Snape wouldn't teach his daughter Potions.

-Despite this, her favourite subject is Care for Magical Creatures. She has a knack for it and connects with them better than with humans.

-Regardless of which house she ends up in, she'll be friends with the Slytherins.

-She plays Beater in the quidditch team. It's the only time she doesn't have to worry about her strenght.

-Ron is her favourite of the Golden Trio, but she's interested in Harry's trayectory.

-Really sharp and developed senses. Nothing ever escapes her. She also gets easily overwhelmed the days prior the full moon.

-She's a natural Legilimens like her father, which she found out after accidentally seeing one of his memories once. It was very uncomfortable for both.

-Severus has never told her the whole story with the marauders, only some pieces of it here and there. She knows it from the Malfoys and her own individual research (aka peeking into certain people's minds).

-Because of this, she dislikes Sirius and Remus a lot, specially the first. She doesn't see the point on hating James Potter if he's dead.

-One of the effects of her lycantropy is that she's naturally good with Dark Arts. Might be the only useful and painless thing her condition gave her.

-Her copying mechanism is dark humour, which she started to apply first with her lycantropy. She makes jokes about it and tries to take it with philosophy. She's not asshamed of it.

-She knows how to brew the wolfsbane potion but still prefers when her dad does it.

-At some point she has to share the Shrieking Shack with Lupin for the full moon nights. It makes an awkward experience for both.

-She goes by Prince instead of Snape to hide the fact that she's Severus' daughter. This was decided by Severus himself, to protect her from the danger of being associated with him. Julia isn't fond of this idea, but understands the reasons behind it.

-She doesn't really aprove of Draco's behaviour most of the time, but is too amused by it to stop him. If she really dislikes something he did, she'll play along in public but will chastize him in private. Kinda "I don't agree with you but I'll defend you anyway because we're supposed to be a team".

-She knows more than she should. Severus long gave up on trying to hide anything from her.

(In this AU, lycantropy has nothing to do with AIDs. It's a blood curse that happens to be contagious and, like all curses, it can be passed down to generations)

[massiveladycat]

you dont know nick davis like i do,,

[popskyworld]

I VOLUNTEER!

Watch the interview here: https://youtube.com/watch?v=fTopKgqQ9kA&feature=share7

[pocket-lizart]

Rejoice! Creatures in Black be upon yee!!

shoutout to @lucindria and @feyishven for providing me with some additional creative input

(secret Tinkoffski under the cut)

[aauroralightss]

happy wolfwood wednesday nicholas d wolfwood is a LOSER and i don't mean stampede wolfwood (although he is too with his tech bro ass big sunglasses and coat) but i mean trimax wolfwood. literally everything he does is so fucking funny to me. the scene where he tells vash to shoot him? did he honest to god think "oh yeah vash is gonna shoot me this will be great" ????????? like what did he truly expect to happen. and he monologues through the whole fight against grey the ninelives. he makes me sick why is he so EXTRA

[dangans-ur-ronpas]

Chapter 18

are we finally getting somewhere with the trial? please??

SEE HERE FOR GENERAL WARNINGS AND FIC SUMMARY

Some pre-chapter notes:

was tempted to start this chapter with toko waking up and gasping 'i think i like girls!!'

wanted to say that everything would've been resolved way earlier if people were just a little nicer to toko before remembering that aoi was literally doing that and she STILL obsessed over byakuya. can we get this girl to a therapist please

shoutout to @digitaldollsworld for reading this at ass o'clock in the morning while i was still writing it. a real hero tbh

Content warning tags: self-deprecating language, implied self-harm, canon-typical manipulation and language

< previous - from start - next >

There’s a moment of stillness. Someone shouts in alarm, and a few people nearly step away from their stands with intention to help. But just as quickly, the dark figure slumped behind the rail begins to clamber slowly upwards, hands bracing against the balusters as she totters to an upright position.

Slowly, carefully, Toko Fukawa stands up straight, trembling all the while. “I-Is this a trial? W-what’s going o-on?!”

The stammer certainly sounds like Fukawa.“...Toko? That’s really you, right?” Asahina tries tentatively. “Um, are you okay? Are you feeling alright?”

“I…” She looks around, hands fisted tight around her braids, twitching with the same nervous quality of a bird. Her eyes must have landed on Byakuya, and the venomous stare he was giving her, because she squeaks and cowers again. “I-!”

“Chihiro’s body was found today. Approximately twenty minutes after you left the library.” He says coldly, words clipped and harsh. “Kyoko says you were both in the boy’s bathroom before the body discovery alarm. Can you verify this?”

“W-what?!” She stutters. “I-I don’t know w-what’s going on, I n-never know-” She’s shaking violently, as if she’s about to faint again.

“Let’s try a different question.” Kirigiri cuts in. “Toko. What were you doing between 12:30 and 1 o’clock today?”

“Wh- A-are you accusing me of s–something?!”

“No. But everyone else has given testimony on their whereabouts during this time. Yours would help grant us a better understanding of the course of events.” Kirigiri says patiently. Fukawa sways for a moment, thinking carefully, before she answers.

“Th-the library,” She half-mumbles, hands twisting in her braids over and over again, the black coils weaving over her pale fingers like eels. “Um, I w-wanted to talk to B-Byakuya alone, so I w-went to the library, a-and we t-talked for a bit…and then-”

He suddenly realizes what she’s about to say, but it’s too late to stop it. “Then, u-um, he h-hit me…w-with a book.”

He can feel eyes turning towards him, and the air turns disapproving. He scowls back. “She’s left out the part where she tried to blackmail me with the secret that she peeked at the other night.” He explains, and at once Fukawa flushes darkly and begins stammering something out.

“I-! I wasn’t b-blackmailing you!”

“What other word should I have used then? Manipulation? Coercion?” He asks sarcastically, and she shrivels and withers at his words.

“I told you m-my secret too, s-so it’d be fair-”

“You told me you were a serial killer who targets the men you fancied. Forgive me if I wasn’t immediately won over.”

The atmosphere turns a little less hostile at that. “Okay, yeah. If it’s like that I kinda get it.” Hagakure is nodding sagely, as if he understands everything. “But, seriously. You shouldn’t hit girls, man…”

“...Are you really going to do this now?” He just needed this trial to be over, already. The adrenaline of the earlier reveal had worn off, and now he felt sick with anger and exhaustion. “The whole thing barely took ten minutes. I wasn’t interested in dragging it out any longer than I had to.”

“Still, hitting is sort of-” But Hagakure shuts up at the glare Byakuya gives him, and quickly amends. “Never mind. Gender equality. Especially in self-defense. Cool, got it, my bad.”

“So, I suppose it is safe to assume that the source of the blood on your hand, and the book from earlier, was because of this confrontation?” Celeste asks. And, without waiting for an answer: “Then, that would also mean that the reason you were holding that file on Syo was due to what Toko had revealed to you.”

She sounds all too satisfied with herself for reaching that conclusion. “And so, it seems that the most damning evidence that had been implicating you has been disproven. Is that not reassuring?”

“...Don’t patronize me.”

“Why, I wouldn’t dare.” She laughs lightly, a soft sound that perfectly conceals her shrewdness.

“Toko. Please, continue.” Kirigiri says again, and there’s a quiet rustle as Fukawa yanks at her hair, the strands scraping over her fingers.

“A-after he h-hit me, I left…u-um, I went to the bathroom t-to w-wash my face, and when I touched the faucet - I-I mean, I wiped my f-face with my hands earlier, a-and the b-blood…” She trails off and shakes her head, and shoves her face into a fistful of her hair. 

Byakuya suddenly recalls something, something that Fukawa had mentioned during their confrontation in the library in a hurried, muttered tone. “Syo comes out when you see blood.” He remembers aloud, and her incoherent words begin clicking together.

Her pale face immediately darkens to an ugly, blotchy pink. “Yeah, um. I-I’m scared of b-blood, so…a-and when she’s out, I d-don’t have any m-memory of what s-she does.” She cradles her face in her hands, swaying a little like a swooning maiden. “S-so you did remember…” She mumbles, apparently to herself, and he feels his stomach turn with disgust.

It’s not worth wasting the effort on her to think of a response, so he opts to ignore her fawning instead. “So Toko left the library and went to the boy’s bathroom, and fainted after seeing the blood on her hand.” That seems logical enough, but something about this sequence of events bothered him. 

According to Kirigiri, Syo only woke up shortly before the body discovery. If Fukawa went to the bathroom right after leaving the library, why had it taken so long? And that aside, there was something that bothered him about her story. Something that he couldn’t place a finger on.

He’s not the only one who noticed the fallacy. “Excuse me, Toko,” Makoto tries tentatively. “So…that means from around 12:40 to one, you were unconscious?”

“Y-yes? What, do you n-not believe me?” She immediately goes on the defensive, cagey and snappish. “Y-you think I’m l-lying, right? J-just because I’m l-like this, you th-think that e-everything I say is a l-lie-?! Y-you all think I s-strung Chihiro up, I kn-know it!”

“Toko…no one said that.” Asahina has her hands raised, in some attempt to calm her down. “We just want to know what happened.”

She was proving to be an impossible witness. Byakuya raises a hand to press to his temple, feeling his pulse throbbing beneath his fingertips. “Kyoko. Can you verify what Toko has said?” He asks, exasperated, and Kirigiri actually seems to startle a bit, head snapping to look at him.

“...I can’t.” She says, after a pause. “Because she did not enter the bathroom at that time, or else I would have noticed it.”

She remains fixated on him for a moment longer, before turning away. Belatedly, he suddenly realizes this was the second time he’s caught her off guard. The first time was when he pointed out the fact that access to information on Genocider Syo was limited.

He doesn’t have the luxury to dwell on that though. “So, that means that either you, or Toko, is lying about their whereabouts during this time.” He sighs. “For now, we need to identify which one of you both is deceiving us.”

Both are equally suspicious. Kirigiri has been mysterious, even more so than usual, and purposefully vague about her activities. And he didn’t trust Fukawa at all to start with, but she was also clumsy and awkward. It was hard to imagine her being able to plan everything ahead to this degree, from planting the evidence, to staging the actual murder…

“Wait. Something’s not right.” Makoto says suddenly, and his voice is clear and contemplative, his chin tucked over his knuckle. “If Toko fainted before she actually washed her hands, then how come her hands are clean? Remember, when we first met Syo, she showed us that her hands were totally free of blood.”

“I-I-!” She squawks, indignant, but she can’t seem to formulate a reply for a few moments. “M-maybe Syo washed my h-hands or s-something, I don’t know! S-she’s the one that k-kills people, so o-of course she would h-hide her tracks!”

“But, again, the sinks of the boy’s bathroom were all dry.” Makoto points out, and Fukawa sputters some more. “And…”

He pauses, and his head dips for a moment, enough for a shadow to cast over his face. “Toko. How did you know that Chihiro is dead?”

Byakuya figures it out a half-step after him, and silently kicks himself for not picking up on it earlier. And the others pick up on it as well, and the atmosphere turns dark, thick with unease and suspicion. Same as the elevator ride down, but this time, directed at Fukawa.

She’s gaping like a fish. She turns left and right, shuffling slightly. The rails of the stand stand tall and straight like the bars of a cage. “I-that’s-the portraits!” She yelps, and jabs out a pale hand in Byakuya’s direction. “Ch-Chihiro’s portrait, i-it’s crossed out! Th-that means s-she’s dead, so-”

“He’s dead.” Byakuya corrects sharply, and glares so fiercely the confused question that Fukawa was preparing simply vanishes. “But the fact that you weren’t aware of that means that Chihiro never came to speak with you about it. When he already discussed the matter with the rest of us.”

“I-that doesn’t m-mean I k-killed he-him!”

“Maybe that doesn’t implicate you,” Kirigiri concedes. “But earlier, you said ‘strung Chihiro up’. How were you aware of what the crime scene looked like?”

Fukawa squeaks, and smacks her hands to her mouth, as if she can retroactively shove the words back. “Th-that- i-isn’t that like S-Syo’s habits? S-so o-of course I would a-assume-”

“Syo said the crime scene doesn’t match what she does.” Makoto interjects. “All her victims are pinned by her scissors. Like you said, Chihiro was crucified using a cord.”

“I-”

“The time period doesn’t make sense. If we assume that Kyoko is being truthful - why did it take so long for Syo to wake up, in the time between you fainting and Chihiro being found?” Byakuya stares at her icily, and she squirms and shudders beneath his gaze. “You woke up awfully quick just now. For someone accusing us of labeling you a liar, you don’t seem inclined to tell the truth about anything, do you?”

His words drip with vitriol and acid, and Fukawa digs her fingers into her scalp and stamps her foot and screams, a long, strangled noise of frustration and anger. It’s a piercing sound, sharp enough to make Byakuya flinch, and it echoes for a moment up to the high ceiling of the chamber. And then everyone is silent as she catches her breath, hands pulling slowly away from her thoroughly disheveled hair.

“Fine,” She spits, and somehow, her voice is steadier than he’s ever heard it. “I hung up Chihiro. A-and I framed Byakuya for it.”

The confession sounds almost giddy with how breathless she is, but maybe Byakuya was imagining it. After a moment’s pause for people to register what she said, there’s no small amount of shock.

“You- you did?!” Yamada, standing directly next to Fukawa, cows as far away as the stand will let him. “Wha- but you seemed so…”

He doesn’t finish his sentence, but the implication of the word ‘harmless’ hangs in the air. “Yes, I did.” She snaps back savagely. “I-it was easy. H-he’s so small, a-and I knew B-Byakuya would be l-looking for s-stuff on Syo…and, t-the extension cord…”

Byakuya suddenly remembers, then. How she had stumbled as she left the library, foot smashing through some box and getting tangled in its contents. And how he hadn’t paid any mind to it, already too preoccupied with his own survival to care.

“How did you manage it without turning into Syo?” Kirigiri asks, and Fukawa’s face twists. It's only as she turns her head, and Byakuya notices the subtle glint of her bared teeth, that he realizes that she’s grinning.

“He had been i-ignoring me f-for so long…I was w-working so hard. T-to be normal and good. S-so he would l-look at me…” It’s not hard to figure out who she was referring to by ‘he’. Byakuya feels eyes on him once more. But his attention is turned to her raised forearm, exposed by the sleeve drooping around her elbow from how her hands are clutching at her scalp, and the strip of white that is almost imperceptible against her already pale skin. “I-I thought if I could - I could g-get over it, I could prove th-that I could be normal, then…”

She trails off, energy quickly depleted. “So, you had been training to not immediately faint at the sight of blood.” Kirigiri concludes, and Fukawa nods once, jerkily.

“Wait, so you did all that just because he ignored you?” Hagakure asks, mouth agape.

“Yes!” She shrieks vehemently, so sharp and sudden that Byakuya nearly jumps. “You don’t get it! None of you g-get it! I-I can stand it i-if he was mean to me, o-or if he h-hated me, but- it’s the worst when h-he acts like I’m n-not even there!”

Her voice breaks, and for a long moment the only sound in the room is her quiet sobs. To some degree - and Byakuya is furious with himself for even thinking this - he understands why she might behave this way. Clearly, she had been abused, and likely neglected, and this manifested into the extreme, self-demeaning, aggressive behavior she displayed now. Her actions had a twisted logic. She herself was pitiable.

But just because he understood, did not mean he had to accept it.

“Well, you have my full attention now.” He says coldly. “Congratulations. Why don’t you try and keep that attention by telling us what we all want to know?”

“Yeah, how about you tell us how Chihiro died?” It takes Byakuya a moment to place that the question came from Owada, who had been mostly quiet for a while now. He’s not blazing with fury anymore, but there’s an edge in his voice now that Byakuya can’t read. “I don’t give a shit about your fucking crush. I want to know how you killed Chihiro.”

Fukawa tilts her head in thought, and the action is somehow reminiscent of Syo. “B-but, I didn’t kill Chihiro?” She says, and she sounds almost innocent. “I-I just found the b-body…I-I think if I d-did kill him th-then Syo w-would have woken up r-right away.”

As if anticipating it, Kirigiri raises her hands, as if trying to stop the rush of questions and shocked exclamations from the others. It’s no use though, as Owada bellows: “Like hell we’re believing that!”

“Guys, the time limit-!” Makoto has to shout above the din. At that, Byakuya glances at the clock hanging over Monokuma’s chair, the flashing red digits initiating a countdown. How long had it been already? How much time was left? There was no way for him to tell. He’d totally forgotten about it. “Just. Toko, can you tell us how you found the body? Please?”

“W-why should I?” Byakuya feels his jaw physically creak with how hard he’s grinding his teeth. It seemed that in the time Fukawa spent unconscious, she had absorbed the worst aspects of Syo’s personality.

“We may all perish if you don’t.” Sakura points out, a low threat in her voice.

“I-I don’t care.”

Byakuya thinks he might scream. “Why?! What else do you have left to lose?” He demands, and his voice rasps slightly, throat sore from how much he’d been talking. “We know what you’ve done already. You’ve already revealed everything about me. What else do you want?!”

And she giggles, a breathless, insane sound. “I-I don’t c-care what happens t-to me,” She sings. “I hate you. I h-hate everyone here. I kn-know I-I’m gonna get t-targeted no matter w-what I do, b-because you all th-think I’m so horrible…so I should h-hit back f-first, right?” She wobbles, hands knotted in her hair again. “B-but I hate you the most. I-I wanted y-you to know how you made me feel, even j-just a little.”

Even without seeing her face, he can sense her malice, thick and unpleasant like the smell of rot. He hasn’t been the target of such blatant contempt in years, and the complete hostility that she radiates makes him feel a little unsteady.

“Fine. We will figure out the details ourselves. You’ve given us enough clues already.” Kirigiri replies coolly. “Unfortunately for you, only one person will be dying after this trial.”

He’s not sure how she can be so confident about that. The pounding in his head is getting worse, and as his eyes slip closed, he finds he’s not even sure where to start with everything; after all this, they were still not any closer to a definite conclusion. All they had done so far was run blindly around each other, getting lured to dead-ends and circles.

Through the low throb of pain in his skull, he can just barely make out the sound of quiet muttering fromMakoto’s direction. If he opened his eyes, he might have seen the other boy tapping his foot, resting his chin in his hand as he thinks. And if he could have seen, he might have noticed how Makoto’s eyes were darting, drawing invisible lines between fixed points in his mind.

“The place where Chihiro died. And Toko found the body. That’s what we need to figure out,” He says aloud, slowly. “I don’t think Chihiro died on the second floor. There’s no place with enough blood that could justify it, or enough evidence of a clean-up to suggest that it happened there. Even in the hallway where the body was found, the only blood there was against the wall from where Chihiro was crucified. There’s no splatter to match the method of death.”

“Yeah, but there’s no place on the first floor to suggest that Chihiro died there, either.” Asahina points out.

“No, there is one room. There was no blood there, but there was evidence that it was cleaned recently.” Even as he says this, Owada is beginning to gasp, ‘Wait-’, but he continues. “And, it’s somewhere someone got injured recently, so any blood that was missed can be explained away.”

He turns to the pale, silent figure of Kiyotaka Ishimaru, as still and unobtrusive as a ghost. “Taka. Can you please tell us what happened?”

___

Of course, Mondo blocks him before Taka can even respond.

“How dare you.” His voice is a low rumble, and he somehow looks angrier than Makoto has ever seen him. He can practically hear the creak of wood where Mondo was gripping the bannister, knuckles white and bulging. “What the fuck are you trying to pull, Makoto? What the fuck are you trying to say?!”

Makoto swallows, his heart feeling like it’s about to pop out of his chest. He’s seen Mondo both at his most violent moments, and at his kindest ones, his face softening with sympathy as he was listening to Chihiro, the hearty reassurance and gentle clap on the back he had offered to them both. But now Mondo looked like he might actually kill him, and would make it hurt while it happened.

But despite that, he presses on. “I know you said that a trophy fell on Taka’s head, and that’s how you found him. When I went to look at the trophy room, the floor was still wet, and it was clean - like, really clean. And I assumed it was because you went back and cleaned it up after Taka got injured, but looking back, that doesn’t make sense.” He glances briefly at Kyoko, who merely closes her eyes in silent assent. “If your friend had a concussion, wouldn’t you stay by his side?”

Mondo’s face pulls into a snarl, a vein bulging at his temple. “So what if I went back and cleaned it up? Maybe Taka wanted to rest alone. What the hell does that matter?”

“No, I think it does matter. You don’t act like it, but you’re really nice, Mondo. When you were talking with me and Chihiro, and told us about your bro-”

He cuts himself off for a moment, suddenly hesitant. He’s already revealed Byakuya’s secret. He didn’t want to have to reveal Mondo’s as well, even now. He didn’t want to betray anyone else, but-

He already hates me for what I’m doing. He thinks to himself. Whether he reveals Mondo’s secret now or not, he knows that no matter what, he was going to be hated; there was no chance at the friendly ribbing and pleasant exchanges they had in the past. But even despite that, he finds himself unwilling to form the words on his tongue.

He needn’t have bothered though. Kyoko is the one who speaks up in his stead. “There’s no point in hiding the fact that you care deeply for Taka. We all remember the display of friendship the two of you put on the other day after spending weeks at each other’s throats. And as someone who’s familiar with violence, I imagine you’re also familiar with basic first aid; so why would you abandon someone with a head injury to clean up the other room?”

Mondo glares at her furiously, but there’s sweat beading on his forehead now. “You-you meddling bitch, what the fuck are you-?!”

“Please don’t misunderstand. I’m not trying to accuse you of anything.” She sighs. Makoto thinks she looks a little haggard, with dark rings of exhaustion under her eyes, and wonders when the last time she slept was. Despite that, her eyes are still sharp, and meet Mondo’s glower with a cool stare. “But, since we are missing out on Toko’s testimony, I think we should have our last witness speak for himself.”

And before she had even finished her sentence, Taka was opening his mouth.

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[allmyandroids]

i needed to have gifs from that scene badly...so enjoy ❤️‍🔥

[sheepb1t]

That’s not darkness. That’s fucking savagery.