A.J.'s Studio

Shu Sakamaki

Even when Shu is supposed to be naked, he's still wearing his earbuds. The wires around his neck truly do never come off. Regardless, Shu appears to be wearing a pair of yellow or amber-colored Boxers. They oddly contain thick black elastic for the waistband and around the leg openings. Unlike the other brothers, his underwear is completely plain. But Shu might have some white worn-out fading throughout his shorts as there are white tints to them.

Reiji Sakamaki

It seems Reiji enjoys wearing similar underwear to his full-brother as the style and length are alike. He looks like he's standing in a pair of Trunks. Reiji's undergarment is a faded lavender with an argyle diamond embellishment located on the bottom left. He also has a thick, black elastic for the waistband and around the leg openings, too.

Laito Sakamaki

Laito is dawning a pair of Cheeky Briefs, also known as a Thong. This is not to be confused with a G-String. Laito's underwear is olive green with leopard print on them. Because of this, it's no wonder the illustrators were unable to redraw him in a sideways stance or of him with his back turned. Otherwise, viewers would only see the thin green lines of Laito's undergarment and his butt cheeks.

Kanato Sakamaki

The middle triplet is posing in a pair of Briefs, also known as Basic Briefs. Specifically, Kanato's are Mid-Rise, based on the wide width. These are not to be confused with Micro Briefs, or the male Bikini fit. Of course, Kanato's underwear is purple. It seems his Briefs were custom made as they have a white lined Window Pane plaid pattern with Teddy's head located on the right side. This potential fact wouldn't be surprising as Kanato is the most spoiled diaboy.

Ayato Sakamaki

These are likely a pair of Trunks as well based on their shape. To be specific, Ayato's underwear is High-Rise, looking at how the garment rests just below his naval. This proves to be a more modest preference in an undergarment. Unfortunately, Ayato's thick, black elastic waistband is peculiarly shaped. His underwear is red, but there's a slight pinkish tint around the crotch area. This is because Ayato's undies contains a Layered Faded Polkadot pattern where some spots are crimson while others are pinkish towards the bottom.

Subaru Sakamaki

Lastly, Subaru is dressed in a pair of Hipster Briefs because these are more square-cut in appearance. He has a thin elastic waistband and thin elastic around the leg openings. Both elastic seem to contain a gradient of gray-to-white. Subaru's underwear are mostly back, but they have a graish white smoke-like print down the right side of his shorts.

What do you think? Do you like the Sakamaki Brothers underwear? Which pair of undergarments is your favorite? Please share with me!

Ruki Mukami

First runner-up is Ruki. He's still wearing his black spiderweb choker around his neck. Ruki's undergarment is a pair of Boxer Briefs. The black underwear has a thick, black elastic waistband. However, the left corner contains two white vertical lines as decoration.

Kou Mukami

Second on the list is the pop star, Kou. He's posing in a pair of Trunks. These have a thick, black elastic waistband, too. Kou's undergarment is reddish pink maroon in color. His underwear is also adorned with a black checkered line down the left pant leg.

Yuma Mukami

The third brother is actively flexing in a pair of Midway Briefs. Yuma's underwear is a bleached green and dark green. They also contain a black elastic waistband. On the right side of Yuma's undergarment is a yellow, wide link-chain design. This chain is slanted, starting from the back of his hip to the front of his thigh.

Azusa Mukami

Azusa is dressed a pair of Cheeky Briefs, also known as a Thong; not to be confused with a G-String. Azusa's underwear is black-dark gray. Thus, the illustrators couldn't redraw him in a sideways stance or of him with his back turned. Otherwise, viewers would only see the thin, dark gray lines of Azusa's undergarment and his butt cheeks. Instead, the left picture is of his exposed body covered in scars. The right image shows Azusa's neck and forearms wrapped up in bandages with his waist and hips covered in unraveling bloody bandages.

Yui Komori

As a bonus, Yui is the final character to be presented. Unfortunately, her profile is only pictured from the mid-chest area and up. Yui still has the three flower hair-clip on the left side of her head. However, she's dawning a pale blue bra with blue straps. White lace embroidery appears to be across the top of Yui's breasts. Based on the top half of her undergarment, she's most likely wearing a matching pair of panties.

What do you think? Do you like the Mukami Brothers underwear? Which pair of undergarments is your favorite? Please share with me!

Ruki Mukami

Ruki's bedroom has the most character. It contains painted white walls with checkered beige and light brown tile floors. The light gray marble ceiling has two black hanging candle lanterns on either side of the room with little black crosses hanging from them. This reflects Ruki's adoration for the Bible.

The left wall has two windows with black curtains tied back. In front of the first window is Ruki's brown wooden framed twin bed. It has a dark brown wooden headboard with white sheets, a pillow, and a black blanket across it. Below the second window is a dark brown modern sofa with three golden squares into the cushion. A black sleek table with a golden top is placed in front of it. The entire right wall is taken up by a dark brown curio cabinet filled with books as Ruki reads often. On the back wall is a trio of silver framed pictures of identical abstract art. The only thing that sets them apart is the different colorizations. One is red and yellow. Second is green and blue. The last one is purple and pink. Perhaps these three pictures indicate Ruki enjoys art or color in his life.

Kou Mukami

This celebrity has the most stylish bedroom out of the four. Kou's walls are mahogany slat wood wall panels while his floor is white marble tiles with thin black grout. His gray marble ceiling has recessed lights near the entire back wall with a black lamp in the center of three track lights.

The entire right wall is taken up by a large window. It's bluish-gray, floor-length curtain is mostly closed, aside from the end where its been pulled back to let some natural light in. A tall black floor lamp stands in the corner. Against the back wall is Kou's black framed bed. It only has a black blanket across it. On the left is a fancy, golden floor-length mirror. In the center of the room is a pink square rug. An oval coffee table stands on top of it with a white top and black legs. Magazines are spread across it, indicating Kou must enjoy keeping up with the trends and his image as an idol.

Yuma Mukami

Despite the wealthy modern design, there are touches of country décor in the theme. Yuma's walls are painted black, while his floor is exactly like Kou's, white marble tiles with thin black grout. His gray ceiling is composed of different textured titles of individual patterns. In the center is a black, possibly pendant, light.

The entire left wall has small, multiple white pane windows. Against the back wall is a navy blue beja wood arm sofa. Yuma uses it as a replacement bed with only a knitted blanket to sleep with. Under the couch is a creme fur rug. On the right is a tall, white potted plant of white blooms. This highlights Yuma's gardening hobby and farmer background. In the center of the room are a pair of chocolate brown leather lounge chairs. On the right of them is a large, dark brown wooden chest. Yuma uses it as a table to set his container of sugar cubes on top, a favorite food he always has on hand.

Azusa Mukami

Of all the bedrooms, Azusa arguably is the closest to a modern, victorian theme. His walls are painted a medium gray while his ceiling is a light gray marble. The floors are, once again, white marble tiles with thin black grout. There are no visible lamps or lights in this room.

The entire left wall is taken up by a window. It's covered by duo layered curtains, with the first layer is of sheer floor-length curtains with ariel black and white damask patterns. The top layer is of floor-length black velvet curtains, which are partially open to reveal the bottom layer. In front of the window is Azusa's high twin bed. It's a classic black iron bed frame with high headboard and footboard. This bed has navy blue bedsheets and a blanket with a single white pillow. Against the back wall, on the bed's left, is a black ornate victorian armchair with the same ariel white damask patterns into the cushions. Beside that is a tall, black rectangle display case full of collectible knives on four shelves. In the center of the room is a large golden rug, practically covering the entire floor. It has the same white ariel damask patterns.

Nighttime

Below shows all the boys' rooms at night with their lights on. This would be the time when the Mukami's are usually awake and active, especially since the brothers attend night school to avoid hurting their eyes.

What do you think? Do you like the Mukami brothers' bedrooms and what they reveal about the characters? If not, why? Please share with me!

You narrowed your eyes at the long, black-clad body occupying the entirety of his armchair despite possessing no earthly need to sit down. One leg hung over the arm, his head resting against the winged back while crimson eyes followed the page with such pointed absorption that you knew at once he was listening.

There was room beside him. Not much—he was extremely long and had arranged himself with the territorial entitlement of a cat in a sunbeam—but you had never allowed practicality to interfere with a righteous cause.

“It improves emotional regulation,” you continued.

“Then you should seek some at once.”

“That is what I’m trying to do.”

“How admirable.”

“Alucard.”

The corner of his mouth betrayed him. The bastard always listened, especially when pretending you had become background noise, and his smile only deepened when you crossed the room to stand over him.

“Cuddling reduces stress.”

“I have no stress.”

“You’re seventy percent repressed homicidal impulse.”

The book lowered by half an inch. “Repressed?”

“Fine. Lightly supervised.”

Firelight flashed across his glasses as his attention settled fully upon you, immense, predatory and thoroughly entertained. You folded your arms.

“It also strengthens interpersonal attachment.”

“I have several attachments.”

“Your master doesn’t count.”

“Doesn’t she?”

“Not for cuddling purposes.”

“Perhaps you lack imagination.”

“Don’t make this weird.”

His grin sharpened. “You entered the lair of a vampire to lecture him on the health benefits of embracing you. I assure you, my dear, I’m not the one making this strange.”

That was the trouble with Alucard. He could make anything sound like a confession dragged from your mouth at knifepoint. Even a perfectly ordinary desire to be held became evidence of some darker appetite, as though wanting his arms around you meant volunteering to be devoured.

Which, in fairness, was not entirely inaccurate.

“This anti-cuddle agenda of yours is built on misinformation,” you said. “I’m trying to educate you.”

“Ah. Is that what this is?”

“Yes. Cuddle propaganda.”

“Propaganda is generally more subtle.”

“I don’t have time for subtlety. You’ve had six hundred years to become emotionally available and squandered every one of them.”

The book snapped shut.

Vindication had only begun to warm you when the shadows beneath his chair stirred. They wound around your ankles like cool smoke, climbing your legs before a sharp tug pulled you off balance and deposited you across his lap, one hand braced against his chest and your knees caught between his thigh and the arm of the chair.

Alucard regarded you over the rim of his glasses. “You were saying?”

“This doesn’t count.”

“No?”

His arm closed around your waist with none of the gentleness the word cuddle implied. Alucard did very little gently, even when he was trying, but the hand spanning your side drew you securely against him until there was no room left for uncertainty, much less escape.

“You’re only doing this to win,” you accused.

“Naturally.”

“Cuddling shouldn’t be competitive.”

“Then you shouldn’t have challenged me.”

“I was presenting evidence.”

“You declared war.”

“Because you were being obtuse.”

His laughter rolled through his chest beneath your palm, deep and delighted. The shadows receded, but his arm remained; worse, the treacherous hand at your waist had begun tracing slow, absent patterns through your clothes.

“You like this,” you said.

Alucard gazed back with unbearable innocence. “Do I?”

“Yes. You’re only refusing to admit it because then I’d be right.”

“Your presence is tolerable.”

“You pulled me into your lap.”

“To end your campaign of harassment.”

“You could have thrown me out of the window.”

“I considered it.”

“But you didn’t.”

His eyes gleamed. “The night is young.”

A wiser person might have accepted the victory concealed inside his insults and enjoyed it quietly. Unfortunately, your vindication had developed momentum, and Alucard had spent long enough pretending his habits did not constitute evidence.

“You seek me out constantly,” you said. “You appear in whichever room I’m in and loom until I pay attention to you. If I sit down, you materialise beside me. If I fall asleep without you, I wake up with you lurking over the bed like an extremely sinister weighted blanket.”

“I’m guarding you.”

“From what?”

“Anything foolish enough to approach.”

“We live in the Hellsing estate.”

“It’s full of people I dislike.”

“You dislike everyone.”

“Precisely. The danger is considerable.”

You tried not to smile, but his thumb had found the narrow strip of skin beneath the hem of your shirt and was stroking it with maddening tenderness. The accusation softened before you could stop it.

“You could simply say you enjoy being close to me.”

His amusement quietened.

Alucard could meet fury with laughter. He could make a spectacle of cruelty and turn violence into theatre, but sincerity had always been the one thing capable of catching him defenceless. Offer him your throat and he would grin; offer him something as small and vulnerable as the truth, and he became very still.

For one treacherous moment, you wondered whether you had asked for too much. Then his book slipped from his hand and landed on the floor.

His other arm enclosed you, drawing your head beneath his chin as he settled deeper into the chair. He arranged you against him with such proprietary satisfaction that you suspected he had wanted to do this from the moment you entered the room—perhaps long before that.

“You are warm,” he murmured.

You tucked your face against his coat, hiding your smile in the red fabric. “That almost sounded like an admission.”

“A practical observation.”

“And your hand on my back?”

“Containment.”

“The arm around my waist?”

“Restraint.”

“You putting your face in my hair?”

His hold tightened. “Silence.”

The following evening, you discovered a larger armchair in his chambers. Alucard claimed it had always been there, which might have been more convincing had he remembered to remove the furniture catalogue from his desk.

You said nothing. You were already drafting the second phase of your propaganda campaign.