yuzu sits somewhere hidden in the enclave, staring up at the moon, the stream of glittering stars painted across a clear night sky. how beautiful, he thinks. the moon is everywhere, the stars are everywhere, but he thinks he will not see a sight quite like this again. he doesn't intend to say goodbye to anyone else, in fact he doesn't intend to see anyone else at all before he goes in the morning, but he closes his eyes, feels himself sinking into the dark, and when he re-emerges he finds himself in hien's room, empty save for himself, and he waits.
when hien returns to the kienkan that evening, it is with a tension in his brow that he tries to rub away with his thumb. doma is back on its feet, true, but there is still much to be done. it is work that he welcomes, and yet it would be a lie to say it is not exhausting. he is eager to rest. and yet, something stops him, a chill in the air that permeates his skin as his hand touches the door to his chambers. the shadows seem to grow longer here, pulling at his feet, and he dreads what he knows he will see beyond. he slides the door open.
and there he is, yuzu, sitting on the floor with his legs crossed and his arms limply at his side, inert, a strip of bright moonlight from the window falling across him as if cutting him in two. his gleaming eyes find hien's immediately.
hien frowns, his hand clenching tight at his side. "you were not invited—"
"i'm inviting you." the break in rhythm catches hien off guard, his mouth opening and closing as he finds his words again.
and there is something unreadable on his face as he looks at yuzu, sees how uncharacteristically open and unguarded he is, eyes distant, but searching for something neither of them will name. how could they, after everything?
the minutes tick by, tense. and when hien does not move, yuzu lowers his eyes in understanding, letting himself sink back into the dark. "i'll leave."
"no. stay." and it comes out too gruff, too much like a command that hien regrets as soon as the words leave his lips. he softens his voice then as he comes before yuzu, kneeling. "stay."
yuzu knows he should not be here, knows he should make a clean break, leave it all quietly behind. but the one word is all he needs. he is set in motion and throws himself into death a second time.
it is a burst of frenetic activity, yuzu falling into a sort of delirium as he pulls hien into his arms, feels the other's lips on his own, his tongue in his mouth, his teeth. sparks behind his eyes as he is pushed into soft blankets and bared, kneaded, and readied under hien's insistent hands.
hien pauses a moment to fixate on the thin scar on yuzu's chest, still angry and red as if it were a fresh wound, as if he could pry it apart with his fingers. he touches the tip of his tongue to it, half expecting to taste blood, half reveling in the way it makes yuzu writhe underneath him. he kisses him then to chase away the pain, collapses into him, and the sound yuzu makes sets him on fire.
that voice, no longer begging for death, sweet as honey, viscous as tar. if only he could hear it again. if only he could draw it out of him again. if only it had ever been this.
.........
when hien wakes in the morning, he thinks yuzu will be there, just on the other side of him. but his reaching arm finds nothing, only the blankets cold and empty. he seeks him out at his old residence, the cage hien once put him in, but finds only ume there. they look at him with the vehemence of someone who bears him a grudge. and they don't need to say it.
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reading a historical romance novel and reflecting on the way these stories often present woke nobility for the contemporary reader. a big thing is servants. you can’t not have servants in those times but many modern readers think “but I would never have servants. it would be so weird to have servants” and in order to make the protagonists of the story more relatable they are actually friends with the servants. but flip your perspective and think of it from the side of the servants. wouldn’t it be so awful if your boss was always trying to be friends with you. a really common thing you’ll see is the woke baronet having tea in the kitchen with the servants bc he’s not like other baronets. but what if your boss wanted to hang out and talk during your lunch break every day. not so charming when you think about it that way
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it is very instructive to play both silent hill and resident evil videogames because they are very similar except for how silent hill is good and resident evil is stupid. it helps you figure out what is stupid in a video game and what is good
for example, in silent hill games, you are confronted with many weird baroque puzzles you have to solve to proceed, because that is the dark and creepy and confrontational nature of the world you are in. in resident evil games, you are confronted with weird baroque puzzles you have to solve because apparently, separate from and unrelated to the ongoing zombie apocalypse, the raccoon city designers designed the subway station map so that if you insert a red jewel into the correct diamond shaped recess, a drawer opens that contains a live hand grenade
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it’s a great time to be a hater, many things are bad and lots of stuff sucks. it’s also a terrible time to be a hater, because many people will insist that you have to like the bad thing because a company spent millions of dollars making it and it’s just not very nice to say it’s bad
hating is ultimately a philosophy of optimism. the knowledge that things could be better, and the desire to see them improve, differentiates it from the pessimism of idle consumption.
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