#correnzo

Enzo being mister ‘um, fuck you??? I don’t need your help, nor would I ever ask for it??’

But yeah, I’ll be back soon. Have some pieces from my Correnzo draft I started a few days ago, to make up for my absence! XD

Here it is anyway because I organized it and I’m proud of it and I need to scream about my music addiction somehow!

Starts off pre-canon and comes to a close with Gaetano’s death, Enzo’s anger, thirst for vengeance, rebellion, and his fighting Il Merlo, until he finally escapes that shithole. Good bit of the songs have verses that foreshadow this before it actually gets to that point— and some (like Wolf House) are Enzo defending others or comforting them or himself (The Nowhere King, Harpy Hare). Some Corrado POV…but it’s all mainly Enzo’s.

Songs like ‘Impacto’ or ‘O Sol e a Lua’ are used a lot in romantic animations, but listen to those with the thought of someone who GENUINELY doesn’t want this mf looking at him with “those eyes” (eye ☝️😏)

Some ass doodles I made. Working on making actual people a lot lately, but I’m also testing out where I draw (hehehe) the line with details, so forgive me if the wolf and rabbit are more shit than my Enzo sketch. 🙇‍♀️

Same as my last art post featuring Corrado, the wolf portrays that one-eyed prick, while the rabbit portrays Enzo. The reason the eyes are crossed out is because one of the most distinguishable trait about Corrado is his blind eye, and I feel Enzo would agree. So L’Ombra. The shadow. Always watching and waiting and Enzo feels that, fears it. Maybe right after he ran from the mines, the whole time he spends running through the day, he swears he feels the ever hiding, ever studying gaze of the man. Constantly, constantly, until he's finally found— tracked down like a prey animal. I was definitely getting some vibes when they found him— at least on my first playthrough, and still lingering feelings on the ones after that.

I also wanted to depict a sort of "thrill of the hunt' kind of vibe, so l added the tail wagging as sort of an excited "I found you," to help with that.

Firstly, this line is so small and unnoticeable if you’re focused on the fight— especially for someone playing for the first time, not paying attention to much other than learning the mechanics. But it’s SOOOO belittling and taunting and I feel infantilizing, talking to Enzo like he’s some young, stupid little boy who’s been caught with his hand in the fuckin’ cookie jar. (Il Merlo does the same thing right before and during the fight, obv, but we’re talking about Corrado rn.)

Yeah, ya’ll have no idea what this line does to the Correnzo parasite in my brain. It’s literally ‘I don’t care about DON TORRISI’S DAUGHTER, I just want you. I want to hurt you and make you feel small and break YOUUUU,’ and I’m crying and clawing at the screen wanting to comfort my bb Enzo and tell him these bastard gremlins will never touch him again (unless I decide to write about it). 😔

I’m sure he just meant that Enzo LITERALLY was dodging him and his attacks, but I’m going to hyperanalyze it as Enzo couldn’t hide from him behind Torrisi or his men forever, he’d catch him eventually, and he promised hell and horror to come when that happened.

The way that he looks at him is SO DEEP. Looks like he’s reliving everything this piece of shit made him go through with his fuckass brother. H13 really portrayed the face of someone angry and bitter facing their abuser very well fs…

Top ten moments before disaster btw:

The characters— *gulp* The characters in question:

But now I have this thing I wrote. And I don’t really like it. So I hope you guys do! XD🫶🏼

Fruit Trees [Rot]

Firelight does things to people. Does things to how you see them. It can come from violence and fear, or it can come from tranquility and the soothing sound of crack…crack…snap…

Sometimes you don’t know the difference. Sometimes you don’t want to know.

Enzo knows the difference. And he knows he’s afraid.

Corrado’s arms flex under his sleeves as he toys with his knife and a piece of mangled wood. The strangest thing is that he handles both with equal care.

Enzo swallows, mouth dry, tongue heavy. He is afraid…

He’s afraid because men are things to fear. It doesn’t matter what they do to help you, protect you, reassure you. They’re kind until they aren’t. Soft until they rot.

Fruit was once Flower, after all.

Flower intoxicated lazy bees and made them think the labor was worth something. And so Flower took in their pollen, and became Fruit.

And Fruit was sweet and rotted in The Hand and planted a seed inside of The Hungry. And so The Hungry took in Fruit, and became Vessel.

That’s what men do. And for a man with Bastoni in his blood—working under Spadaro, nonetheless—there is no preventing whatever curse causes this corruption.

Some are better at hiding it than others, so that’s how Enzo reasons with the fact that no real harm has come to him yet.

But if the curse is hereditary— if it’s passed on by father and mother…

Enzo knows his father’s face. And it isn’t hard to tell a cursed man when you see his face.

Enzo is afraid. Afraid of what he might become if hypothesis becomes theory becomes fact. Just like Flower becomes Fruit becomes Rot.

He’s going to rot. Even though he isn’t quite sure if he’s flower or fruit yet, instinct warns him of an unfortunate prognosis. Says that he’ll be tossed away from the branch, sweet and ripe and unguarded. That he’ll either rot alone and in the dirt, or he’ll plant seeds in the hungry; hurt those he loves.

Therefore, if he’s willing to admit that he himself isn’t sure of his own freedom from prophesying authority, then he should never be so eager to hope this man has such a right.

Right?

A fruit tree has its conditions. As do men. Even if Enzo doesn’t know what his own are on a normal day, these days have been the same: so long as Corrado Bastoni doesn’t bring him harm, he won’t risk running.

And even if he doesn’t know what the man’s conditions are on a normal day of his own, Enzo knows as of late: so long as he doesn’t run, Corrado will continue to leave him tortuously unscathed.

At least he hopes so. Hopes that if he ran and was caught, that he’d be hurt. Because Enzo knows Il Merlo wouldn’t dare miss out on such an opportunity, so why should his brother be any different?

“I didn’t know you slept with your eyes open.” You’re staring, is what he means. And of course he is.

But Enzo has barked and snarled and hissed at this man ever since the raid on the tannery— and he’s tired. And the firelight feels tranquil and soothing, and his brows stays soft.

Enzo is afraid…

So why does he feel like he doesn’t have to flinch every time Corrado moves his knife even an inch? And why hasn’t he done what his brother would surely do if it were him that was lucky enough to capture the insubordinate leveret that brought them so much shame in merely a few years’ time?

He’s so damn afraid. Afraid of what will happen if he runs and he isn’t swiftly condemned to a broken leg as punishment. He’s afraid he’ll be tied up close and warm next to the fire and whatever Corrado fucking Bastoni does will be acts of restraint rather than that of retribution.

…

Maybe Enzo doesn’t know if he’s afraid anymore.