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sportsanime2017-07-23 07:03 pm
referees) wrote in sportsanime2017-07-23 07:03 pm
Entry tags:
Bonus Round 5: Clue
Sometimes, all you need are a few little details to imagine something bigger. This round is inspired by a classic board game with a cast of colorful characters, but for SASO your only limits on "who", "where", and "with what" are what you can imagine (and the SASO fandom list, of course)!
Please read this whole post before commenting to ensure that your team gets the most points possible. (There are changes from last year!)
RULES
- Submit prompts by commenting to this post with the format of a Clue mystery - "[character] in the [location] with [item]", along with any ship/ot3/etc. from one of our nominated fandoms.
- Example: Sawamura Daichi in the teachers' lounge with the Hello Kitty! lunchbox
- The person in your prompt MAY be a member of your ship, but is not REQUIRED to be part of your ship. They must still be a named character from a SASO-nominated fandom.
- Your place must be a physical location, not a state of being or a state of being. However, this location is not required to be real, nor must it be from the same setting as the characters.
- The "item" used must be a physical object that the character can hold or manipulate.
- Unlike the board game, your prompt is NOT required to imply murder. The scenario implied can be anything at all! (As always, please tag properly!)
- Your prompt MUST include some kind of relationship. Platonic relationships are indicated by an "&" between the names (e.g., Natsuo & Yuzuko). Non-platonic relationships use "/" (e.g., Natsuo/Yuzuko). Please don't say "Any pairing," either!
- Fill prompts by replying to the prompt with your Clue-inspired fanwork.
- Remember to follow the general bonus round rules, outlined here.
- Here is a prompt/fill index for your convenience.
FORMAT
Bonus round shenanigans all happen in the comments below. Brand-new works only, please.Required Work Minimums:
- 400 words (prose)
- 400px by 400px (art)
- 14 lines (poetry)
Format your comment in one of the following ways:
| If PROMPTING: | If FILLING: | If FILLING as a TEAM GRANDSTAND participant: |
PROMPT: TEAM [YOUR SHIP]
| FILL: TEAM [YOUR SHIP], [RATING]
| FILL: TEAM GRANDSTAND, [RATING]
|
Posts not using this format will be understood to be unofficial discussion posts, regardless of what they contain. They, like all comments in this community, are subject to the code of conduct.
If you see anyone breaking the code of conduct (e.g., causing drama, being rude) anywhere (not just DW), please contact the mods immediately.
SCORING
These numbers apply to your team as a whole, not each individual teammate. Make as many prompts/fills as you want!For prompts: 5 points each (maximum of 50 prompt points per team per round)
For fills:First 4 fills by any member of your team: 20 points each
Fills 5-10: 15 points each
Fills 11-20: 5 points each
Fills 21-50: 2 points each
Fills 51+: 1 point each
All scored content must be created new for this round.
Etc.
If you're hunting through the prompts looking for what to fill, a good trick is to view top-level comments only (see the line of links below this post).Have a question? Check The FAQ first. If you still need help, feel free to contact the mods. Happy fanworking!
PROMPT: TEAM HIMURO TATSUYA/NIJIMURA SHUUZOU
Fandom: haikyuu
Major Tags: none
Other Tags: none
Prompt:
oikawa in the concert hall with the baton.
Re: PROMPT: TEAM HIMURO TATSUYA/NIJIMURA SHUUZOU
FILL: Team The Prince of Tennis, M
Fandom: haikyuu
Major Tags: tags omitted
Other Tags: tags omitted
Word Count: 419 words
I doubt this is where you INTENDED this prompt to go and yet… Warnings for mild sexual content, kink, sadism, masochism, misuse of batons. Also I did a surprising amount of research into batons for this and had to really think about what sort of baton Oikawa would like.
***
Oikawa’s very choosy about his batons; he has certain batons reserved only for certain pieces or certain orchestras and his collection of batons is set in a glass-fronted display cabinet in his house. The batons don’t make the piece, of course, that is down to the skill of the conductor and the musicians, but the baton is as much as his instrument as a violin or a clarinet.
For the Tokyo Philharmonic Orchestra, Oikawa has selected an old favorite of his. The baton is a firm, reliable white birch wood, polished to a sheen like marble from years of use. The bulb at the end is cocobola, a rich medium brown with a slight tint of red to make the color more vivid. It’s the weight of the baton that’s the most important though - it is weighted just enough at the end to fit comfortably into Oikawa’s hand but so light overall that it feels like an extension of Oikawa’s own arm.
It’s a beautiful baton that has carried Oikawa through many performances and now, as Oikawa raises it only to bring it down sharply, he thinks this might be his baton’s last hurrah.
It cracks down hard against Ushijima’s open palm but Ushijima doesn’t so much as wince. His hand is red-purple already, rising bruises making the flesh well, and Oikawa knows from experience that Ushijima will be unable to use the hand for days afterwards. The stiff fingers will refuse to bend, the swollen palm will not close. He will be crippled as surely as if Oikawa broke every one of the twenty-seven bones in his hand.
Ushijima’s face is impassive but his breathing is quickened, the tempo too quick for the symphony that Oikawa wants to wring out of him. He’s leaning against the conductor’s hand, one hand curved tightly around it to support himself, and the bulge in his perfectly creased trousers is so obvious that Oikawa almost wants to tell Ushijima to take it out so that Oikawa can strike that instead.
Oikawa is praised for his pacing, for his ability to coax the best out of each performer, but Ushijima has always been a challenge for him. Ushijima is technically skilled and holds nothing back when he goes on the attack but Oikawa is sure that he has more yet to give.
Somewhere, behind that blank wall of face, lurks a passion that Oikawa will unleash even if he has to make Ushijima bleed it out so his bow slides over blood-slicked strings.
FILL: TEAM KAGEYAMA TOBIO/OIKAWA TOORU, T
Fandom: haikyuu
Major tags: implied sexual content
Other tags: I always have a music school AU in my heart lmao
Word count: 523
the long running joke is "you know what they say about brass players" and the stupid punchline is "they're good with their mouths", and I'm probably sorry
***
“It is quite unusual for a brass player to pursue conducting,” Ushijima says.
“Well, Ushiwaka-chan,” Oikawa instantly whips back. The refined line of his chin is tilted in challenge and his sneer scrunches up his nose; all of it is unbearably cute. “It’s unusual for a cellist to suck that much dick.”
“I remember quite clearly that you were the one who said it was for luck.” Ushijima knows that Oikawa is infuriating on purpose. But sometimes, he just can’t help but snap that bait right out of Oikawa’s graceful hand. He wonders if this is how Oikawa will always show his affection, or stress, and whether he will ever truly be able to untangle the two.
It is perhaps not Oikawa’s finest hour.
Though truthfully, Oikawa was actually a long series of very fine hours, and he was about to add another one to his repertoire, and Ushijima admired all of them very much. Oikawa’s mouth was sublime; Oikawa’s precise fingering exquisite; Oikawa’s lung capacity practically unheard of. And even if the bulk of it all was sharpened against Ushijima’s patience as they page turned their way together through their ensemble requirement, he could never forget the aching clarity of Oikawa’s trumpet, the way it had rung so clear and golden through the rafters of the conservatory stage during the Brandenburg No. 2 that everybody still raved about. Oikawa’s ensemble might have come in second that day of the music festival, but Oikawa himself had swept the solo categories, and Ushijima’s esteem along with it.
“Just be ready, Ushiwaka-chan,” Oikawa says. His baton is already in hand, canted elegantly by his side; Oikawa is tuned to the different voices in the cacophony of the orchestra pit settling in, even before he has walked out onto the stage to greet them. It’s their first real rehearsal together under the leadership of their new student conductor.
“I’m always ready,” Ushijima replies simply.
These are the things that Ushijima is not ready for: the way the stage lights frame Oikawa in a glow that lances gold and brilliant across his shoulders; the way he has to look up to follow a downbeat that seems to settle right into the pit of his stomach every time; the way Oikawa looks both fiercely focused and elated as he pulls from each and every one of them a sound that lives so beautifully inside of their bones. Ushijima’s cello remembers the way Oikawa had panted so quietly, so frantically in the orchestra storage room, and it sings.
“Unusual was the wrong word for it, and I apologise,” Ushijima says later as Oikawa pushes him against the stacked music stands. He had meant unconventional, unexpected, the way Oikawa will never cease to surprise those around him by knocking down every obstacle.
Oikawa just grins against against the side of Ushijima’s jaw. It’s all teeth. “My favourite thing about you, Ushiwaka-chan, is that you always let me prove you wrong.”
Ushijima doesn’t think he is wrong in this, but in this moment with Oikawa raking those beautiful fingers across his chest, he is happy to let Oikawa take the lead.