>>24863
Yup, I like those stories of Aoi's. Yes, I don't write the same kind. I don't write a lot of things that I like when someone else writes them. To me, the kind of irrationality where Sakura asks Tomoe to dissect her to explain her own reproduction system even though she won't survive it is the same kind of sexy as hanging yourself for a prank on a mean teacher. Failing to attach reasonable negative value to death and cessation of existence, and attaching a straight up positive one, are just points on the same spectrum for me.

(While killing a girl for forgetting her homework is not - that's attaching value to SOMEONE ELSE'S life and death, which is meaningfully different from your own)

(I do believe though that you've complained about illogic on previous stories of mine, so there's that)

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The purpose of nonverbal communication is not to be ambiguous and not to leave multiple interpretations at all. If someone asks you where to put something and you point, you're not trying to be coy and you aren't trying to convey multiple options. You convey a single option, "over there", in a way that is more efficient than if you used words for it.

Nonverbal communication is not a speciaql different non-communication type of communication, it's just regular communication through means other than words. A stoplight is non-verbal communication; it is EXTREMELY not meant to be ambiguous. Any signage expressed in images / lights and not words is non-verbal communication. Slapping someone across the face for touching you without permission is non-verbal communication.

There is no more inherent ambiguity there than there is for verbal communication - people on the internet resort to emojis and tone indicators for a reason. The PURPOSE is the same: to make the other person aware of something.

And in this world, putting fabric or other materials on your body or not is a form of signage as clear and unambiguous as a stoplight in the real world. Stop, go, hold. The guy she ran into didn't care about subtler non-verbal signals she was giving off, because dressing like she did gave him full and complete relevant information - that she opted into free use, and any emotional reaction she might be having afterwards is her own personal business irrelevant to the question of whether he should do what he wants (unless he's into it, like the girl in Lily's story was). There is NO ambiguity, I even specifically wrote about a corner case where there WAS ambiguity and it was eventually resolved because this arrangement is meant to be 100% unambiguous. The communication is non-verbal because there is nothing for words TO add, much like at a stoplight.

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Why the fuck would I introduce a greek chorus instead of deep 3rd person??? That's just weird to me. I'm not writing a theatre play where everything needs to be expressed out loud in monologue or dialogue, I'm writing a regular written story. Why would her classmates (not, I assure you in that situation, friends) comment on something that is plainly obvious to them? She's thinking about her options of leaving the situation because she's scared and hesitant, she's making the decision to stay anew every time. That's the sexy part to me, I think I've already discussed that with Aoi above. Decisions, and people who make them. Marie's internal experience is the entire point of the story, and her repeated glancing at the point of egress and repeated choice to stay is the emotional heart of it.

(I did once have an idea to write a story entirely expressed through dialogue, or maybe even monologue of one of the people involved in the situation, with all the actions, the other person's responses and any internal experiences purely implied. But that's not even close to the same thing)

Tsundere is a gross awful trope that I loathe with the fury of a thousand suns. Even yandere is better, as it's at least fun and when done well adds up to a coherent internal experience explored by the narrative; tsundere is just misogyny condensed. Ew, ew and ew.

Your version of Marie taking the dare is some other story, which is not the story I've written. In the story I've written, (1) those are not her friends (I don't believe I used the word "friends" once), (2) the dare was not her initiative at all, (3) while she finds appeal in the situation, she DOESN'T want it and was hoping she wouldn't attract attention and wouldn't have to follow through on the full dare. I don't write internal experience just for you to dismiss it and declare that actually something completely different happened, that's the exact approach that makes me hate the "tsundere" trope too.

Yes, I wrote exactly the thing you specificed in that last sentence: her consent is questionable, she's being coerced into this. I have mentioned multiple times that I like *playing with consent* and that this situation is *just* on the edge of what I actually like. It is, in fact, very slightly non-consensual (I believe the accepted technical term is "semi-con"). That's intended. I wrote it like that because that's what I wanted to write. I hope this clarification helps.