Yukinoshita’s Method of Correction [32]

“Hm?” Higashigumo Sugi frowned. “Isn't the prop room part of the Film Club?”

“It used to be,” Komachi explained, “but they started accumulating too many props, so they applied for a separate classroom. Unfortunately, the rooms next to the club were already occupied, so they had to take one upstairs.”

Tanaka took his camera to the third floor and knocked on a door whose circular window had been covered with paper. [Sasaki, are you there?]

There was a sudden rustling inside, followed by a deep voice. [What?]

[I want to borrow some props for outdoor shots.]

[Give me a sec.] After a pause, the door opened, revealing Sasaki looking disheveled. [Come in.]

As the camera swung toward the interior, Yuigahama immediately squealed in fright.

Inside, piles of distorted blue-green monsters filled the room, alongside foam shapes and large sheets of fabric in various colors.

“They're just props!” Komachi quickly clarified. “Covering foam with fabric gives it more texture than painting it blue. Ao Oni monsters have tons of weird variations, so they made a bunch.”

The camera swayed, moving toward the back of the room.

Just like the makeshift changing area behind the Service Club, a larger one was set up here, too. A graceful silhouette could be seen faintly behind the cloth.

[Oh, your girlfriend's here too—] Before Tanaka could finish speaking, a hand swiftly pushed the camera aside.

Clearly, Sasaki didn’t want him filming that.

Sasaki hastily tugged at a green-screen cloth to cover a pack of opened sanitary pads on the table. [What props do you need?]

[Just a few Ao Oni. I wanna try placing them in some corners.] Tanaka chuckled awkwardly, no longer filming in that direction. [Oh, and some fishing line for that sudden disappearance effect—are you free?]

[Yeah.] Clearly annoyed, Sasaki tidied his shirt, grabbed several Ao Oni models, and left the room with Tanaka. He set down the props and reached into his pocket.

[I already brought the fishing line.] Tanaka waved it in his hand.

[Mm.] Sasaki nodded curtly, picked up the props again, and followed Tanaka downstairs. Passing the Film Club room, he briefly greeted Hojo.

They spent a long time downstairs. Following Tanaka’s instructions, Sasaki tied the fishing line to the Ao Oni models, placing them at the corner of the Special Building. With a sharp tug, he simulated the monsters flashing momentarily into view.

After repeated attempts, Tanaka still wasn’t satisfied.

[What exactly are you trying to achieve?] Sasaki asked impatiently.

[Honestly...I don’t even know myself.] Tanaka answered sheepishly, [I'm looking for a feeling, you get it? Like when you first met your girlfriend and knew immediately she was the one... that kind of feeling.]

[No, I don’t.] Sasaki replied coldly.

[It's like love at first sight, that flash of inspiration.] Tanaka shook the camera playfully. [Why else would I keep filming nonstop? I'm afraid I’ll miss that fleeting moment of inspiration.]

[Have you had your ‘moment of inspiration’ yet?] Sasaki pressed irritably.

[Actually, kind of!] Tanaka’s camera suddenly pointed toward the prop room on the third floor. [Maybe swapping it for a smaller Ao Oni will do the trick... Huh? Looks like your girlfriend’s about to leave.]

Though unclear due to distance, there was definitely movement inside the prop room.

When the camera turned back toward Sasaki, it trembled slightly.

[Sasaki?] Tanaka’s voice shook a little. [Are you alright?]

In the frame, Sasaki’s expression was unusually grim.

[...It’s nothing.] Sasaki quickly grabbed a few more Ao Oni, wrapping them in fishing line. [Let’s get another prop.]

When they passed the Film Club on the second floor, Hojo was still drawing, but an Ao Oni model had appeared beside him.

[Hojo wanted a prop to spark inspiration,] Miki explained apologetically. [Since you weren’t there, I borrowed one myself. I’ll return it later.]

Sasaki didn't reply; he just stared silently at Miki.

[O-oh, right.] Miki suddenly remembered, adding, [Your girlfriend said to tell you she had to leave first.]

[...I see.] Sasaki nodded and swiftly walked away.

Tanaka hurried to catch up. By the time he reached the prop room, Sasaki had already dumped the Ao Oni models by the door and gone inside alone.

Holding the camera with one hand and trying to untangle the fishing line with the other, Tanaka spent quite a bit of time carrying the models into the prop room.

By the time the camera swung toward the back again, the shadow behind the cloth was gone.

[This one's the perfect size.] The camera zoomed in on a dog-sized Ao Oni model. [Let’s give this one a shot.]

Sasaki didn’t answer.

[Please, just one last time!] Even Tanaka felt bad about troubling Sasaki so repeatedly.

[Fine.] Sasaki responded coolly, following Tanaka downstairs again.

But this time, Sasaki was clearly distracted, constantly checking his phone as if texting someone.

After a while, Tanaka still couldn't capture the effect he wanted. [Let’s just call it a day.]

[Alright.] Sasaki picked up the Ao Oni model. [You can go ahead. I'll take these back myself.]

[I’ll film a bit more then… Oh, right,] Tanaka lowered his voice, leaning in slightly. [When are you planning to introduce your girlfriend to us?]

[...We broke up.] Sasaki threw down those words and left without another glance.

The camera lingered on Sasaki’s retreating figure, silently expressing the cameraman’s deep longing for home… Wait, wrong context.

Tanaka filmed the scenery randomly, clearly troubled. Eventually, he ended up back at the prop room door, knocking gently. [Sasaki, are you okay?]

Sasaki opened the door, expression unreadable. [What do you want?]

[I... uh... well...] Tanaka stumbled over his words. [Let’s go back together?]

[I still have things to do.] Sasaki coldly refused.

[Then I'll wait for you.] Tanaka entered the prop room, finding a spot to sit.

[...Forget it, never mind.] Sasaki sighed and stepped outside. [Let’s go.]

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This is a fan translation of 雪之下的矫正方式 by 微凉温热 All rights to the original work belong to the creator. Please support them by exploring their original work or sharing it with others if you can. Thank you for reading and supporting my efforts to bring this story to a wider audience!