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racew1nn3rs · 5 months ago

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─ 𝘴𝘤𝘦𝘯𝘦 𝘪𝘷. (𝘫𝘶𝘴𝘵 𝘤𝘰𝘭𝘭𝘦𝘢𝘨𝘶𝘦𝘴) 🐅

⤷ summary: spain and canada. lando's rizz is negative, mission is failed. plus, mclaren pr is about to fuck shit up 🗣️

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liked by ynusername, zbrownceo, and 42,908 others

mclaren spain you were forgettable at best 😔 on to the next one

18,980 others

user1 y/n don't insult your team on the team account challenge

mclaren is it really an insult if it's true

user2 we got a lando photo but at what cost

user3 lando fans can never win here

mclaren why you would ever choose to be a lando fan to begin with is beyond me

user2 you're so right queen i'm sorry

landonorris DON'T APOLOGIZE WTF

user2 fuck both of y'all honestly

user4 at least mclaren fans can always count on content, even if we can't expect results 😭

user5 lando and y/n in their friendship era, how the fuck did we get here

landonorris you're posting me now? oh you want me so bad 🥴

mclaren sending this to hr immediately

ynusername YOU'RE FIREEEDDDDDDD

user6 damn she logged into both accounts just to make sure he heard her ass 💀 double homicide

user7 oscar fans i can't even tell if we won or lost

user8 we didn't get a face pic but... we didn't get whatever the fuck the 3rd slide is

landonorris guys pLEASE

landonorris i won't post it she says... it's just for me she says

user9 LMAOOOO AND YOU BELIEVED HER???? 🤣 🫵

landonorris going dark, no one call me

user9 was anyone going to anyways 💀

user10 LET HIM GET UPPPP

oscarpiastri i'll pay you 20 dollars if you don't ever do this to me

mclaren 🤝

mclaren i mean you were never the target but now you will be if i don't get my money!!!!

oscarpiastri oh ok

lilyzneimer i have pictures you can you use if you need bb <3

oscarpiastri WHOSE SIDE ARE YOU ON

zbrownceo Very funny Y/n! Keep up the good work 👍

mclaren Thanks boss! (:

landonorris ZAK WHY

user11 zak is so supportive now, wait until he sees her comments 💀

zbrownceo I have seen her comments! Very funny! 👍

user11 blink twice zak, we can help you

maxverstappen1 This is the highlight of my week, thank you Y/n!

mclaren hey max verstappen of redbull racing! not sure if you heard but you did win the grand prix this weekend

maxverstappen1 No i know, this is just definitely better.

ynusername where's my photo credits 🫵

mclaren my bad bbg 😍

user12 nurse she got out again

oscarpiastri we'll win next time!!

mclaren who told you that 🤨

oscarpiastri the voices in my head

logansargeant you hold on bro, we'll find your meds soon

user13 i think moto moto likes you ahh image

user14 i need to shrink him and put him in my pocket and keep him there

user15 which one?

user14 lando

landonorris nuh uh, pick again

maxfewtrell you can't post pictures without consent mate

mclaren i didn't??

landonorris i didn't consent.

mclaren who are you gonna believe max? me? or the solid concrete evidence in front of you

user16 he looks like he can do some crazy tricks on a trampoline

landonorris this is the only comment about myself that hasnt made me viscerally angry

oscarpiastri unfortunately i feel the opposite

user17 lany/n at it again

user18 literally what the fuck do you mean

user17 if you dont get it, i can't explain it to you

user18 okay cryptic ass, fuck you 🙄

user19 they're in love guys, just wait and see

user20 yall just love saying stupid shit on this page huh

user19 i hate getting accused of some shit i actually do 😡 like yeah i do love that but who told you

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user20 op be so fr right now

user21 everytime one of these illiterate f1 drivers pulls one of the hottest women on earth a fairty dies

user21 *fairy

user22 fairty

user21 you shut the fuck up 🫵

user23 people when coworkers are seen together at their place of work

user24 do you hug your coworkers and follow them like a lost puppy when you could be on a break

user23 wtf no

user24 EXACTLY MF, THIS IS NOT COWORKERS BEING COWORKERS

user25 history will say they were just colleagues 😔

opeightywon this shit is a national tragedy

user26 every time i see a post like this i think about the fact that she has probably seen this and i shiver

user27 honestly praying on their downfall

opeightywon wtf

user28 lando fans be normal challenge

user27 idgaf about that white man, she's just too hot for him 😕

opeightywon oh yeah real

user29 i need another youtube video where they stare at each other longingly again asap or i fear i may start having withdrawal symptoms

user30 another hot girl lost to an average white man's swagless looks and cringe fail personality i feel sick

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liked by landonorris, lilyzneimer, and 44,786 others

mclaren not our best results in canada but we improved i guess 🙄 but on a much better, more exciting note: NEW MCLAREN YOUTUBE CHALLENGE OUT GO GO GO GO

17,998 comments

user31 my crops are watered, my skin is clear, my funds are tripled

mclaren all me 😮‍💨

user32 "yay challenge video" we all cry in unison

user33 OSCAR FANS IS IT REAL??? HAS IT COME TRUE??? IS THAT A FACE PIC I SEE

user34 and it's good quality too 🤩 what did we do to deserve this

mclaren you don't, but oscar bought me coffee all weekend

oscarpiastri yes i bribed her, i feel no shame

user35 lando's back in the dog house bro, he's back to no face pics

user36 but look at his beautiful brown eyes

mclaren babe they're greenish blue with the TINIEST bit of brown 💀

user37 how long you gotta stare at a man's eyes to know the exact paint blend 🫵

user38 DOWN HORRENDOUSSSSSS

lilyzneimer insert comical heart eyes here

mclaren flirting with your man 🤢 on MY cellular device

lilyzneimer my bad bb, he doesn't mean anything to me anyways 🥴

oscarpiastri ok what the fuck

danielricciardo DROP THE CAMERA SETTINGS AND MY LIFE IS YOURS

mclaren check dms 🤲

danielricciardo thanks love you're the best

landonorris LOVE??? LMAOOOO

user39 bro is losing the dgaf war MISERABLY

user40 the way lando is staring at her the whole time she's behind the camera 😫 oh he's not even down bad, bro's down under

landonorris can i get the camera settings

mclaren has anyone ever told you how good you are at photography?? i'm not saying that, i'm just asking 😀

landonorris oKAY fuck you.

user41 the way she doesn't even pretend to care about the results

landonorris i know 🙄

mclaren i know p13 is nawttt talking back to me right now

user41 OHHH SHE ATE YOU UP HUH

landonorris y'all are some fake ass fans fr

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8:57 PM.

Y/n stared at the flashing numbers on the digital clock in the boardroom and huffed quietly. The table in front of her was covered in a mix of shredded mozzarella cheese and vibrant, red pizza sauce. Flour with evidence of handprints and bits of pizza dough decorated the wood and the woman internally sighed at the thought of clean up. Eventually she would have to get back to work.

Lando was on his phone across the table from her, and she fought the urge to stare at him. Oscar had left a while ago, having an earlier flight than them out of Canada. Lando and her had made the executive decision to stay and finish the pizza the two men had made during the "not my hands" YouTube challenge. It was messy, and didn't fully resemble a proper pizza, but it tasted good enough if not a little bit burnt. The two had been sitting in a comfortable silence for the time being while they ate.

In the time Y/n had gotten to know the British man, both on and off the track, she found herself warming up to him considerably. He was kinder than she gave him credit for at the beginning of the season, and far funnier. She could see now that more often than not he spoke without thinking or having any consideration, and maybe he was more than a little bit arrogant, but he also felt things deeply and cared passionately.

Before she could think about what she was doing, Lando's eyes met hers and he smirked. Y/n's face burned but she rolled her eyes at him and took another bite of their burnt pizza. Her ears caught the sound of him placing his phone on the table, and when she looked up again he was leaning his body across the table and toward her instead.

"What are you staring at? Hm?" He teased and she scoffed.

"You," she started and took another bite of her pizza, "have pizza sauce all over your face, you idiot. And I'm just thinking, not sure if you're familiar with the concept." He grabbed a napkin quickly and began wiping rapidly at his chin and mouth, and even his nose. She couldn't help but laugh loudly. There was nothing on his face. He was perfect actually. Unfortunately.

"Did I get it? Why didn't you tell me sooner, traitor!" She doubled over but nodded anyways.

"What are you thinking about?" he questioned as he settled back down.

"Just the season, you and Oscar," she muttered.

"Me? Thinking of little ol' me when I'm right here in front of you," she rolled her eyes with a groan.

"You have selective hearing Lando," he laughed and nodded.

"Well what have you thought about it? The season I mean. And myself of course, don't care much what you think about Osc," he leaned on his hand and stared at her intently. Y/n couldn't help that being stared at by Lando felt a little bit like being ocean, being pulled and pushed by the moon's gravity. Her brain didn't work properly around him.

Or maybe I'm just really dramatic and he's just hot, she thought miserably, Probably the latter.

"I just think maybe you and me got off on the wrong foot," she said as she fumbled with the lid of her water bottle, "and I think that maybe I enjoy this job a lot more than I thought I would." The comments seemed to sober Lando's mood up slightly.

Maybe I shouldn't have been truthful. Maybe it shouldn't have been that serious.

"What did you think of me?" He asked quietly. "When you met me I mean."

"Do you want me to be honest?" He looked at her quizzically.

"Of course I want you to be honest Y/n, or I wouldn't have asked."

"I thought you were kind of an asshole," she whispered and he laughed.

"So the beef was real for you," he smiled slightly and she let her face fall gently into her hands.

"Yeah," she breathed out a laugh, "yeah maybe a little."

"Doesn't seem like a little," he goaded and she shot him a glare.

"Okay Lord Lando, maybe more than a little," he pointed at her triumphantly.

"AHA! So it was the instagram comment. I thought you knew I was kidding," A loud groan filled the room as she smacked her head on the table. Lando's giggling could probably be heard down the hall but Y/n found she didn't care all that much anymore.

"It wasn't just the instagram comment," she defended weakly. There was a brief silence as Lando stared into space and shook his head.

"Wow... I can't believe you were actually mad at me and I just didn't know."

"It wasn't that big of a deal I guess, I just felt like you didn't really take me seriously."

"Well I mean you're not a very serious person," Y/n's heart fell to her stomach.

"What?" She asked, staring at him. She couldn't have heard him right.

"Well it's just that you're not very serious are you? Like since I met you, it's never felt like you were a serious sort of person." He added as if that was some sort of defense.

As if that isn't more hurtful.

"You're not like Zak or Andrea, or really anyone else here you know? You're just you, you're different. It was hard to be serious with you here because that's just who you are." He continued.

God just shut up, please for the love of God just shut up.

"This is my place of work Lando," she muttered bitterly. "I mean do you hear yourself." His eyes widened and he put his hands out placatingly. Like she was some sort of rabid animal he needed to calm down.

"No no no," he muttered quickly and stood up to round the table, "that's not what I meant Y/n, you know that."

"Stop Lando, just stop," she said as she began to clear off the table.

Why did she expect him to be different. What made her think he could've changed.

"You made it perfectly clear what you mean. What you think of me and of my work, my career" she spit out, swiping everything on the table into the trash. They hadn't finished eating the pizza and now it was in the bin, but Lando didn't deserve to eat the pizza she helped him make. He didn't deserve to be here at all. He wasn't her friend, he was her coworker and nothing else. It was better she accept that now.

"You misunderstood what I said," he grabbed her arm to stop her from cleaning and she whipped it out of his grasp.

"Stop Lando," she said raising her voice. She knew her eyes were teary but she didn't care. She knew her face was red with embarrassment and her hands were shaking with the force of her humiliation but she didn't care. Lando Norris could go fuck himself.

He looked at her in shock and winced as he saw her face. She steeled herself. She had never cried over a man before, why would she do it now.

"You need to leave, you have a flight in the morning," she said emotionlessly. "And I have to clean so I can go home." He tried to speak and she put her hand up, stepping away from him.

"Get out please, you're in my way," she said and his brows scrunched. He was angry? Good, so was she.

"I'm in your way?" He asked incredulously, as if she didn't have any reason to be upset. "You're not even going to hear me out?" He scoffed.

"No Lando, I don't have time for this. I have a job to do and you're in my way," she said emphasizing the words as if speaking to a child. His face fell. He looked angry.

"Whatever Y/n. What fucking ever," he muttered, grabbing his bag and storming out. Y/n waited. Footsteps in the hallways continued until a far off door slammed.

Y/n wilted like an unwatered plant as tears began to fall.

So much for friends.

She knew deep down she was hurt about much more than just friendship.

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this is the second to last chapter of part one! i hope you enjoy! please feel free to comment and send requests, i'm excited to hear your thoughts <3

𝙩𝙖𝙜 𝙡𝙞𝙨𝙩

@lemon-lav @slutforpopculture @m4rt10ne @urfavsgf @sadsierra2 @96jnie @sltwins @poppyflower-22 @alliumiae @livelovesports @liberty-barnes @the-holy-trinity-l @iliwyss @awritingtree @redpool @elliotts1one @velentine @chaoticmessneutralplease @5sospenguinqueen @charizznorizz @2pagenumb @mxdi0 @cwiphswmwasohmm @tremendousstarlighttragedy @lnspipedrm @itseightbeats @tinycoffeeroom @woozarts @personwhoisther @a-beaverhausen @love-simon @annabellelee @ravisinghs-wife @chezmardybum @greantii @weekendlusting @monserelates @sapphiccloud @halleest @deamus-liv @gigigreens @morenofilm @laneyspaulding19 @lanireadss @dear-fifi @moldyshorts1997 @oliviarodrigostan13 @eugene-emt-roe @ilivbullyingjeongin @im-a-ghost666

#f1 x female reader #f1 x reader #f1 x y/n #formula 1 #f1 #f1 smut #f1 x you #formula one #f1 imagine #f1 smau #lando norris smau #lando norris x you #lando norris x y/n #lando norris fanfic #lando norris x reader #lando norris imagine #lando norris #racew1nn3rs: fake it till you make it #racew1nn3rs

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jaythes1mp · 7 months ago

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This is my first official post, and idk how to feel about it. So any and all comments & reblogs are really appreciated. If it’s bad please comment so I know I have to delete it🙏

Your secrets are ours, Kid

Yandere BatFam x Reader — CH1 -> CH2 -> CH3 -> CH4 -> CH5 -> CH6 -> CH7 -> CH8 -> CH9 -> CH10

Nightwing, who’s known for his impressive acrobatic skills and crime-fighting abilities, has become a prominent figure in the city of Blüdhaven. Renowned for his fearless approach to taking down criminals and has gained a notable reputation among the superhero community.

The guy's identity is a complete mystery, though. Nightwing works alone, leaving many of us to wonder who the man behind the mask really is. — Some say he has connections to Gotham City’s own famous vigilante, Batman.

When the young hero is seen in action, he can be often spotted leaping from rooftops and engaging in daring acts of superheroism, leaving criminals and citizens alike in awe of his skill and courage. Some question if he's a human or something more, while others simply look on in admiration. Despite the secrecy surrounding his identity, Nightwing's reputation seems to grow endlessly.

Then there’s Red Hood, the dark and brooding vigilante of Gotham City, a fearsome sight to behold. His red mask and signature pistols make him easily recognizable, and his actions leave criminals trembling in terror.

Some have speculated him being a former criminal reforming his ways while I believe that he too has ties to our one and only Batman. Despite his dark demeanor and ruthless tactics, it seems clear to me that there is a connection between the two. There has been a lot of evidence submitted for their collaboration, even if they choose to deny it publicly. Though, Batman, known for his strict code of ethics, would not typically associate himself with someone as morally ambiguous as Red Hood. But the circumstantial evidence is too compelling to ignore.

Regardless, Red Hood's impact on the criminal underworld is undeniable. He uses violence and intimidation to enforce his own brand of justice, which is rather admirable, yet causing many to question his brutal methods.

Next up is our one and only Batman himself, the dark knight of Gotham City. He’s a mystery in itself. His tall, imposing stature is enough to strike fear into the hearts of criminals, and his reputation as a master detective and fighter only enhances his mystique.

I have been trying to piece together the puzzle that is Batman's identity. Who is the man under the mask? What drives him to take on Gotham's criminals with such determination?

Though the billionaire Bruce Wayne has long been suspected as the man behind the mask, no concrete evidence has ever been presented. His true identity remains a puzzle, something that adds to his allure and intrigue. Every lead I follow seems to hit a dead end. The playboy is too obvious, too niche. What would motivate a Wayne, someone brought up into filthy wealth, who wastes his money on grand galas and prostitutes, into defending this city? The theory is too far reached.

Next are Red Robin and Robin. Batman’s sidekick-associates. Their partnership with Batman has been evident in their actions and fighting style. However, a rumour has been running around, theorising that the newer Robin was a young child when he had first joined Batman at his side.

Would our beloved hero really force a minor into sighting the dark dangerous streets of Gotham? Would he_

As you sat uncomfortably at the countertop of your kitchen, typing away on your laptop, you were suddenly interrupted by the unexpected sound of someone clearing their throat. You look up from the bright screen to see your roommate standing in the doorway, arms crossed. You raise an amused brow, a grin tugging at your lips at the sight of the other male in pyjamas rather than the usual broody black clothes and leather jacket. You click save and shut off the computer, turning fully to face him. “Yes, Jayson dear?”

Jason’s nose scrunches at the name, even as he stands in the doorway wearing nothing but a thin, well-worn shirt and pants. He looks like a child, which is somehow more than a little endearing. His eyes flickering up and down your frame as he appraises you. Despite the relaxed state his attire provides, his expression is as serious as ever. His hands are stuffed in the pockets of the worn flannel pants he’s sporting, but it does little to make him look anything other than intimidating.

He raises a brow, tilting his head as he looks at you, watching you save your work and then turn to face him. “Don’t ‘yes, Jayson dear’ me, smartass.”

You snort, moving off of the chair and stretching out, the cracks in your back loud enough for him to purse his lips at. “Well aren’t you sour this fine morning.”

Jason scoffs, narrowing his eyes. “It’s four am.” He mutters, crossing the kitchen to get to the coffee pot. He doesn’t really need the caffeine, but he likes the routine. He grabs a mug from one of the cabinets, filling it up with black coffee. He’d just snuck back in after his patrol, not expecting to see you up.

“And I’m not sour,” he says a bit petulantly, taking a sip of the coffee before setting it aside. “I’m concerned.”

Your brow raises higher, turning to the worn down clock practically glued to the wall from all the times you’ve both hit it to get the ticking sound to shut off. It’s a digital, why does it need to make such an annoying sound? “Huh. I guess it is.”

He rolls his eyes, not at all surprise that you would lose track of time so easily when you got lost in your writing. “Yeah, you do that sometimes,” he grumbles, taking another sip of coffee.

He looks you over, studying you intently as he crosses his arms. “How long have you been working?”

You hum, looking out the window into the polluted skies of Gotham. The sun had risen. “What answer will make you the least angry?”

“None of them,” Jason says, a scoff escaping his lips. His jaw twitches slightly as he watches you stare out the window, and he can’t help noticing how tired you look. He’s seen you like this before, pushing yourself to the brink just to finish a project, just to get everything perfect.

“How long?” he asks again, his voice a little softer this time.

“...” you sigh, looking away from the window to face him once more. “All night.” Before he can open his mouth to reprimand you, you cut in. “But! My project is due today. And Tim will decapitate me if I’m late on another assignment...” You rub the side of your face tiredly, displaying an uneven smile.

Jason’s annoyance melts away into concern as you speak. He can tell you’re exhausted, and the thought of you pushing yourself so hard for so long makes him want to wrap you up in a blanket and force you to take a nap.

But he can’t do that. Not when you’re an adult, not when you’re not actually his little sibling. Yet. He settles for crossing the kitchen and putting a hand on your shoulder. “You need to take care of yourself,” he says firmly. “You won’t be any good to your professor if you pass out from exhaustion.”

You grin softly and give a tired nod, fishing out your phone to check the university’s time table. “I only have to go in at nine forty.”

“And then you only have to endure a full day of classes,” Jason says dryly, narrowing his eyes. He gently takes your phone out of your hand and tucks it into his pocket. “No more work until then.”

Your eyes widen at the action, quickly scrambling to get the device back. “You– Jay!” You huff, leaning back against the hard counter. His gaze set sternly on you. You feel small under his gaze, as if he’s your father disappointed in you for stealing a tenner.

Jason crosses his arms once more, his eyes never leaving your face. Looking like the definition of a disapproving older brother. “No,” he says firmly, his voice stern. “You need to rest. I can’t have you passing out in the middle of class.”

He takes a step closer, looming over you as he stares you down. “You’re gonna take a nap, and then you’re gonna eat a proper breakfast. Got it?”

You can do nothing but glare. Cursing under your breath and walking past him. You’ll have to complain to Tim about this later.

He watches you stalk past him, a smirk on his face. He can practically hear you swearing at him in your head. He takes a moment to finish off his coffee before following you into the living room.

“What, no clever comeback? No witty remark?” he teases, leaning against the wall and watching you storm into the living room. “Are you actually listening to me for once?”

You make a show of laying down on his red beanbag, tugging the blanket off of the couch to drape over your form and throwing up the middle finger at him.

Jason can’t help but chuckle at your childish display. He moves towards you slowly, stopping when he’s close enough to look down at your face. He crouches down beside you, a smirk on his lips. He places your laptop on the table opposite you and your phone next to it.

“Real mature, kid.” He says, his voice dripping with sarcasm. He ruffles your hair then stands, descending back into the kitchen. “I’ll wake you up an hour before you gotta leave, don’t worry.”

You sigh, mimicking him in an exaggeratedly high pitched voice. “I’ll wake you up an hour before you have to leave, mehmeheh.”

No use of y/n, currently gn leaning towards male.

Things to note: reader is unaware that the Batfamily members are related yet, age is young adult (19-20), everyone is aged up.

Any questions or feedback is appreciated.

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personnage-neutre · 13 days ago

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"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

#tintin #hergé #journal tintin #le petit vingtième #resources #also featuring:#jean-pierre talbot #quick et flupke #jo et zette #alix #chick bill #monsieur barelli #lefranc #ric hochet #jari

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astarions-wife · 1 year ago

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Okay so looking at the facts, Astarion says he was “one of Cazador’s first” spawn, which makes sense considering it was ~200 years prior, which puts this at 1294 for his turning. However he says “one of” which implies he wasn’t the very first, meaning one of his siblings was before him.

Through the game, we can rule out a few of his siblings as being first. Leon canonically has to be the last, as I doubt that Cazador brought another spawn into the mix during the last 10~ years. Leon has a human child, that he had prior to vampirism, and with both the favorite spawn ledger, and Victoria’s appearance, we can assume she’s likely between 8-10 in that general range. The favorite spawn ledger goes for (six) years, with Leon being 5/6, and Violet taking one year. This can easily imply he has only been a spawn for six years, and also says that given Victoria’s appearance, she was probably only 2-4 when brought to Cazador’s palace, but that’s a story for another time.

Pale Petra’s tells Dalyria in the inn that it’s been “a hundred years of eating rats”, so he was probably turned in the late 1300s, judging by this. Dalyria on the other hand was a physician to the Parliament of Baldur’s Gate, and given that the medical group she speaks of wasn’t founded until the early-ish 1400s, it’s likely that she was found during this time period.

This leaves three: Yousen, Violet, and Aurelia. Now I highly, highly doubt that Yousen was the first of the spawn. A gnome is an odd choice for a vampire spawn in the first place, so he likely wasn’t the first. This would leave Violet and Aurelia, although given one of my previous posts about Violet (found here), Violet likely wasn’t the first—the shadow curse was founded in the past hundred years if I’m not mistaken, and considering the evidence seems to lead her here, she was probably around the same time as Petra’s, perhaps a bit before.

This leaves Aurelia as the first spawn, which makes sense to me. She seems the most anxious, the most scared. She’s the only one who truly, truly begs you for help if you talk to her once Cazador is gone, and centuries of trauma would do that to anyone. Therefore, my ranking is as follows, in order:

-Aurelia

-Astarion

-Yousen

-Violet

-Pale Petras

-Dalyria

-Leon

I know their ages are different, but timeline wise this puts Leon as the youngest, and Aurelia as the oldest—which it doesn’t mean anything, but it’s interesting to think this, considering they’re the original two who are sent after Astarion at the Elfsong Tavern.

As always, this is completely in theory! Only a few of them have concrete evidence, so let me know if I’m missing anything—and feel free to use this for writing or lore as you see fit!

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itsscriptory · 27 days ago

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Another Post About Showing and Telling

I feel like it’s a rite of passage for a writing blog to talk about show, don’t tell, so I’ll take a crack at it.

First of all, to get it out of the way, show, don’t tell is good advice for specific situations, but it’s been taken to mean always show, never tell and that’s not helpful. If you really want to paint with broad brushstrokes, then the better advice would be: Show more than tell. Showing and telling should both be tools in your writer’s toolbox.

But why should we show more than tell? Because showing is the key to the reader's emotional experience with your story. There are many posts and books out there that go over how to turn your telling into showing (like using active verbs instead of passive, for example, or using concrete, specific details in your descriptions), but I think it’s important to fully digest why we’re making those changes and why the reasoning will push us to become better writers.

It all comes down to emotion. Writing For Emotional Impact by Karl Iglesias encourages writers to start thinking to themselves: “I’m in the emotion-delivery business, and my job is to evoke emotions in a reader.” Dialogue, theme, setting, pacing, character development, word choice, structure, POV, showing and telling. These are all tools a writer uses in varying proportions to best manipulate a reader’s emotions. The good news is that when a reader picks up a book, they’re willing to be manipulated. In fact, they hope to be. The tough news is that you have to deliver on a sentence by sentence, paragraph by paragraph, scene by scene, and chapter by chapter basis. But that’s okay, because you’re a writer, dammit, and this struggle is where the art of the craft is.

Showing is where the emotional complexities of our characters, theme, and plot can be revealed gradually without giving too much away too early and robbing engagement from the reader. Showing is what makes the resolution and the journey satisfying. So you can see how much weight it carries and why we want more of that than telling. We’re trying to evoke emotion from the reader, not talk at them like we’re recounting a dream we had last night (yawn). And it’s easier to evoke emotion if we keep them curious. Engaged.

Part of revealing the story gradually through showing is planting evidence for a conclusion that you leave the reader to make themselves, or a conclusion that you will reveal later. Donald Maas in The Emotional Craft of Fiction writes, “The ingredient behind effective showing can be summed up in this word: subtext. When there’s a feeling we’re not being told, but it is evident anyway, that underlying feeling is the subtext. It’s the unspoken emotional truth.” And then a fandom is born and continues to thrive for decades after the show ended! Really, though. Subtext is an ingredient in showing, which fosters engagement, which makes the reader feel something. Sometimes passionately. Every story I love and keep coming back to in one form or another has that special place in my heart because of how it made me feel.

I’ll try to give a simple example here to illustrate subtext and reader engagement at work. Using setting and a couple action beats as an opportunity for subtext, let’s say a character and her sister arrive at their grandmother’s house. Character A remains standing in the corner when invited in, hugging herself, frowning at the green knitted blanket hanging over the couch that looks like the color of nausea. Character B walks easily into the living room, running her hand over the green blanket that reminds her of nature and wellness. In Character B's perspective, she admires her grandmother's craftiness. But it's only in Character's A perspective that we notice the store tag on the blanket. Who do we think has the better relationship with their grandmother, given the evidence? Which one seems more naïve or eager to see her grandmother in a certain light? What assumptions can we make about the grandmother? Might she be putting on a performance of being grandmotherly? The mental work the reader does here would be completely thwarted if the scene had started with “Hannah didn’t like her grandmother because she valued material wealth and appearances over forming a genuine connection with her family.” We can show that instead over time by filtering the world through the perspectives of our characters, and even making it pack an emotional punch if we’re strategic about it.

But I had mentioned that contrary to what show, don’t tell asks us to do, telling isn’t something we should throw away. It can be a tool in its own right.

Telling is explaining, and explaining keeps people distant from what’s happening in the story. How many times has an “I love you” felt kinda meh in a story because that character hasn’t earned that confession by showing their love through their actions or making some sort of sacrifice? How many times have your eyes glazed over while reading the fourth paragraph of an info dump? How many times, when talking about a book you just read, have you said “well, the first 80 pages were slow…” because it was all backstory? Or maybe a story is entirely forgettable because the telling leaves nothing to the imagination. Donald Maas writes, “Put on a page what a character feels and there’s a pretty good chance that, paradoxically, what the reader feels is nothing.”

However, telling has one thing on showing: efficiency. If a book only showed, then it could go on forever and ever. So a writer has to learn how to weave both showing and telling into the story to control the pacing and delivery of information. If you want subtext or you want something to be vague on purpose, then you’ll probably want to show. If you want to deliver information quickly and with clarity, then you might want to try telling. Does it need to make logical sense to understand the upcoming scene? Maybe tell. Is this transition unimportant to the story and you don’t want to linger? Try telling and see how it works! Ask your beta readers how it worked for them. Of course, if you’re writing in the literary genre, you might be doing a whole lot of telling because what propels the reader to the next page and the next chapter is the form, the prose, and the sheer depth of the exploration of flawed characters.

It’s all about balance. And practice. Next time you read a book and you find yourself moved, try to figure out how the author just evoked that feeling from you. Was it stated plainly, or was it shown through action? Was it stated plainly after a whole book’s worth of setup through subtext? Was it unexpected? What was the balance of showing and telling that led to it? Or, if you find your focus trailing off, try to figure out why. Then, when you’re editing your own work, you’ll have the tools you need to identify the weak points and make revisions. And it’s okay (even expected) if the perfect balance of showing and telling doesn’t occur in the first draft. The Artful Edit by Susan Bell (highly recommended) talks a lot about the revisions that went into The Great Gatsby. You'll find that his writing struggles are comfortingly familiar. Luckily, he certainly had a wonderful editor :)

For further reading/watching:

[VIDEO] ShaelinWrites—Show, Don’t Tell | what it means and how to use it

[BOOK] Showing and Telling in Fiction by Marcy Kennedy [BOOK] A Writer’s Guide to Active Setting by Mary Buckham

#writing advice #writing tips #writing community #writers of tumblr #writing #creative writing #writeblr #fiction #show don't tell

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samwinchesterism · 10 months ago

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in re: “cas knows dean better than sam”

“cas sees dean as a whole person and sam just sees dean’s façade as his big brother slash parent” but like how and where. outside of your fanfiction. season and episode. scene and line. if it’s so obvious and apparent you should have at least 3-5 concrete examples right? “sam doesn’t know dean carried him out of the burning house” yeah but did cas? outside of a footnote in the angelic manila folder they gave him between seasons 3 and 4 so he could better manipulate him and sam into doing heaven’s bidding? like if you’re going to say “cas knows dean better than sam” than you need to show how cas succeeds where you perceive sam to be failing at the very least. but even your perceptions of how sam doesn’t measure up are so warped, blinkered, and moronic that it wouldn’t even be worth much if you could provide the textual evidence, but at least you’d have a semblance of a point. like say anything without going “as an eldest daughter…” “well my relationship with my sibling isn’t…” please say anything without fucking projecting your own self-pitying crybaby bullshit onto your little woobie dean and using the actual canon text of the show. I’m literally begging you.

like the thing of it all is and always has been that you’re so hell-bent on twisting the sam and dean relationship to fit into this narrow and almost entirely inaccurate mold which is the basis upon which you build the entire Destiel Mythos that you literally lose all sense of media literacy. you don’t even miss the forest for the trees, you miss the trees for like, the pretend invisible things you’re seeing in between the trees, the forest is a whole long way away from your current level of perception. because the Destiel Mythos is based entirely on the fact that dean is Not Seen and Not Appreciated and Not Loved and Cannot Be Himself until cas comes along, and that Family (read: sam) Is Only A Burden on Him That He Must Be Freed From In Order to Flourish, so you keep trying to warp the sam relationship into something that is only one dimension of it – and keep ignoring the ways in which dean is seen, loved and understood within it, because you need to keep lying to yourselves that there is a narrative need to emancipate dean from something that he has never wanted emancipation from because it is ultimately a net good for dean in the particular circumstances of their lives. it’s also profoundly unhealthy, codependent, evil and toxic etc. (a lot more dean’s fault than sam’s but I will nawt be getting into all that right now) but that doesn’t change the fact that sam and dean both know and understand and feel deeply that they are each other’s person – that they know the best and love the most in the world. but that – which IS true canon fact – is incompatible with the Destiel Mythos so it must be ignored and all good sense must be thrown out the window in order to do it.

anyway i digress there are two main categories of Bad Thinking that i will be addressing below

childhood/ “parent/child” / blah blah blah

every single thing people are saying in favour of the deeply stupid thesis in the title of this post is proof positive of the very silly form of ‘analysis’ I just described. a few things:

“wah sam didn’t know that dean carried him out of the burning house :( this means that dean withholds things from sam to protect him because he is a PARENT and sam can only know things about him in the context of him being a PARENT to him” – what the fuck are you on about genuinely. first of all reducing the sam/dean relationship exclusively to parent/child is in itself foolishness for so many reasons that I don’t have time for right now. but also, it’s clear that this is just something that happened when sam was a baby that just never came up. in the scene (1.09) where this is brought up, dean is mildly surprised that he or john never mentioned that detail and then states that sam knows the rest of the story (i.e. the actual traumatic stuff) just as well as dean does – which is true, demonstrably whenever they talk about it.

obviously there are some things that happened to dean in their childhood that sam doesn’t know about (or didn’t know about, until told in whatever episode they come up in). equally, there are things dean doesn’t know about sam’s childhood, e.g. the fact that he was so lonely he needed a zanna (11.08). or how dean didn’t remember that sam was friends with barry cook until he mentions it when they go back to their old school (4.13). or about the nature of sam’s relationship with amy pond (7.03). these don’t mean that ‘sam withheld these things to protect dean out of parental love’ lol, it’s just that there are details and events in each of their lives that the other happens to not have been told about.

similarly “sam didn’t even know dean wanted to be a firefighter L” girl did dean know sam wanted to be a lawyer? in 1.01 he’s pretty surprised that sam has a law school interview. the point here isn’t “neither sam nor dean know each other well,” these are minutiae that aren’t relevant to how well you know someone as a whole, and very poorly demonstrate the bad and inaccurate point that dean withholds things from sam the way a parent does a child (on a constant or regular basis). obviously the way they were raised, sam was deemed too young to know about certain things until he got older and dean had to keep that secret, but as shown in 3.08 flashbacks, most if not all of this is eventually revealed throughout their childhood when sam is still fairly young.

or possibly the dumbest one is that “wah sam doesn’t even know that dean reads books L” whenever that was he was also obviously joking because in more serious moments (e.g. 8.14) he admits that dean is smart/a better researcher than he is, literally remembers dean reading to him as a kid (8.21) so like. clam down

one of the extra annoying variants of this type of ‘proof’ covers things that are very clearly novel pieces of information about dean that dean, sam, and the audience are learning about dean in real time. like if you’re actually watching the show to comprehend it as it was intended to be comprehended, instead of funnelling everything through the Destiel Machine until it’s unrecognizable slop that fits neatly into your pre-ordained molds that Make Destiel Necessary In the Narrative (when it actually isn’t, at all) it’s abundantly clear. the top two worst offenders:

“sam didn’t even know that dean is good with kids :( he doesn’t even realize that dean raised him :(” first of all you people need to understand that parentification does not literally create a parent-child dynamic between siblings but I digress – this doesn’t make any sense bro. in 1.03 dean admits he doesn’t know any kids as an adult. dean being good with his own kid brother when they were both kids is to any reasonable person not necessarily linked with him being good with other random kids when he’s an adult. in 1.03 it’s clear that dean himself is a bit surprised that he’s able to connect w/ lucas so well because he’s clearly not dealt with a lot of kids since sam grew up. the whole point of this is that dean, sam, and the audience are all sort of seeing a new side of dean. who again is just 26. after this very early episode, there’s no question from sam that dean is able to connect w kids. sam being a bit surprised by this also has absolutely zero connection with him not understanding or realizing that dean looked out for him when they were both kids – sam is standing there at 22 years of age talking about adult dean and children – of fucking course he doesn’t mean himself are you stupid.

from the very first season, sam is very clearly aware of everything dean ~did for him~ when they were kids, see e.g. 1.21: “Dean...ah...I wanna thank you. […] For everything. You've always had my back you know? Even when I couldn't count on anyone I could always count on you. And I don't know, I just wanted to let you know, just in case.”

and 1.06: DEAN: Well, I’m a freak, too. I’m right there with ya, all the way. (SAM laughs.) SAM: Yeah, I know you are.

and then possibly even more stupidly, the one where it’s like “wah sam doesn’t even know dean can cook :( he doesn’t even know that DEAN was the one making him food as a babe in arms :(” – when sam is surprised that dean made something fairly gourmet and from scratch literally the first time they have ever had a permanent living space with a functional kitchen. in this VERY scene (8.14), dean himself points out that they haven’t had a kitchen before and when sam remarks on the irregularity of him doing serious cooking, he says “I’m nesting”, clearly showing that this is a novel development because they now have a kitchen, and that it’s irregular relative to past behaviour – both of them acknowledge this. because real proper in-depth cooking and making box mac and cheese for sam until he was like 11 and old enough to be left alone are two different things, which sam understands because he’s smart, unlike whoever chooses to make this point. dean never showed significant signs of liking to cook before this, which is what the exchange is about, but he did have to prepare food for them both when sam was too young – of course sam knows he had to, there are childhood memories referred to (e.g. 14.11) where sam is mentioned to literally help dean do the cooking as kids lol (and yes, genius, sam says ‘I didn’t know you knew what a kitchen was’ or something to that effect, but if you think he’s being 100% literal there I have an oceanfront property in Kansas to sell you)

again, obviously there are pieces that sam doesn’t know about dean, e.g. when he’s talking about his response to mary dying in 1.03. but again, Sam is 22, dean is 26, the last time they were in regular contact was when sam was 18-20, these are things that happen when people grow up, they’re able to reflect and share on childhood experiences if they’re close with their siblings as adults. it’s clearly not something that 26 y/o dean wanted to hide from 22 y/o sam. yes sam didn’t know everything about how dean felt when they were young, but that’s equally true in the other direction, and it’s such an irrelevant point in this discussion when, crucially, sam does learn these things about dean mostly fairly early on in the series (i.e. when they’re really not that deep into adulthood yet). cas was also not magically blessed w/ knowledge about dean, he also had to learn whatever it is that he knows, but somehow sam has to know everything about dean from age 7 or it doesn’t count when it’s sam lol.

“sam doesn’t know the One True Dean / doesn’t see through his facades”

the next branch of defending this flawed thesis is invariably that sam has little idea of the fronts and facades that dean puts up and is content to just believe them, whereas cas digs deep and sees the One True Dean that stupid sam always misses. there is nothing in the text that demonstrates this is true. multiple times, we see sam being very knowing of the fact that dean puts up fronts and facades. sam is also knowledgeable of the way dean perceives himself, and – demonstrated in multiple episodes before such sam lines were very poorly recycled and regurgitated into cas’s dialogue in 15.18, but keep acting like that was the first time anyone ever showed that they knew the One True Dean.

Obviously there are times where sam teases dean when he’s being more touchy-feely than usual, but 9.99 times out of 10 (as a conservative estimate in case there's something i'm forgetting otherwise i would say every time) that’s very clearly coming from a place of knowing the real dean vs. the façade he puts up because that’s the whole joke. and it’s allowed to be a joke because they’re siblings and that’s what siblings do lol. esp since sam and dean have touchy feely moments at the end of like every episode.

examples of all of the above off the top of my head (there are more than these, but these are the ones I can think of):

2.02 (about John’s death)

Sam: “I mean this ‘strong silent’ thing of yours, it's crap. […] I'm over it. This isn't just anyone we're talking about, this is Dad. I know how you felt about the man.”

Dean: “You know what, back off, all right? Just because I'm not caring and sharing like you want me to.”

Sam: “No, no, no, that's not what this is about, Dean. I don't care how you deal with this. But you have to deal with it, man. Listen, I'm your brother, all right? I just want to make sure you're okay.”

2.03 (Sam to Dean, also about John’s death): “You know, you slap on this big fake smile but I can see right through it. Because I know how you feel, Dean. Dad's dead. And he left a hole, and it hurts so bad you can't take it, but you can't just fill up that hole with whoever you want to. It's an insult to his memory.”

Note that Dean essentially admits that Sam is right in these two instances in 2.04 bc I know yall have stupid shit to say about john too that has nothing to do with how anyone actually felt about him in canon

3.07 (about Dean’s demon deal – also proven true in later episodes)

SAM: Dude, drop the attitude, Dean. Quit turning everything into a punch line. And you know something else? Stop trying to act like you're not afraid.

DEAN: I'm not!

SAM: You're lying. And you may as well drop it 'cause I can see right through you.

DEAN: You got no idea what you're talking about.

SAM: Yeah, I do. You're scared, Dean. You're scared because your year is running out, and you're still going to Hell, and you're freaked.

DEAN: And how do you know that?

SAM: Because I know you! […] Yeah, I've been following you around my entire life! I mean, I've been looking up to you since I was four, Dean. Studying you, trying to be just like my big brother. So yeah, I know you. Better than anyone else in the entire world. And this is exactly how you act when you're terrified. And, I mean, I can't blame you. It's just […] I wish you would drop the show and be my brother again. 'Cause... (can't find words; tears in his eyes) just 'cause.

5.18 [Sam figures out what Dean is doing re: his plan to let Michael possess him, tracks him down, and eventually is the catalyst for Dean ‘making the right call’, which he predicts] – e.g.:

SAM: No, you won’t. When push shoves, you’ll make the right call

DEAN: You know, if tables were turned…I’d let you rot in here. Hell, I have let you rot in here.

SAM: Yeah, well…I guess I’m not that smart.

DEAN: I—I don’t get it. Sam, why are you doing this?

SAM: Because… you’re still my big brother.

8.14 (basically the o.g. version of whatever went on in 15.18 + sam intrinsically understanding the trials are a death wish for dean): “I'm closing the gates. It's a suicide mission for you. I want to slam hell shut, too, okay? But I want to survive it. I want to live, and so should you. You have friends up here, family. I mean, hell, you even got your own room now. You were right, okay? I see light at the end of this tunnel. And I'm sorry you don't – I am. But it's there. And if you come with me, I can take you to it. […] I AM smart, and so are you. You're not a grunt, Dean. You're a genius – when it comes to lore, to – you're the best damn hunter I have ever seen – better than me, better than dad. I believe in you, Dean. So, please – please believe in me, too.”

10.22 (understanding how much dean has ~done for him~)

SAM: I'm saving my brother.

CASTIEL: You told Dean—

SAM: —I know what I told Dean. Cas, look. I've been the one out there, messed up and scared. And alone. And Dean—

CASTIEL: He did whatever he could to save you.

SAM: Yes. I mean, it's become his thing. I owe him this. I owe him everything.

10.23 (basically the o.g. version of whatever went on in 15.18, x2 – from Sam to Dean): “You were also willing to summon death to make sure you could never do any more harm. You summoned me because you knew I would do anything to protect you. That's not evil, Dean. That's not an evil man. That is a good man crying to be heard, searching for... some other way. […] You will never, ever hear me say that you -- the real you -- is anything but good.”

11.13 (Sam understanding exactly how Dean feels about Amara being his ‘deepest desire’, and confirming that it doesn’t make him a bad person)

Dean: Why? Because if she is that means that I’m…

Sam: Means you’re what? Complicit? Weak? Evil?

Dean: For starters, yeah.

Sam: Dean. Do you honestly think you ever had a choice in the matter? She’s the sister of God, and for some reason she picked you and that sucks, but if you think I’m gonna blame you or judge you…I’m not.

Dean: You know that I want her ass dead.

Sam: Yes. Of course. And I know you’ve also probably beaten yourself up a hundred times over it, but where has that gotten us? (Long silence) Just how bad is it?

13.02 (Sam perfectly explaining Dean’s psyche to Jack)

JACK: Is that why Dean hates me?

SAM: Dean doesn’t hate you. It… Look, sometimes the wires in Dean’s head get crossed and—and he gets frustrated, and then he mixes frustration with anger, and—and fear.

JACK: Why would he be afraid?

SAM: Because Dean feels like it’s his job to protect everyone. And right now, we need to protect you. But we may also need to protect people from you.

14.03 [Sam assesses Dean’s psychological/emotional response to the Michael possession; end of episode, Dean confirms that Sam’s assessment was fully accurate]

14.10 [Sam is the only one able to snap Dean out of his weird Michael mind loop by using their code word]

14.11 [Sam figuring out that something is troubling Dean just based on the fact that Dean hugs him]

15.17 (self explanatory at this point)

DEAN: Chuck has to die. He has to! Otherwise he'll keep us tap dancing forever, and I can't live like that, man! I can't live like that! I won't!

SAM: I know you feel like that right now, okay. I know you do. But you gotta trust me. My entire life, you've protected me— from Dad, from Lucifer, from everything. I didn't always like it, you know, but... it's the one thing in the whole world that I could always count on. It's the only thing I've ever known that was true. So please... put the gun away. Just put it away, and we'll figure it out, Dean, we'll find another way, you and me. We always do.

like maybe there are some cas moments w dean along these lines too. i don't know, i don't remember what the guy says or does anymore it's been too many years and he is not memorable. but the point is where and in what capacity and based on what metric other than the amount of bad fanfic you've read does cas exceed sam in these respects.

so basically just. genuinely, what are you people literally ever talking about. go watch the show instead of saying stupid wrong stuff about sam on the hellsites all day. or watch another show (please for the love of god watch any other show this one is absolutely lost on you and it’s such a stupid one too i'm embarrassed for you)

#sorry i wasnt gonna be able to sleep otherwise my blood pressure got too high #sam winchester meta #sam winchester #anti destiel #sam and dean #whatever else my tags are #haven't done this in a minute #i'm sorry for being a cunty sam stan (tm) in this but have you considered we'd be nicer if you ppl were less dumb #this is not proofread it's not real meta

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willows-escape · 5 months ago

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My Angel - 1990!Erik x Reader

Pairing: 1990!Cherik x AFAB!Reader (gender neutral pronouns/language)

Summary: You woke up that morning expecting a peaceful, regular day, but you were quickly proven horribly wrong as things began to travel down south. Fortunately, Erik is there to try and relieve some of the pain - even if it is excruciating.

Warnings(/Tags?): menstruation, descriptions of extremely painful periods (adenomyosis/endometriosis), erik is dramatic but its okay he has an excuse, nausea, mentions of vomit but no actual vomiting, early 1900s appropriate period shame, blood and heavy bleeding, brief mention of reader not eating all day but it's only due to lack of appetite, reassurance, fluff!!!!, like TOOTH ROTTING sweetness!!!!

Words: 6.9k

Notes: this isn't what i originally planned to post today, but i have adenomyosis and when my periods come they come bad and the pain is making me feel very sorry for myself. and i did promise something soon. so this is just self indulgent fluff in the mean time.

the other thing i was writing will be entirely gender neutral, so people who do not at all identify with menstruation or just don't want to read about it will hopefully enjoy that when it's done!

DISCLAIMER - this is based off of my experiences with periods, which will not look like most because I have a gynaecologic condition. but if you do 100% relate to this, go see a doctor! like, yesterday!

The morning began like any other, with a restless night's sleep behind you. As you stirred awake, you found yourself alone in bed, but a smile crept across your face as you noticed the lingering warmth on the sheets beside you - a subtle reminder of a certain someone’s recent presence.

Succumbing to the lethargy that clung to your limbs, you reached for the nearest available outfit. The garments were wrinkled and well-worn, but they served their purpose of preserving your modesty. You slipped them on, grateful for the barrier they provided against the cool morning air, despite their less-than-pristine condition.

As you emerged from your bedroom, you stumbled, the door slamming shut behind you with an echoing thud. Your body felt leaden, each limb weighed down as if filled with concrete. Shafts of light piercing through the stone crevices assaulted your eyes, intensifying the dull throb that had begun to pulse at your temples.

"Erik?" your voice cracked, barely above a whisper. The name came out as a hoarse, groggy mumble, hardly recognizable even to your own ears.

Despite your feeble attempt at calling out, Erik appeared before you almost instantly, as if summoned by your whisper.

"Y/N! You're up," he said joyfully, his body adorned in one of his special going out outfits, "much earlier than usual, may I add. I was in the middle of preparing us a picnic before you have to go back up but-"

His gaze finally narrowed onto your hunched form, his previous relaxed expression shifting to one of concern. Your dishevelled appearance was evident - your hair in disarray, your eyes glazed over, bloodshot, and unfocused. It was clear that you were far from your usual self, and to put it lightly, appeared extremely unwell.

"What is the matter?" he asked. You hadn’t noticed it before, but the picnic basket he had been holding clattered to the stone floor, forgotten in an instant as his full attention focused on you.

As though his question was the trigger, a wave of nausea crashed over you. Your chest constricted, forcing you to hunch over even further. Your skin flushed hot in an instant, beads of sweat forming and quickly multiplying across your skin.

"Angel, what's wrong?" Erik's voice trembled, his words tumbling out in a rush. Had you been more lucid, you might have felt a pang of guilt for causing him such distress.

"I'm fine," you mumbled unconvincingly. His hand gently rested on your shoulder, and instantly your body betrayed you. The comforting touch seemed to signal to your system that it was safe to let go, and suddenly, you felt overwhelmed by a surge of nausea and dizziness.

A dull ache blossomed in your lower abdomen. Your breath caught in your throat as you instinctively pressed a hand against your stomach. The discomfort flooded your senses as your face contorted, a grimace etching itself across your features as you struggled to maintain composure.

Within moments, the discomfort escalated from a mild annoyance to an all-consuming agony that left you immobilized.

Shivers began to wrack your body. Your legs turned to lead, a numbing sensation creeping up from your toes. Simultaneously, a searing, deep-seated ache took root in your lower back.

If Erik was worried before, he was panicking now. His eyes widened with alarm, his breathing quickened, and his usually steady hands began to tremble visibly. The calm composure he typically maintained crumbled in an instant, replaced by an overwhelming sense of dread and urgency.

Your legs buckled beneath you, your vision blurring as you felt yourself wilting towards the unforgiving stone floor. Erik sprang into action, his arms shooting out to catch you. The world spun as he scooped you up, your body limp in his grasp. A sharp cry escaped your lips as the sudden movement sent a jolt of agony through your core, the comfort of his embrace overshadowed by the searing pain that threatened to consume you.

With swift strides, Erik navigated the winding halls, cradling you protectively in his arms. He retraced your earlier path, arriving at the door you had just exited moments ago. With a forceful kick, he flung it open, revealing the familiar sight of your shared bedroom.

"I'm going to set you down onto the bed," he explained slowly, his voice a soothing balm to your frayed nerves. "I’ll be as careful as I can."

When he gently pulled back the blanket on your side of the bed, you felt a slight jostling. Your attention, however, was abruptly drawn by a sharp intake of breath, his gasp cutting through the silence of the room.

"Erik?" you mumbled weakly. Your words were abruptly cut off as another wave of pain tore through your abdomen, causing you to cry out involuntarily.

Once more, you felt yourself being moved, this time to Erik's side of the bed. Confusion clouded your mind - why the change? But as you weakly lifted your head, the reason became starkly clear.

"Oh god-" you gasped, your eyes widening in shock at the sight before you. The vivid crimson stain on your side of the bed was impossible to ignore, its stark contrast against the pale sheets making your stomach churn with a mix of embarrassment and dread.

“I need to go find Gerard, you need to be seen by a doctor,” he declared, voice urgent and desperate.

He finally lowered you onto the clean side of the bed, and your eyes instinctively sought his face. It was then you realised his mask was off, likely because he hadn't anticipated you waking so soon. Without the barrier, you could clearly see the stark pallor of his unmarked skin and the unmistakable fear etched across his features. His typically composed demeanour had given way to raw, unfiltered concern that was both touching and unsettling.

He turned to leave.

"Erik, wait," you gasped, your hand shooting out to grasp his arm. "The pain is... excruciating, I won't lie. But I don't think—"

Your words were cut short as another wave of agony crashed over you. A strangled whimper escaped your lips as you curled into yourself, your body trembling uncontrollably. The pain was all-consuming, leaving you breathless and disoriented. You clenched your eyes shut, willing the torment to pass, knowing all you could do was endure until it subsided.

"Where's the pain? Can you pinpoint where you're bleeding from?" his eyes darted across your form, taking in your dulled complexion and the sheen of sweat on your skin. "You're burning up. Do you have a fever?"

His questions came in rapid succession, but his touch remained gentle as he brushed your damp hair away from your forehead.

"I... um..." you hesitated, struggling to articulate through the pain. The situation presented a dilemma: discussing such a private matter with a man felt improper, yet the severity of your discomfort and the alarming amount of blood made it impossible to simply dismiss. You found yourself caught.

Another intense surge of pain rose in your stomach, but this one more overwhelming than the last. Your ability to speak fully vanished as your eyes clenched shut. Soft whimpers escalated into frantic, muffled cries as the relentless throbbing in your lower abdomen intensified, twisting your nerves and leaving you gasping for breath.

"Angel, please, tell me what’s going on," Erik pleaded, tenderly taking your hand in his. The desperation in his eyes was palpable as he watched you struggle to form words. “I really believe you need a doctor, please just let me-”

"No, please," you winced, your voice barely audible through gritted teeth. The words came out strained, a mixture of pain and embarrassment colouring your tone. "It's... it's not something I can easily explain," you paused, taking a shaky breath before adding, "it's rather private."

"Private?" he echoed, his voice a mixture of disbelief and concern. "Forgive my being impolite, but you are currently writhing in agony and bleeding profusely- how on Earth is that private!?"

"Erik," you implored, your eyes silently conveying your discomfort with the subject. However, his concern for your well-being trumped any social niceties. Undeterred by your unspoken plea, he persisted with his questions, determined to understand and help.

"If you explain what's happening, I might be able to help," he insisted. You gave him a sceptical look, but he pressed on, "my years in isolation weren't idle, I've acquired a vast array of knowledge from the countless books that have kept me company."

"It's just not appropriate for me to discuss this with you!" you cried in refute, your voice strained with both pain and embarrassment. Despite your best efforts to remain composed, your tone came out sharper than intended.

You silently prayed he would forgive you, considering the fact that you were enduring mind-boggling amounts of pain. Not only that, the fact you could distinctly feel the familiar warm leakage of blood trickling down your thighs and onto the bedsheets below was driving you utterly insane.

Shame coursed through you as your eyes fell upon the stark evidence of your debilitating pain staining the otherwise white sheets. Averting your gaze, you felt utterly exposed and vulnerable. An overwhelming desire to shield yourself from Erik's concerned stare gripped you, making you wish you could simply disappear.

However, your discomfort eased as Erik's touch changed. His firm grip on your hand softened, his fingers now tracing gentle patterns on your skin. Despite the worry in his eyes, you sensed his effort to stay calm for your sake.

Your heart tugged in your chest at the realisation.

"Y/N," he began, his voice tender yet hesitant as he tried to hold himself together. His gaze locked onto yours as he struggled to maintain his composure. "Please, put your shame aside for one moment and let me in- if only so that I can help you. It kills me to see you like this."

His ignorance of the situation was evident in the way his chest heaved and how he chewed the inside of his cheek with a vengeance. It was clear he believed you were in grave danger. You knew you needed to say something to ease his mind, even if it went against everything your instincts were telling you to do.

"Oh," you breathed, wincing as another wave of pain crashed over you. "It's... it's a delicate matter. Not something typically discussed in polite company."

"Do I look like polite company to you?" Erik's sarcastic retort was accompanied by a growing urgency in his previously calm ministrations. His eyes started to dart frantically between the blood staining your skin and your tired, visibly distressed face.

You took a deep breath, steeling yourself for Erik's potential upset. Despite your fears of his disgust or anger, of him calling you dirty or telling you to leave until you return to normal, a small part of you hoped he might be more understanding than expected. It was this glimmer of optimism that gave you the courage to finally speak.

"Erik," you began hesitantly, "are you familiar with the concept of... menstruation?"

The prolonged silence following your question spoke volumes. When Erik finally shook his head, it only confirmed what you had already suspected.

"Well," you began hesitantly, searching for the right words, "it's a process that occurs in people with uteruses. It involves bleeding and a lot of pain, typically happening monthly for one week out of the month. I don't really know much about the biological reasons behind it, but-"

Your explanation was abruptly halted as another shock of excruciating pain engulfed you. Erik, sensing your distress, quickly offered his hand. You latched onto it, your grip surprisingly fierce. As the agony intensified, your body convulsed against the sheets, and muffled sobs escaped your lips. You desperately willed the torment to stop, but it seemed endless despite your determination to endure.

"Fuck!"

Erik looked taken aback by your cussing, but seeing as you were squeezing his hand so hard he felt like your aim was to tear it off, he didn't focus on it too much.

Eventually, the pain faded back to its baseline ache - which was still extremely unpleasant, but manageable.

"I apologize," you coughed through your tears, your voice strained as you brushed away the beads of sweat trickling down your forehead.

"There's no need to apologize," he reassured, his voice filled with compassion. "I'm deeply concerned for your wellbeing, but I trust your understanding of this situation. If you say it's not life-threatening, I will trust you."

“Yeah, I'm definitely in no life threatening danger," you assured him, "but the pain is so intense, it almost feels like I am."

"It hurts so badly," you whimpered, tears welling up in the corners of your eyes, threatening to spill over. "Ever since I was young, I've had to live with such excruciating pain and such heavy bleeding that I can barely function or even leave my bed. It's so exhausting and I've lost count of the times I've passed out on dirty floors, lying in my own vomit because of this."

"I know, I know," he murmured, not truly understanding and internally slightly horrified but wanting to comfort you regardless. He gently wiped away your tears as they fell, his touch tender and reassuring.

"I'm so sorry," you whispered, your voice thick with emotion. "This is terribly embarrassing. You shouldn't have to witness this. You tried to regain composure, but the combination of physical discomfort and emotional vulnerability made it impossible to stem the tide of tears.

Suddenly, Erik began to move. Your attention was so focused on the hurricane of emotions swirling around your body that you barely noticed him shifting to your side of the bed. It wasn't until he began to lower himself onto the mattress beside you that panic set in, causing you to react instinctively.

"No, wait!" you exclaimed, your sudden outburst causing him to recoil in surprise. Realizing your tone, you softened your voice. "I'm sorry, but please don't sit there. I... I don't want you to get dirty."

"Dirty?" Erik repeated, his eyes flickering to the stain beneath him. A soft chuckle escaped his lips. "It's just blood, I mean really- it's not like I haven't been covered in my own fair share of the stuff. This small spot is hardly cause for concern."

"Erik, please, it's not just blood!" you insisted, the shame taking over as you looked at the spot where you'd bled. It didn’t help that you were in too much pain and felt far too weak to even do anything about it!

He raised an eyebrow at you. "How can it be 'not just blood'? Does your blood contain arsenic?"

You couldn’t help but groan at his sarcastic retort.

"Menstrual blood comes from a person's private areas," you grumbled, your cheeks burning with embarrassment as you tried to convey the gravity of the situation.

He paused for a moment, then replied, "well, that certainly wasn't the answer I expected, but it doesn't change my opinion. Blood is blood, no matter where it comes from. Besides, fabric—and people—can always be washed. You don't need to be moving around for the sake of preserving meaningless things, you need to rest."

"But!-"

"Now that that's settled..." he shrugged off the jacket he’d been wearing and eased himself onto the mattress, inching closer to your awestruck form.

You were utterly speechless. He just- and then he- and he said-

"May I hold you? I won't if it causes you pain," he asked, his voice earnest and gentle. His tender concern only added to your bewildered state.

Words failed you as Erik gently pulled you into his embrace. The warmth of his body enveloped you, offering a comfort you didn't realize you so desperately craved. Despite the momentary twinge in your abdomen as he carefully adjusted your position, you found yourself melting into his arms. In that moment, his presence was a bandage to your pain-wracked body and troubled mind.

"Is this position comfortable?" He inquired. His arm gently supported the back of your neck, while his other hand rested lightly on your upper arm, providing a comforting presence without applying pressure. You managed a small nod in response, grateful for his attentiveness.

"Good. Now, where does it hurt?"

As his hand began to drift lower, more particularly towards your thighs, you suddenly realized the direction his thoughts were taking. Your eyes widened in a mix of surprise and mild alarm.

"Wait, not there!" you exclaimed, immediately regretting your sudden outburst as a fresh wave of pain surged through you. You winced, silently chastising yourself for your impulsive reaction.

"Oh. My deepest apologies," Erik said, his voice tinged with embarrassment as he blinked sheepishly. "I wouldn't have touched you anywhere without permission, but when you mentioned the blood's origin, I assumed—well, I thought—"

"Yeah, I know what you thought," you laughed breathlessly, wincing as another flash of pain assaulted your insides. "But contrary to your guess, the pain is mainly in my lower abdomen. Still, I appreciate your... eagerness to help."

His hand, which had been hovering uncertainly, now settled gently on your stomach. The warmth of his palm seeped through your skin as he watched your face intently, searching for any sign of discomfort. Finding none, he took your relaxed expression as silent permission and began to move his hand in slow, soothing circles.

Your mind went blank.

The warmth of his hand on your stomach felt heavenly. The sensation was unlike anything you'd experienced before. While it didn't eliminate the pain by any means, it soothed the intensity more than you thought anything ever could. As his fingers traced slow, deliberate circles on your skin, you felt your entire body relaxing, tension melting away with each careful movement.

Your tears, once born of shame and torment, now flowed from sheer relief.

"Thank you," you sniffled, peace washing over you whilst your body finally began to relax. As your muscles slowly unclenched, the bed beneath you seemed to transform, becoming a soft, inviting cloud that cradled your aching form.

Erik could sense your growing ease just from the shift in your demeanour. He was well aware that the mattress and bed sheets were likely ruined, but your comfort and rest took precedence over any stains—especially ones that no one else would ever lay eyes on. And it wasn’t like he couldn’t always procure new clothes for you if your current ones were beyond saving.

"Rest now, angel," he murmured softly, his hand continuing its soothing motions. "I'll be here when you wake up."

As you drifted off into a peaceful slumber, Erik decided it was probably time to delve into those medical journals he'd long avoided.

What? He just preferred reading fiction, that's all.

As evening fell, you stirred from your sleep, immediately noticing the emptiness beside you. Your hand brushed against the cool sheets where Erik had been, confirming your suspicion—he had left your side some time ago. Disappointment creased your brow as you pondered his whereabouts.

You laid motionless on the mattress, your gaze fixed on the spot where Erik had been before you drifted off. The pain in your lower abdomen persisted, but it had noticeably diminished compared to earlier. Your skin felt clammy, and your throat parched, yet overall, you felt surprisingly okay.

"You're awake," a familiar voice called from the corner of the room.

Your frown melted away as you realized he hadn't left at all. True to his word, Erik had simply shifted to the corner of the room, maintaining his vigilant watch over you.

"It's 7:30 PM, which is quite an unusual time to start your day, don't you think?" he teased. You sat up, observing him sitting comfortably in the chair you two kept in the room for convenience's sake.

This time, he wore his mask, unlike earlier when you had awoken. Your gaze drifted downward, landing on the enormous tome in his hands—the bulkiest book you'd ever laid eyes on. Curiosity piqued, you gestured silently toward the literary behemoth he cradled, wordlessly urging him to elaborate on the book in his grasp.

"I know—this is definitely a hefty one. Thank god for chapter indexes," he remarked, weighing the book in his hands. "However, I must say, its contents are appallingly lacking in knowledge."

"How so?" you prompted.

"Well, this is supposed to be a medical journal, and yet, when I look for information on menstruation, it's woefully inadequate," he scoffed. "It merely states that menstruation is linked to the reproductive cycle and helps the uterus prepare for potential pregnancy. That's all."

"Well, that's still more than I knew before," you said with a shrug.

"It's obscene. I read in another book that it happens to half the population from around ages 16 to 50, and yet so many people have gone their whole lives not knowing why?" He shook his head in bewilderment. "And I thought science had come much further than that."

“You read another book? How many of these have you read?” you asked, astonished by his dedication.

“Oh, just whatever I had lying around. A couple dozen or so,” he replied, as if everyone just had dozens of books on medical knowledge floating around their abode. “But some of them were so old they attributed menstruation to miasma, so I didn’t pay much attention to those. And I also busied myself with books on herbal remedies and pain relief- apparently there’s this new medicine called Aspirin on the market? Exciting, but I can’t get a hold of that right now, unfortunately.”

As he rose from the chair, you noticed the stacks of books surrounding his feet. He hadn't exaggerated when he mentioned "a dozen or so" - they were all massive, thicker than any you'd ever seen! You racked your brain, trying to recall where in the cellars he might have been concealing these enormous volumes, but you couldn't remember ever spotting them before.

"I may be mistaken, but you seem to be feeling better than you did this morning," he observed, neatly arranging the books into orderly stacks rather than leaving them scattered haphazardly.

"Definitely," you nodded. "The pain is still present, but it's significantly less intense now."

"That's good," he replied, humming as he pushed his first pile to the side to work on the next. "You did give me quite a fright earlier. I thought... Well, I'm not sure what I thought."

"It's understandable. I mean, I'm not sure why, but I expected you to have some... slight awareness of the subject," you admitted, awkwardly averting your gaze.

Even though you knew Erik wasn't raised with the same rules and expectations as you, discussing menstruation still felt like breaching a taboo. The topic remained uncomfortable, despite your rational understanding that it shouldn't be.

"I do feel quite foolish for not being aware of it sooner. But then again, how many women do you think I've encountered in my life? Besides my mother, the answer is none. And even that meeting was brief," he said matter-of-factly.

You didn't really know how to respond to that, so you let a comfortable silence settle between you. Erik swiftly finished organizing his books, then hurried out to return them to their proper places. He reappeared within moments.

"Now, unless there are other aspects of your anatomy I should be aware of," he said with a hint of amusement, "I believe a bath is in order." His eyes darted meaningfully towards the bed, drawing your attention to the mess you had somehow overlooked. You were mortified as you realized the extent of the stains, which had spread far beyond where you'd expected, creating abstract patterns on the once-pristine sheets.

"Ugh, yes," you grimaced, suddenly noticing the uncomfortable layer of blood on your skin. "A bath is definitely overdue. But what about you? Have you had a chance to clean up?"

"You've been out for eleven hours. I bathed ages ago," he stated. "Just give me half an hour or so to boil some water for the bath. That way, you won't be freezing in there."

While you appreciated Erik's thoughtfulness, the sensation of dried, itchy filth on your skin was unbearable. The prospect of waiting even a moment longer to cleanse yourself seemed more daunting than enduring the bite of cold water.

"Don’t bother," you cringed, "I can't bear this feeling any longer. I need to wash off immediately, even if the water's cold. The discomfort of icy water is preferable to this... filth."

“Have some patience. It’s the late evening in a cellar right next to a lake, you’ll die from cold exposure,” he deadpanned.

Though you understood the logic behind his words, you couldn't suppress a playful pout. Erik's eyes rolled with amusement as he approached you on the bed. Leaning over, he tenderly pressed his lips to your forehead, the gentle gesture melting away your feigned disappointment.

"Are you sure you're not in too much pain right now? Tomorrow I'll ask Gerard to procure some herbs, but until then I have a few remedies I can try with items lying around," he asked, straightening up to look down at you with a raised eyebrow.

"It's bearable," you affirmed.

"Good," he said, moving towards the door. "Stay here while I set up the bath. If you need anything, just call for me."

“Trust me, I won’t be going far anytime soon.”

Thirty minutes later, Erik returned as promised. During the wait, you occupied yourself with daydreams and silent lamentations about your bodily predicament. You couldn’t help but be stuck on the thought that you’d be stuck like this until you were 50—you weren't even halfway through!

"Can you walk alright?" he asked, concerned about you putting any unnecessary strain on your body.

After considering your current condition, you replied, "I think I could manage, but would you mind carrying me to the bathroom anyway? I've heard blood leaves quite stubborn stains on stone."

Wordlessly, he obliged, gently cradling you in his arms. One arm supported your back while the other nestled beneath your knees. As he carefully lifted you, his eyes fell upon the crimson stain left behind. The sight of such copious bleeding caused a flicker of concern to cross his face, though he tried to conceal it.

You were supposed to bleed that much every month for a week straight without dying?

Pushing aside his alarming thoughts about your potential demise, he carried you carefully to the bathroom, his movements slow and deliberate. As he cradled you, you realized this level of attentiveness was something you could easily grow accustomed to. You made a mental note that future menstrual cycles would be spent here in the cellars, rather than hiding from him in the Opera Populaire as you'd done before.

"Thank you for today," you whispered, your voice filled with gratitude. As you spoke, you instinctively burrowed closer, finding comfort in the steady rhythm of his heartbeat beneath your ear.

He let out a low chuckle, tinged with self-deprecation. "Thank you? I've barely done anything noteworthy," he scoffed, a hint of frustration creeping into his voice. You couldn't see his expression, but you sensed the frown in his words. "To be honest, I feel rather inadequate. I wish I could have been more helpful to you in this situation."

"Don't say that," you insisted, nudging his chest with your head in retaliation. "You've gone above and beyond what most people would do. You've read dozens of books today just to understand me better. You've prepared a bath for me and prioritized my rest over your bedding. Most men would have either shooed me away or fled in your position."

A door creaked open, plunging you into momentary darkness as Erik gently lowered you to your feet. Your voice softened with emotion as you whispered, "your kindness and attentiveness mean more to me than words can express."

The gas valve hissed softly as it turned, gradually illuminating the bathroom. As your eyes adjusted to the light, you noticed a plush black towel draped over the edge of the tub, ready for use. On a nearby rack hung a set of fresh clothes—their style unmistakably reminiscent of Erik's wardrobe—waiting patiently for you to don them after your bath.

He cleared his throat loudly, a gesture you'd come to recognise as his way of masking his flustered state. "It's nothing extraordinary," he mumbled, his voice tinged with a mix of modesty and discomfort at the praise, "just basic human decency."

“But-“

"Is there anything else you need before I go to clean up?" he abruptly asked.

You sighed, giving him a pointed look for interrupting you. Deciding to let it go, you allowed the shift in conversation.

"I can manage from here, thank you," you hummed. "But would you mind fetching my sanitary belt from my bag? I'll need it after the bath."

“Sanitary belt?”

"Yeah. It's a belt that wraps around your waist and holds a sanitary towel in place to collect the, um, blood," you explained, awkwardly gesturing with your hands to illustrate. "You'll recognize it when you see it."

With a tender kiss on your forehead, Erik departed, promising to return with what you need.

The moment he left, you wasted no time shedding your clothes and depositing them in the nearby basket. Eager for relief, you eased yourself into the bathtub, a contented sigh escaping your lips as the pleasantly warm water enveloped you. The soothing heat melted away any lingering discomfort, allowing you to immerse yourself fully in the task of cleansing. With meticulous care, you began to wash away the day's troubles, savouring the unexpected comfort the bath provided.

He returned shortly after, placing the belt on the rack alongside your other necessities. Once again, he inquired about your well-being, prompting you to playfully scold him for his constant concern. Nevertheless, you reassured him that you were fine, adding that the warm bath water provided more pain relief than you had anticipated.

He seemed on the verge of making a sarcastic comment—likely along the lines of "I told you so"—but thought better of it. Bidding you a final goodbye, he left to strip and prepare the bed, allowing you to finish cleaning up in peace.

You continued this until the water was doing you more of a disservice than it was cleansing you. Pulling the drain cover open, you allowed the dirty water to flow out and empty the tub. Silently, you thanked Erik for installing this modern convenience in his home—one of the few upgrades he'd chosen, despite his ability to afford many more.

A chill crept over your damp skin, urging you to hasten your routine. Goosebumps prickled across your body as you quickly patted yourself dry with the towel, appreciating how he'd made sure it was black and not white. You then clumsily secured the sanitary belt around your waist, wincing at its familiar discomfort.

Immediately after, you slipped into the night shirt he had provided. The loose-fitting trousers were a blessing, their gentle embrace and soft material accommodating your tender midsection without adding pressure. Once you finished dressing, a sense of satisfaction gleamed in your chest. You felt refreshed, clean, and rejuvenated.

You made sure to brush your teeth before finishing up in the bathroom, when the horrific cramps returned once again. Doubled over and jaw clenched, you shuffled towards the door with painstaking slowness. Your quivering hand fumbled with the gas valve, finally managing to shut off the light. The room plunged into darkness as you walked out, door falling shut behind.

Groaning softly, you shuffled back towards the bedroom, where you found Erik fluffing the pillows on your freshly made bed. He wore his night attire, and despite your discomfort, you couldn't suppress a smile. Even doubled over in pain, the sight of him warmed your heart.

He swiftly noticed your presence, helping you onto the bed to spare you the effort of weakly propping yourself up. He then approached the dresser, where a mysterious lump lay concealed beneath blankets. Unfolding the coverings, he placed his hand on the hidden object and nodded with satisfaction.

He refolded the blankets over it before walking over to you. Curious and confused, you tried to maintain an inquisitive look while fighting off the storm raging in your abdomen.

"I anticipated the pain would return once you started moving again," he said, gesturing for you to lift your shirt to reveal your belly. You complied, though your confusion deepened. "This is called a 'hot water bottle,’ a recent invention. Gerard suggested I try one to ease some discomfort from my... condition. It doesn't help me much, but it might work for you."

"How does it work?" you asked, flinching slightly as the bottle touched your skin.

"It's made of rubber and filled with hot water to transfer heat efficiently," he explained, helping you pull your shirt back down over the bottle to keep it pressed against your skin. "Since you mentioned the warm water helped, I thought this might be worth trying."

"So it's like a hot water pig, but made of rubber instead of stoneware and more convenient?" you hummed thoughtfully, resting your hands over the bottle for an extra layer of added security.

“Precisely,” he nodded.

As the warmth from the hot water bottle gradually permeated the blankets, you found it soothing but not quite potent enough to fully alleviate your discomfort. The heat offered a welcome respite, yet you yearned for more intense relief from the persistent ache.

"It does take the edge off the pain," you admitted, biting your lip pensively, "but would it be possible to remove the blanket? I think more intense heat might help even more."

"Absolutely not," he said firmly, his tone brooking no argument. "Direct contact with the bottle could result in burns. The blanket stays."

After a moment's consideration, you decided that the risk of burns did indeed outweigh the potential relief from your cramps—at least for now. You nodded, opting to keep the blanket wrapped around the water bottle, appreciating its safer warmth.

A sense of contentment washed over you as you marvelled at how this day, which had started so unexpectedly, had blossomed into something truly special.

You were with the love of your life, freshly bathed and dressed in his clothes, tucked into a clean bed with a soothing hot water bottle warming your skin and fighting against what usually was traumatic levels of pain. Tears welled in your eyes as pure bliss coursed through your veins, overwhelming you before you could even process the feeling.

As the first tear rolled down your cheek, Erik instinctively sprang into action. You couldn't help but laugh through your cascading tears, raising your hands to signal him to relax. Though hesitant, he wordlessly complied with your wishes.

"I'm okay," you sniffled, your words punctuated by small sobs. "I don't know why I'm crying. I'm just so... happy. I think I'm really, truly happy."

His eyes widened behind the mask, a mixture of surprise and awe flashing across the few of his visible features. Unable to resist, you reached up, gently grasping his hand and guiding him to lay beside you on the bed. He remained motionless, seemingly caught between disbelief and anticipation. Your heart racing, you leaned in, pressing your lips to his in a tender, affectionate kiss that conveyed all the emotions words couldn't quite express.

Wiping your eyes with the sleeves of your night shirt, you clutched the water bottle tighter and rolled onto your side. You nestled into his chest, his arm instinctively wrapping around you as you melded into his trembling form. Yearning for closeness, you draped your leg over his hips, your body seeking every possible point of contact.

"But—" He stammered, shaking his head in disbelief. Bewilderment dripped from his voice as he continued, "You haven't eaten all day. Surely, I should prepare something for you—"

"No," you replied, your tone firm yet affectionate.

"You must-"

"Nuh-uh," you teased.

"Really I should-"

"Shh." You leaned closer, your faces mere inches apart as you rested an arm over his waist. He tensed at the contact, despite the familiar porcelain barrier between you. "Just stay with me like this for a little while, please? Afterward, you can make all the cold meat sandwiches your heart desires."

"You told me you liked those," he grumbled in playful accusation.

A soft laugh escaped your lips as your eyes shimmered with unbridled affection. If Erik were to meet your gaze, all he'd be able to see was the pure, unadulterated euphoria radiating from your smile.

"I do," you agreed with a nod, “but only because you make them with so much love."

"So, you don't?"

You hummed thoughtfully, tilting your head back as if deeply pondering the culinary merits of cold meat sandwiches. "They're good, but they could use a little something extra," you mused. "Maybe some cucumber for crunch? Or a slice of mozzarella for creaminess?"

He scoffed in mock offence, "That completely distracts from the flavour of the meat."

"Flavour?"

"I'm glad you agree."

You pursed your lips before releasing a long, deliberate sigh. Your eyes flicked from his face to the clock. The time read 9:45 PM, yet an unwelcome wakefulness clung to you—undoubtedly a lingering consequence of your excessive eleven-hour nap.

"I’ve completely ruined my sleep schedule, haven’t I?" you mumbled. "It’s late in the evening, and I’m nowhere near tired.”

Erik paused thoughtfully before replying, "I can make you something to aid with sleep, if you'd like."

"What do you have in mind?" you asked, curiosity evident in your tone.

He thought over the matter before deciding.

"I have some dried valerian root that I can steep into a tea," he offered. "I've tried it on rare occasions. It's quite bitter, but I can add some chamomile to sweeten the taste."

"You're so lovely," you giggled, unaware of how he tensed at the compliment. "So kind and thoughtful—you call me an angel, but I think the real angel here is you. My Angel."

He paused, visibly stunned by your words.

His voice was soft and hesitant as he asked, "you believe that?"

You nodded, a soft hum of agreement escaping your lips. "I do," you said sweetly, your voice brimming with unwavering certainty.

You felt the rise and fall of his chest as he took a deep breath, seemingly trying to steady his racing heartbeat. His hold tightened around you, drawing you even closer. A radiant smile spread across your face.

"So," he stammered, clearly flustered by the compliment, "is that a yes to the tea?"

"I'd love some tea," you nodded eagerly. "But could you stay with me for ten more minutes first?"

He nodded, and you both settled into a comfortable silence—a respite he seemed to appreciate. Your fingers traced idle patterns on his palm, while his gently wove through your hair.

Ten minutes passed in this tranquil state, and you quickly realised that maybe the tea was unnecessary after all. Every thirty seconds or so, you found yourself stifling an uncontrollable yawn—a gesture you noticed Erik unconsciously mirroring.

Your eyelids grew heavy, the combined warmth of his body and the water bottle proving irresistible. You drifted toward sleep at least five times, always jolting awake at the last moment before you fully succumbed. Despite your drowsiness, you yearned to savour this moment just a little longer.

"Do you still want that tea?" Erik asked, his voice heavy with exhaustion.

You shook your head and nestled closer to his chest. "I'm fine now," you murmured contentedly.

"Good," he replied, his hand gently smoothing down your flyaway hairs. He seemed on the verge of saying more, but fatigue clouded his thoughts, and he let the moment pass.

He yawned once more, momentarily pulling away from you. You whined in protest, but he shushed you as he reached behind his head to untie his mask. Attempting to place it carefully on the bedside table, he misjudged the distance, and it slipped towards the floor.

The mask remained intact, though the sound it emitted was sharp enough to make you flinch. To your astonishment, Erik seemed unconcerned by the possible harm. Instead, he calmly readjusted your position so you were laying as before, then closed his eyes. A surge of emotion swelled in your chest.

Erik had grown comfortable with you seeing him without his mask, though he typically preferred to keep it on unless taken by surprise or during the quiet hours of the night when you were both sleeping. His current indifference toward the mask could mean one of two things: either he was too exhausted to notice its near demise, or he had become so deeply at ease with you that he no longer felt the need to shield himself behind it.

Erik possessed other masks, but they could never replace his favourite. His primary one was treated with the utmost reverence, as fragile and irreplaceable as a feather. It was the one he felt most secure in and allowed him the most normalcy, therefore it was always his first choice regardless of other options. Yet now, without hesitation or concern, he had allowed it to fall away, as though its significance had vanished entirely, as if the bond between you had rendered it unnecessary.

You felt the urge to cry again, but not wanting to disturb his sleep, you suppressed your tears as you contemplated the significance of this moment for both of you.

"I love you," you whispered, your voice cracking with emotion. Though it could be mistaken for tiredness, the tremor in your words betrayed your overwhelming desire to burst into tears of joy.

After a moment, one bleary eye opened as he turned to face you. His lips curved into a genuine smile as he whispered, "I love you too."

'hot water pigs' are what people used to call hot water bottles, or at least their versions of them, just so you know lol. writing these fics always requires so much research into old terms and the existence of things that are now regular everyday items, it's kind of crazy. like trying to figure out how much was known about periods in the late 1800s early 1900s was a challenge.

#phantom of the opera #phantom of the opera musical #phantom of the opera x reader #erik destler x reader #cherik #erik the phantom #erik destler #gaston leroux #poto #musical #1990 phantom of the opera #phantom of the opera 1990 #poto 1990 #poto x reader #cherik poto

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