#I'm just listing out what happens in canon

[sanguineterrain]

holiday spirit | jason todd

Summary: Stuck at a shitty office party for your shitty job on Christmas Eve Eve, you’re at your wit’s end. The last thing you expect is to play vigilante for a night with the Red Hood.

Pairing: Jason Todd x fem!reader 

Word count: 7.2k

Warnings/tags: panic attacks, reader has anxiety, creepy coworkers, office party shenanigans, canon-typical violence, jason being both a menace and a sweetheart, attempts at humor, fake relationship, silliness!

the divider

You’re grateful for a reason to escape. Someone announces that the lights on the obnoxious eleven-foot Christmas tree are burned out and you’re already on the elevator, volunteering to find spare lights. 

You hate these office parties. They’re just a way to play politics, show off fiancés, and reaffirm cliques. You wanted to skip it all together. But Mr. Emerson, your boss, had insisted that attending tonight’s party was mandatory.

Alma had told you about a hundred times to skip tonight, but Alma’s worked here since the Reagan administration and has too much pull to be fired. You, conversely, have been here eight months, and if you get fired, your next job is going to be as a henchman for a B-list Gotham villain. 

Being painfully ordinary and anxious is a toxic mix. Your doctor still thinks all your worrying is because of your menstrual cycle. He doesn’t believe in work-related stress.

So anyway. You’re just trying to get through tonight. And find some tree lights that work. 

You unlock the spare office where all the holiday junk is stored and turn on the light. 

The motherfucking Red Hood looks at you, one leg dangling outside of the window and one leg inside the office. He unclicks his harness. 

"Oh my God,” you say, hand frozen on the light switch.

Red Hood pulls his leg in from the window and steps into the office. He puts the harness in a duffel bag and roughly zips it, then tosses it unceremoniously onto the floor. 

"Oh my God.”

He glances at you, helmet eyes glowing. "No God here, just me.”

"Oh my God," you say again, near hysterics. "Oh my God, Red Hood."

"Always nice to meet a fan," he says irritably, brushing snow off of his jacket, flashing his holsters. Oh, fuck. That's a lot of guns.

"What, um—" You close your eyes, lick your lips, try to find your sanity. "To what do I—why—are you gonna kill me?”

"The fuck? You think I'd sneak into an office and kill someone in cold blood? What kinda operation you think I'm running?"

Your mouth opens and closes in horror. "Wh–I... I don't—I'm sorry, I didn't mean to offend you, Mr. Hood."

"Please, Mr. Hood was my father."

He laughs. You taste bile in your throat. 

Hood sobers. "Damn. Tough crowd. Look, sorry to freak you out, but I got shit to do. If you'll just point me to Hershel Emerson's office, I'll be on my merry way."

"That's m-my boss. Are you gonna kill him?" You can’t handle murder tonight. You’ll have a breakdown for sure. 

"Literally, what did I just say?" Hood throws his hands up. "Not one minute ago. I'm not killing anyone!"

"Yet?" you ask weakly, mind inundated with too many mob movies to watch your manners. You know what the Red Hood is all about. Everyone does. 

"No. I'm not killing Emerson. But he is a bad dude, so I gotta take care of business. Actually, I should kill him. He deserves it."

You squeak in horror. He raises a hand.

"But I'm not!" he says gruffly. "Respectfully, get a grip. You live in Gotham."

You swallow. "What're you gonna do to my boss if not kill him?"

Hood shrugs. "Eh, maybe scare him a bit. Mostly get intel to take him down. He's currently sitting on five million dollars of stolen life savings from clients."

You blink. "What?"

"Yup. What I really wanna know is which of his employees are in on it. He didn't do this alone."

Hood takes out a small roll-up pouch of what looks like lockpicking tools. You release your sweaty death grip on the doorknob, causing it to squeak. Hood doesn't look up.

five million dollars is ringing in your head. That happened here. Where you work. Your boss is even scummier than you thought.

“Is that a lockpicking kit?” you ask.

“Yup. Good eye.”

"This seems... illegal.”

"Well, I won't lie to you, most of what I do is. You won't be implicated though.”

He looks at you. You flinch. Even with the lights on, the Red Hood is scary as shit. 

"Yeah..." he says, shaking his head. "You wouldn’t do well in prison. I can tell."

Your chest hurts. "I don't think anyone does well in prison," you say, eyebrows scrunching. "Have... you been to prison?"

"Only to break out a friend. You ask a lot of questions."

"Sorry. Um, Mr. Red Hood—"

"Ah-ah. Call me Red. Or Hood. No Mister-ing."

"Okay.” You lick your lips, hoping he doesn't go back on his temporary no-kill policy. “Hood, do you think you could come later? After the Christmas party?”

He tilts his head at you. You keep talking. 

“Not that I don't admire what you're doing! Because I think taking down my boss for stealing money is great, eat the rich and all that, but, um, I came up here to get lights to replace the ones that burned out downstairs because that's a normal thing that happens and now you're here, at my job, and I'm freaking out. Oh God, oh my God—”

You grab the wall for stability, feeling like you've been rocking on a boat for hours. Sweat beads on your forehead. This time, you really do feel like you’ll throw up. Throwing up in front of the Red Hood would be humiliating. 

“Look, I got shit to do, okay? I'm sorry you're freaking out but your boss is gonna cash out in a few days and then I lose him and that five million. It's now or never."

You should've just stayed home and baked cookies. Fuck being social! This is what happens when you're social: you meet morally gray vigilantes who force you to be complicit with their crimes.

Your cheeks feel wet. Are you crying? Maybe it’s sweat. 

Hood points to the hallway. "Is there a camera outside?"

"Y-yeah.” Your voice is weak. “I think I’m having a heart attack. Can you call security on your way out?"

“Does your left arm hurt?”

“No, but—”

“Are your limbs stiffening?”

“No, but—”

“You’re not having a heart attack. Your speech is fine.”

Hood takes out a few more things from the duffel, then kicks it under a desk with his foot. You wheeze and grab onto the doorknob again. 

It’s quiet for a second. Then— 

“Shit. You're having a panic attack,” Hood says.

"Mm, probably," you say, hunched over like an armadillo. Fuck your stupid doctor. 

There's silence as you wheeze quietly. Then something small hits your head. You flinch and squeal.

"You don't need to throw things at me!" you say, beyond defeated, near tears.

"No, I wasn't—sorry. It's a Warhead. I have one when I'm feeling… not my best. They're s’posed to help occupy your other senses so the panic disappears."

You stare at the candy, confused and suspicious at once. "Is it spiked?"

"Again, what sorta operation do you think I'm running? It's not drugs. Look." Hood unwraps a Warhead and sticks it in his mouth underneath his helmet. You hear him suck on it. "Eesh, that's sour. Okay? No drugs."

So you take the candy from the floor, unwrap it, and pop it into your mouth. The sour taste immediately overwhelms you. It's like your brain resets. You pant through the sour.

"Ough," you say, face scrunching from the taste.

"Yeah, right? Life changing hack."

You suck on the candy desperately and close your eyes, trying to find your breath. 

“It’s okay,” Hood says, stilted and awkward. “Just, uh, focus on your breathing. Exhale longer than you inhale. Breathe through your nose.”

It takes another few minutes, but the feeling passes. Your chest lightens. It’s the quickest you’ve ever recovered from a panic attack. 

“I was just kidding about the prison thing,” Hood says. “You’re not gonna go to jail ‘cause of this, I promise.”

Yeah, but what if you lose your job?

You spit the Warhead into a trash can and smack your tongue a bit. “Are you sure you can’t come back tomorrow night?”

“No can do,” Hood says. “Your boss will be gone by then.”

“It's just that I'm really bad with keeping secrets and according to Google, that's how ulcers form and I really can't afford any sick days off, so—"

You yelp as the door suddenly swings open, hitting your shoulder. You spin around.

"Hey," Bill says, squinting at you. "Where have you been?”

"No!" you yell, and turn off the light. 

Bill stares at you, illuminated by the hallway light. “Uh…”

You clear your throat. "Ahem. I'm fine. It's just taking me a moment to sift through all these decorations. Please return to the party.”

You hate Bill. He’s a sleaze and doesn’t do any work. More than once, he’s trapped you by the water cooler in a conversation about his “smokin’” imaginary lawyer girlfriend.

“If you wanted me to come help you, you could've just said so," he says, reaching for the light, way too close. You don’t like his tone either.

"No!" you yell, blocking the light switch with your hands.

"What the hell? Why not?"

"Because—"

There's a creak from the back. You wince. 

Bill immediately whips his head toward the sound. "Is someone here? Hello?"

He reaches for the light. Again, you block him, swatting his hands away.

"Would you stop—is someone here?"

"My boyfriend!" you blurt.

Bill stops, looking at you. "Your boyfriend? You've never mentioned a boyfriend."

"Well, I have one and he's here."

"Okay. Why can't I turn on the light and see him?"

"Because he's... um..."

You spot the red Santa suit out of the corner of your eye. 

Oh, this is a terrible idea.

"He's changing! He's our Santa for the party. Surprise!" You make weak jazz hands.

Bill looks into the dark where you're pretty sure Hood is hiding. You hope, anyway. Otherwise Bill is going to tell everyone that you're making up boyfriends. "Really?"

"Yeah, really," comes Hood's unmodulated, deadpan reply, and you jump. "Don't turn on the light. I'm naked."

"Oh..." Bill looks queasy for a moment. "Uh—" He looks at you and suddenly grins. "Oh, I get it. You two were having fun before going to the party, huh? Didn't know you were such a wildcat."

"That’s disgusting,” you say. “I would never do that in the office.”

Bill wiggles his eyebrows. "Me-ow. Does the Santa thing turn you on?"

"I'm right here, Bill, and naked or not, I'll kick your ass," Hood says.

Bill pales and quickly backs out of the room. "Right. Sorry. Uh, carry on."

He closes the door. You push your back against it and exhale, heart racing.

"Bill is a shithead," Hood says. 

“How… do you know his name?”

“Employee background check,” Hood says mildly. 

"Oh… yeah, he's been written up a bunch of times for inappropriate behavior, but he's close with Emerson, so he never gets fired."

"Want me to kill him for you? Free of charge."

"What? No! Hood—"

"Oh, relax. I was kidding."

"Uh-huh." You turn on the light. Hood has his helmet on, and his voice is modulated again. "What're we gonna do?"

"Well, I'm gonna go make sure Hershel doesn’t fuck off to Bermuda. The lights you wanted are here, by the way."

Hood tosses you a box of multi-colored tree lights. Then he walks toward you. You plaster yourself across the door.

"Wait! You can't leave. I said that my boyfriend is going to be Santa. Bill will tell everyone. They’ll expect you.”

"I appreciate your quick thinking, but that's a hard pass,” Hood says.

"You can't leave now! Bill's gonna tell everyone I'm a liar and they'll think I was up to something worse in here, like snorting coke."

"I mean this gently: I think you should look into anti-anxiety meds. My brother swears by Xanax.”

“My doctor won’t prescribe it to me,” you say glumly. “He thinks my anxiety is made up.”

“Huh. Want me to kill him? I know a better doctor.”

"Well…” You hesitate, then shake your head. “No! No. Hood, please. They’re all gonna expect a Santa. And when I don’t show up with Santa, they’ll remember that I didn’t participate in White Elephant or any of that other office nonsense that I don’t want to waste my money on. I need this job!”

“They’re not gonna fire you for not doing White Elephant,” Hood says. 

“You don’t know them! It’s a popularity contest.”

But Hood is indeed disinterested in the fact that you'll be the office pariah. Probably because he’s never worked in an office. 

Instead, he ushers you aside without a struggle. Then he turns the doorknob.

"Wait! Wait, listen. If you dress as Santa, you'll have access to the party and offices. You won't have to sneak around. And people get really drunk at these. They'll talk. You can figure out who's helping Emerson steal money."

His hand pauses. He looks at you. You look back, wringing your hands.

"You're pretty crafty," he says. 

"...Thanks?”

Hood releases the doorknob. "Alright, fine. I'll do the Santa shtick.”

“You will?”

He tilts his head. “Should I not?”

“No! No, you should. It’ll be a good disguise.”

He hums. “Sure. But we're in this together now, got it? You blow my cover and we both go down."

"Y-yeah, got it."

Hood heaves a gusty sigh. "Next time, I'm sending Roy in to do this shit."

"Who's Roy?"

"Ah." He holds up a finger. "Too many questions."

He makes a beeline for the Santa costume and then looks at you expectantly.

"Yo. Boyfriend or not, you're not watching me change. Guard the door, Mrs. Claus."

"Oh, right. Sorry."

You turn off the light and go into the hall, shutting the door behind you. It's empty, luckily. You rap your fingers on the box of lights, leg jiggling. 

This is insane. You should just tell Hood you can't do this and let him figure out his own plan.

But then... this would make it easier to find Emerson's crime partner. And you're really sick of Bill being a jerk. You don’t want to be called a liar, or get iced out for the rest of your time here because you didn’t bring Santa. Maybe having Hood be your Santa-boyfriend would make people leave you alone. Which is a crazy reason to stick to this plan, but still. You're trying to find the bright side.

And all those people that Emerson stole from... surely, you have a responsibility to help get their money back and bring him to justice, don't you?

The door swings open. You turn around.

“You wear a mask under your helmet?” 

“As a precaution.” He sounds defensive. “Lots of people in my profession do it.” 

You doubt that. “Don’t you think it’ll be weird if Santa has a mask on?” 

He hesitates, evidently debating between protecting his identity and arousing suspicion.

“Fine.” He carefully peels off the mask and tucks it into his pocket. The surrounding skin is slightly pink from irritation. His nose and cheeks are dotted with freckles. 

And wow. The Red Hood has beautiful eyes. So vibrant and clear, like seafoam. And young! How old is he, anyway? He doesn’t look much older than you, if at all. 

His eyes are framed by thick, dark lashes, and it makes sense, Hood being a brunet.

“What?” he snaps, glaring.

“Nice eyes,” you blurt.

His brows furrow. You remember the guns.

“Um, anyway. Should we go?” you squeak out, backing away.

Hood huffs through the beard. It flutters. "We need to have some ground rules."

"Okay."

"First, you should know that I will shoot if there's a physical threat at this party. Two, you're gonna call me Todd at the party. Three, if you try to tell anyone that I'm Red Hood or that I'm taking down Emerson, I will make your life hell. And if you're his partner, you'd better tell me now or I'm gonna be a lot less jolly."

"I'm not!" you say. "I would never do that. And I won't tell anyone you're Red Hood."

"Good. Let's go. Keep your ears open for hints about Emerson's partner."

He takes off in long strides. You hurry to keep up. The Santa costume doesn't slow him down.

"So how did you find out that Emerson's stealing?" you ask.

"Got a tip. You really didn't know he was stealing?"

“I don’t have access to the finances. I work in user interface. Website design.”

"Yeah? That's pretty cool. I got a brother who's into that stuff," Hood says.

"The same one who takes Xanax?”

“Would you believe it?”

You try to picture Red Hood with a regular family. With a brother or a sister or a father. It's hard to imagine.

“How come you don’t take anti-anxiety medication?” you ask. 

“I have Pit Madness Syndrome, and it has a weird chemical reaction with that stuff.”

“Oh.” Subject change. Quickly! "Do you celebrate Christmas?" 

"Not really. I'm not a believer or celebrator of much. You can see what my plans are two days before Christmas."

"Your family doesn't celebrate?"

Hood just grunts, eyes suddenly stormy. You take the hint and stop talking.

The room where the party is isn't particularly special. It's big enough to fit about a hundred people. For all the money the company makes, you'd thought that they could afford to splurge a little and rent an actual hall. Now you know what the profits have been going toward. But the decorations are decently lavish.

"Oh, wait." Hood leans in to speak in your ear. Lightning shoots down your spine. "I don't know your name."

You give it. He repeats it, and you shiver, like your boyfriend just said your name.

"'Kay. Stay in this room. We don't know how much Emerson or his partner knows, but assume they’re willing to do anything to get away with the money."

You nod. “Got it.”

“Hey, it’s Santa!” Bill shouts from across the room. “He made it!”

You smile tightly. “As promised.”

A few people wave. Others cheer. 

“These people really like Christmas, huh?” Hood asks.

“You have no idea,” you say, hyperaware of his hand brushing your back.

“Don’t think I got your name, man,” Bill says as he approaches. He sticks a hand out. “Bill.”

“Todd,” Hood says, taking his hand and shaking. Bill winces at the handshake. You hide a smile.

“Ah, Todd. Right.” Bill looks at you, trying to subtly soothe his hand. “You’ve never mentioned him.”

You shrug. “Never came up.”

“I’m pretty private,” Hood says, putting an arm around your shoulders. “But we’re very much in love. Ain’t that right, baby?”

“Th-that’s right… honey,” you say, face going hot.

“So what do you do for work?” Bill asks. “My girlfriend’s a lawyer.”

You roll your eyes. Hood snorts.

“There’s no way you’re dating anyone. You look like you got dressed in the dark, Billy.”

You cough your laugh into your arm. Bill’s eye twitches.

“Enjoy the party,” he says icily. He glares at you, then stomps away.

“That was amazing, but I think Bill might retaliate,” you say. 

“Don’t worry ‘bout him,” Hood says. “I’ll take care of it.”

You look at him with big eyes. “Hood—”

“Not like that. Just… it’ll be handled. Okay?”

You nod. Maybe it’s insane, but you trust him. “Okay. Want some punch?”

Hood hums. “No alcohol. Thanks.”

You go to the punch bowl, a little relieved to escape Hood’s piercing ocean-eyed stare. He’s intense. Whoever dates him for real is in for a ride. 

Then again, you can’t imagine Hood meeting someone for coffee or dinner. You giggle at the image of him showing up with his guns and helmet. 

“Hey, IT.” A woman in a white sweater you’ve seen maybe once waves at you. “Cool idea, bringing a Santa.”

“Yeah, Emerson’s too cheap to,” the man next to her says. They laugh.

You smile. “Glad you like it.”

You serve yourself two cups of the alcohol-free punch. Then you turn. 

Your smile falls. Across the room is Hood and Tanya Donaldson, resident shit-stirrer. She’s trying to cozy up to him. You sigh and walk over, bracing yourself.

“Hey, baby,” Hood says, practically dragging you into his side. He takes a cup of punch. “Just met Tanya.”

You can guess exactly how he feels about that.

"Oh, is he your boyfriend?" Tanya asks, eyeing Hood like he's a slab of steak. “I had no idea!”

"Uh-huh," you say. "This is Todd."

She wiggles her fingers, grinning. “So how often do you go to the gym, Todd?” She rests a hand on Hood's arm. "I didn't know Santa was so big and broad."

Your gaze drifts to where you're pretty sure Hood has a gun strapped to his ankle, and the temptation does appear, you won't deny.

But you need this job and it's going to be really hard to explain why Santa's armed and dangerous, so you just grit your teeth. Tanya's the worst for this kind of behavior and she doesn't respect you, so bringing your hunky boyfriend is like dangling a bunch of carrots in her face. 

And it’s not like Todd is actually your boyfriend. 

"Are you flirting with me in front of my girlfriend?" Hood asks, prying her hand off of his arm.

"Flirting?" She claps a hand over her mouth, the movement slightly delayed from all the wine. "No, oh my God! I was just saying—"

"That's really pathetic," Hood says. "Don't do that."

He walks away and you follow, leaving a wobbly Tanya on her own. You smile to yourself.

"Thank you for that," you say.

Hood gives you a thumbs up. "I can plant evidence on her and get her fired if you want."

"No, I don't want to feel damned for eternity. Thanks anyway."

"You have a lot of assholes at your job," Hood says. "But you're not one. I admire that.”

You sigh. "They're not all bad. Alma is cool. She keeps me from quitting.”

"And where is she?"

"At home. She's a sixty-two year old accountant who doesn't care about these parties. Her hip aches when it's cold."

"Mm. Maybe you should follow her lead," Hood says.

"But then who would help you with your spycraft, Hood?"

He allows himself a tiny laugh at that. You wonder how often he laughs. If ever.

“Well, suffering Tanya wasn’t in vain. She said this whole party cost twenty grand.”

“So?”

He gestures grandly. “Does this look like it cost twenty grand to put this together?” 

It's true. The alcohol is the most expensive thing here. No food, except for some people that participated in the potluck, but you don't trust anybody's food here. The decorations are old. Not to mention the Red Hood as your Santa. Your boss might have spared a thousand for tonight. No more. 

“So where did all that money go?” you ask. 

Hood snaps his fingers. “Bingo.” 

“That is so shitty. I got a chocolate-covered pretzel as my Christmas bonus,” you say. 

“A bag of ‘em?” He shakes his head. “Pretty cheap.”

“Ha, no. No, I got one big pretzel. In a box. The box cost more than the pretzel, I think.”

His eyes widen. “Jesus. Even I give more than that to my guys.”

“Got any openings?” you ask, half-joking. 

Hood snorts. “Don't think you'd like what we do. Why d’you stay?” 

You shrug. “Nowhere else to go. I have to eat somehow.” 

“Crappy boss, crappy coworkers, no Christmas bonus. Hell, I feel sorry for ya.”

The Red Hood feels sorry for you. Perhaps you've reached a new low. 

He drinks the punch and coughs. “Ahem, wow. Did you make the punch?”

“No, some people mixed it here.”

“Oh, then I'll be honest. Tastes like a flavor that's not found in nature.” He throws his cup away. You trust him and set your still-full cup on a table.

“I won't even mention the potluck,” you say. 

“Yeesh. Can't eat at everyone's house.” 

“That's what I say!” 

He winks at you. You look away, flustered. 

The crazy thing is, you could get used to this. Well, not specifically Red Hood, but having a boyfriend to bring to these functions, who’ll warn you against gross punch and defend you against Tanya. 

And Hood is surprisingly good at this. If you forget the past hour, you can almost pretend that this is just another office party that you happen to be spending with your new boyfriend. 

"Hey, look! It's Santa! Dude, check me out with Santa!"

One of the finance guys who's very drunk—you want to say that his name is Matt—bounds up to you and Hood. Hood tenses, reaching for his hip (gun!) and you touch his elbow, reminding him to relax. He drops his arm. 

Matt reeks of alcohol, the front of his shirt stained with bourbon. He laughs, forehead shiny with sweat.

"Santaaa, hey, Saint Nick, take a pic with me, man!"

Matt throws his arms around Hood. Hood does not like that and shoves him off accordingly. But Matt doesn't seem to notice and holds up his phone, camera facing front. Hood slaps the phone out of his hand.

"No pictures," he says.

You wince. The guy stares and blinks, taking three to five business days to process what just happened.

"What the fuck, man? That was my phone!"

"Sorry. I'm drunk." Hood sighs like he's physically in pain, then leans back and makes drinking motions with his fingers. "Fuckin' wasted! Did you try those rum shots? Lit, dude!"

The guy cheers up, forgetting all about the phone. "Oh, yeah, for sure! I'm gonna go get one right now! Thanks, Santa!"

"You do that!" Hood says cheerily.

As soon as the guy leaves, Hood returns to his resting scary face.

"Wow," you say.

"I know. I threw up in my mouth a little."

You laugh. Hood grins. Then it fades.

"Damn it. We're getting no closer to finding Emerson's partner. I should just interrogate Emerson until he tells me."

Interrogate makes you feel woozy. You're pretty sure you know what Hood's idea of an interrogation is.

"Wait! We just need to lure them out. If they think their money might be in jeopardy, they'll sneak out of the party to go check on it, right?" you ask.

"Potentially, yes. But how do we lure 'em?"

"There's an alert if someone withdraws more than ten thousand dollars from the company. But I don't have access to the accounts," you say.

Hood smiles slowly. "You don't need it. Remember I mentioned my computer whiz brother?"

"Yeah…” You grimace. “This sounds illegal again.”

"Hell yeah it is. He owes me a favor too. Lemme call him."

You two go off to the side while Hood dials.

"Yeah?" comes a voice on the other end. He doesn’t sound at all like Hood, more like a one percenter from the Diamond District. This is Hood’s brother?

"Aliases only. I need you to withdraw fifty grand from Emerson Corp,” Hood says. 

"Why?”

“‘Cause you owe me a favor. Just do it.”

“Zombie breath.”

“Shortass,” Hood says, voice taking on a distinct older brother tone. 

“You’re such an asshole,” the voice says. He yawns. “B’s wondering if you’re coming tomorrow.”

“I’d rather die again,” Hood says. “And you can tell him I said that.”

“The broody emo bullshit is getting old, dude,” the voice says.

You giggle. Hood looks at you sharply. You press your lips together, properly chastened. Sorry, you mouth.

"Who's that?" the voice asks.

"No one," Hood says. "Did you do it?"

"Chill out. I'm getting past their firewall. So who is that?”

“It’s the TV,” Hood says.

“No, it’s not. That was a lady's laugh, IRL. And you wouldn’t lie if it was someone we know…”

“Mind your damn—”

“I’m helping him with a case,” you blurt. 

Hood throws his hand up, glaring at you. It’s silent on the other end of the phone for a solid ten seconds. Then…

“Holy shit,” Hood’s brother says. “You do have a girlfriend. Wait. Hold on. This is wild. You don’t even have a social security number.”

“I do not have a girlfriend!” Hood snaps, drawing the attention of some coworkers. You nudge him. He exhales through his nose.

“I don’t have a girlfriend, you little fucker,” he says, quieter. “She’s telling the truth.”

“Can I ask your girlfriend a question? Respectfully, what were you thinking? You can do so much b—”

“Text me when it’s done,” Hood growls and hangs up.

You look at each other for a moment. 

“You didn't hear any of that,” Hood says. “Got it?”

“Got it.” 

“Good. Let's see who gets scared. He should do it right about…” 

His phone beeps. You look around the room. 

Soon, your culprit reveals himself. Matt!

Holy shit. 

"He didn't want a picture," Hood says slowly. "He was frisking me! Motherfucker."

"But isn't he drunk?" you ask.

"No." Hood sighs in disgust. "How did I miss that? Br—someone I know does that all the time, spilling alcohol on himself so he smells like he's been drinking. God. Oldest trick in the book!"

"Do you think he knows you're the Red Hood?"

"No. But he might suspect something. Let's go.” 

You follow Matt out of the party. He's walking fast. Yeah. Definitely your guy. 

Down the hallway, Matt turns around and makes direct eye contact with you. You panic. 

“Hood!” you whisper. 

“I know,” he says. “Follow my lead.” 

Loudly, he laughs and puts an arm around your waist. “C’mon, baby, no one’ll know.”

And then you're being herded into a janitor’s closet. 

You stumble in, confused and reeling from how easily Hood plays the affectionate boyfriend role. He follows you in, shuts the door, and pulls the chain dangling from the ceiling. The single light bulb turns on. 

You take care to not knock over any cleaning supplies. You don't see the mop on the floor, however, and you trip backwards on the handle. 

Hood's reaction time is impeccable. He jerks forward to catch you, tugging you back on your feet with his hands on your arms. 

“Y’alright?” he asks. 

“Uh-huh,” you say, mildly mortified. “Thanks.”

He lets go. You shift on your feet. 

“How long are we gonna stay here?” you ask. 

Hood checks his phone. “Well, he should've moved on by now. Let's—”

The doorknob jiggles. You look at Hood in fear. His expression is similar. 

“Pretend!” you whisper, and that's all he needs to understand and move. 

You're expecting your arms around Hood, maybe exaggeratedly feeling him up. You are not expecting Hood to hoist you up by the backs of your thighs and press you against the wall. You squeal, arms shooting out to hold onto his neck. Hood's beard ends up in your mouth and you spit it out. 

The door swings open, revealing a very tipsy couple. 

“Oops!” the woman says, grinning. “Sorry. Carry on.”

The guy gives a thumbs-up. “True love.”

You smile awkwardly. Something is pressing into your hip.

“True love,” Hood deadpans. “Rock on.”

As soon as the door closes, you're squirming. 

“What is that?” you hiss. 

“My gun! Oh my God, it's my gun,” Hood says, quickly setting you down. “It's not…”

He trails off and backs away. You stand there, processing what just happened. 

“That wasn’t—”

“I didn’t—”

You both stop. Hood adjusts his beard. 

“You're really strong,” you say, wringing your hands. 

Hood nods. “Sorry about the, uh…”

“Yeah, let's just not talk about this.”

“Yup. Find Matt?” 

“Absolutely.” 

You open the door and peek out. The hallway is empty. Glory be.

“All clear,” you say, and Hood is on your heels as you sneak out. 

“Any ideas on where he'd go?” Hood asks. 

“Matt works in a cubicle like the rest of us. Emerson’s office is on the twelfth floor.” 

“Fine. We'll hit Emerson's office first. More privacy, and maybe they'll both be there. Two birds.”

“Emerson's office is protected by a password lock. He changes it every night,” you say, scurrying to keep up with Hood. 

“That's fine. I got a key right here,” he says, patting his holster.

“Wait! If the lock is tampered with, it sets off an alarm and security will come. You can't shoot it, Hood.”

He stops and sighs. “Why is everything so goddamn complicated? Alright, new plan. I'm gonna get my stuff from where we were and I'll break in the old-fashioned way.” 

Fifteen Minutes Later.

“This seems really unsafe!” you say, watching Hood dangle outside a three story window on a wire. He's attached to a grappling hook but still. Still! 

“Eh, I died once. Didn't stick. Hold the hook.” 

“I am!” As if you'd do anything but. You don't want the Red Hood to become Red Goo. 

Chilly December wind makes your eyes water and your nose cold. Still, you hold on. 

“Almost there!” he says. 

“Hey! What're you doing?” 

You whirl around and close your eyes due to the flashlight shining at them. Even though the lights are on. 

An elderly security guard glares at you. It's a good thing you're not an actual criminal… though after tonight, you're not so sure. 

“Um.” You try to hold onto the hook while hiding it behind your back. “Bird watching?”

The guard turns off the flashlight and tucks it into his belt. He slowly walks to you. 

“If you're doing something illegal, Miss, you're in big trouble.”

Well, this is fantastic. Of course it would be you that gets caught. 

The guard is getting closer. Your grip is sweaty. He peers over your shoulder. You let go of the hook, praying to every spirit out there that Hood is as good as everyone says he is. 

The guard looks around and scratches his head. You shrug, heart in your throat. 

“See?” you say. “Bird watching.”

He frowns at you. “I've got my eye on you.”

“And I commend you for that.” 

“Are you sassing me?” 

Are you? You might be. You've been spending too much time with Hood. 

Hood! You turn and look out the window. You don't see any red goo below, but it's also cold and foggy. Shit. You hurry to the elevators. 

“Okay, happy holidays, bye!”

The elevator doors open. You press twelve and close the door before the guard can consider getting on with you and shooting you a hairy eyeball all the way down. 

You hurry out and run down to Emerson's office. The door has been left ajar, which is good, right?

Bang!

You throw yourself against the wall. Shit. Maybe not. 

Ugh, you told Hood no shooting! Son of a bitch. 

“We're doing this tonight!” That's Emerson's voice. “I don't care if I have to shoot my way out.” 

Shoot? Oh no.

You carefully peek through the crack. Hood is standing with his hands behind his head. His beard has blood in it. Emerson is in front of him, gun to his head. 

Hood catches your eye. He gives you the tiniest head shake. You swallow. 

You can't just leave him there. 

Okay. Think. Emerson's back is to you. You can't see Matt, but you figure he's far enough away to not immediately shoot you. Hopefully. 

Anyway, what's your other option? The feisty relic upstairs? You can't risk any civilians getting hurt. 

Technically you're also a civilian but not tonight. Tonight you might as well be Batman. 

You slowly pull the door open further. You sneak in, then hide behind the secretary's desk.

“Is it done?” Emerson snaps.

That's when you see Matt in the corner on a laptop. 

“It takes time,” Matt says, obviously stressed too. 

“Well, hurry up!” Emerson looks at Hood. “Then we'll dispose of Santa here.”

Hood shrugs. “You can certainly try. Many have. ‘M still here.”

“Lots of bravado for a man in a costume,” Emerson sneers. “What are you, police?”

Hood groans. “As fucking if! I'm not a cop.” 

He hums. “Perhaps not. Otherwise this place would be crawling with them already. But you're alone.”

“How d'you know I'm alone?” Hood asks. 

You're glad he's calm because you're feeling the beginnings of another panic attack. But you can't panic, not now. The adrenaline pulsing through you is the only thing keeping you from going catatonic. 

You have no weapon, no plan. How the hell are you supposed to help Hood?

“You're bluffing,” Emerson says. 

“He has a girlfriend,” Matt says. “Some IT girl. She might come looking for him.”

“Then we'll take care of her too.”

Matt looks uncomfortable but he doesn't say anything. Hood is still cool as a cucumber. 

“She won't look for me. We had a fight. I forgot to buy the candy she likes.”

Candy? Why would—oh!

On the secretary's desk is a glass bowl filled with mini candy canes. You wrap your hands around it. 

“She knows my favorite,” Hood says, locking eyes with you.

You throw the bowl with all your might. Emerson is too slow—Hood grabs the bowl one-handed and swings it, knocking the gun from Emerson's hand. The candy explodes into pieces. Hood swings again, this time into Emerson's head. The bowl cracks. Emerson crumples to the floor. 

“Are you o—”

Bang! Bang! Bang!

In a blink, Hood wraps one arm around your waist and yanks you to the floor, covering your body. You curl into him on instinct. 

“I got you, I got you,” he says, patting your shoulder. “You okay?”

You nod, words not coming right now. You squeeze his hand. Hood seems to understand and he scoots you both behind Emerson’s desk. Then he loads his gun and cocks it.

“Stay here,” he says, then fires six shots. 

“Goddamnit!” Matt yells across the room. “This wasn't the plan! You're not supposed to be here!”  

Hood laughs, which is absolutely terrifying. “Don't talk to me about ruined plans, buddy. I've been waiting all night for an excuse to shoot somebody. Please make my night.” 

Matt fires four more shots. 

“Fuck you, cop!” 

“What the fuck? Fuck you more! I'm not a fucking cop!”

“Maybe it's the way you stand,” you say, teeth chattering from anxiety. 

Hood squeezes your shoulder comfortingly. “I stand like a cop? Gross. I gotta work on that.” 

“You're somebody!” Matt yells. “You're not just some guy, Todd, don't lie to me. You and that chick from IT are in cahoots.”

You huff. “He knows your name but not mine?”

“I’d take it as a compliment.”

Matt fires again. Hood tucks you behind him. 

“He won’t kill anybody,” he says, with way too much confidence, in your opinion. 

“Oh, is that why he's peacefully shooting at us?”

“He's scared, sure. But he can’t kill. Trust me, I know. Hey, Matt!” 

“What?”

Hood stands up. Your eyes bug out of your head. 

“Hood!” you hiss. “Hood!”

He ignores you, of course. 

“You won’t hurt anyone,” Hood says. He starts walking toward Matt. “You're not a killer, Matt.”

And all this time you thought Hood was sort of sane. Nope. 

“I will shoot you!” Matt warns. 

“Aw. You wouldn't shoot Santy Claus, would you?” 

Matt pulls the trigger. You gasp. It clicks. The magazine is empty. 

Hood closes the distance between them and grabs the gun, then elbows Matt in the face. Matt sprawls onto the floor. 

“Yeah, I don't risk my life on human emotion,” Hood says, loud enough so you can hear. “People can be so unpredictable. I will take a chance on a gun that only fires seven rounds, though. For a guy in finance, you're not very good with numbers, Matty.” 

You sigh in relief, slumping against the desk. After tonight, you're retiring. 

“Y'okay over there?” Hood asks. 

“Yeah.”

It's quiet for a bit. Then Hood returns and offers you a hand to help you stand. You do so on shaky limbs. 

He's got a cut on his eyebrow and a bruise on his cheek. You frown. 

“I'm sorry I let go of the hook. I thought—”

“You let go of the hook?”

You stop. “Um. No?” 

Hood squints at you. “Choosing to forgive you for that.” 

“I knew you were inside the office!”

“Yeah, sure.” 

“I'm not the only one taking risks,” you say. “Matt still fired at you.”

“Eh.” Hood shrugs. “He’s a crap shot. And I counted the rounds. I maintain my point. Factually, he could not shoot me.”

“You could've told me the gun was empty,” you say. 

“I wanted you to think I was cool and brave.” 

You laugh. “I already think that.”

Hood looks at you for a moment, like he’s trying to see right down into your soul. Intense. You cross your arms.

“So, um, ready to ditch this party?” you ask. 

“With pleasure.”

“What about them?” you ask, pointing to Matt.

“I have backup arriving soon. Let's get your coat.” 

You get your things while Hood changes back into his usual garb. He meets you at the back exit, the one that leads to an alleyway, Santa suit gone. The party's winding down and most are getting into their cars. You're grateful no one stops to ask where you disappeared to. 

There's police outside, but they're not here for Emerson. It's Bill that's being questioned by Commissioner Gordon. You stop short at the sight. 

“Hood… what did you do?” 

“Hm? Oh! There might have been some discrepancies in Bill's finances and he might have committed fraud to pay off his gambling debts. All circumstantial, though.”

“Please don't tell me you framed my coworker because he's a jerk,” you say. 

“No, but I'm not above that, for the record. I recognized Bill from when I was casing the Iceberg Lounge. That's where he racked up all that debt.”

You nod slowly. “That's how you knew his name.”

“Yup. He was a nobody, so I didn't bother with him. Had I known he was such a menace at work, well…”

You grin. “It's okay. I appreciate it now.” 

Hood nods. The silence is awkward for a few seconds. 

“So—”

“You don't have to keep working here,” he says. “You can leave if you wanna.”

“Hood…”

He puts up a hand. “Hear me out. I have a contact at Wayne Enterprises. I can get you an interview. Hell, I can get you the job.”

“And what would I owe you?”

He shakes his head. “Nothing. Think of it as a thank you for tonight. You didn't have to help me but you did.”

You open and close your mouth. “I don't… I don't know what to say.”

“Don't gotta say a thing,” Hood says quietly. “If anyone deserves a new year, it's you.”

“Oh.” Your throat feels tight suddenly. “Oh, Hood, that's really—that's nice of you.”

“It's been known to happen. Don't spread it around though.”

“But I don't want the job without interviewing!” you say. “I want to get it on my own.”

Hood nods. “Deal.”

You want to hug him but that seems like too much, even with all you’ve done tonight. So you take out a candy cane instead.

“I salvaged one from the bowl,” you say. “Merry Christmas, Hood.”

He takes it, tucking it into his pocket. “Merry Christmas. Need a ride?”

You shake your head. “I'm fine. See you around?”

“Maybe, maybe not. Stay safe, alright?”

“Oh, I will. Will you?”

He laughs. “No promises.” 

Then you blink and he's gone. You shove your hands into your coat pockets. 

In each pocket, there's a handful of Warheads. You smile.

[okaysonny]

the one where they lose yenna ╎ zack + johan

❤️ @always-lovingly — hope you like it!

ᯓ★ summary: eli bestows zack with the greatest honour: babysitting yenna. nothing will go wrong, right?

ᯓ★ details: fluff, no reader, spoilers for 517 onwards, canon dynamics. (aka zack and johan's relationship is platonic)

ᯓ★ wc: 3.4k - on the longer side...sorry

ᯓ★ A/N: I HATED MAKING THIS!!! comedy is really hard to write + i feel like i waffled too much... made a post about it, but this fic is drawn from s2, ep6 of friends (the one with the baby on the bus)

how did they get ben back with no paperwork/confirmation? idk but it makes my job easier #yes

divider: @thecutestgrotto

"what? you want me to look after zami tomorrow?"

"…her name is yenna" eli smiles at him sheepishly. "and yes. i have to unexpectedly work at the fruit stall. derek got a stomach bug and there's no one to cover for him. plus, the daycares closed on saturdays. would you mind?"

"…eli…i can't believe this…"

of course. eli should've expected this. what eighteen year old wants to spend their saturday babysitting?

"sorry zack. don't worry about it. i'll get someone else to— "

"i can't believe you're trusting me to babysit zam— i mean yenna!" a beam of light is practically shining on him.

eli blinks. he swears he can see zack's eyes well up.

"do you really trust me to? you really think i'm worthy?!"

well, he wasn't expecting that. eli laughs softly, shaking his head. "well…you visit her a lot and you're really great with her. i think you'd do a good job"

zack covers his mouth, trying not to cry in front of the beauty department's only guy. he does visit yenna a lot. how can he not? the fact that the baby he found happened to be eli's daughter…it felt like fate.

he coughs into his hand, composing himself, before looking at eli with determination - the determination of being the best babysitter in the world. "…it would be my honour"

eli smiles softly. he was hesitant in entrusting yenna with someone who misnames her half the time. but now, he doesn't regret it one bit.

"…thanks, zack"

"oh…you really came prepared, huh?"

zack has come prepared. he still owns that baby carrier from before. he also wears something without buttons this time. and he still uses gel, but not too much gel, because the spikes could stab her.

"of course!" he nods enthusiastically. "only the best for zam— yenna! mesh ventilation to ensure maximum comfort!"

eli can't help but chuckle. "that's…very nice of you"

with one hand, eli hands zack a list of instructions and a bag of supplies. his other hand is holding yenna, as adorable as she always is.

"…if anything happens, call me. i'll try make it back as soon as possible" he hesitantly hands yenna over, her little hands grabbing at zack's face.

"ba!" she squeals.

his eyes light up. "zam— yenna!" he cradles her head gently. "don't worry, eli ! she's safe with me!"

he nods, exhaling slowly. he reaches out to stroke her hair fondly. "you have a good time with uncle zack, okay? i'll be back before you know it" he whispers.

eli steps back, checking the time on his phone. "shoot, i need to go. you'll be fine, right?"

zack grins, using yenna's hand to give him a little wave. "yes, yes. go and chop fruit or whatever"

eli waves back and zack watches as his figure slowly gets smaller. he looks down at her, speaking with conviction.

"alright, zami. uncle zack will give you the best day of your life"

"what the hell, man? why'd you bring a baby here?"

okay, so saturday just happened to coincide with his study session. but it was a sacrifice he was willing to make.

zack hastily covers her ears. "don't swear in front of yenna! this is eli's daughter, y'know?! i'm an uncle on babysitting duty"

johan looks down at yenna with a mix of contempt and confusion, her big eyes staring back at him.

"ba?"

she's holding a baton with the top of a toy wand attached to it. his brows furrow, remembering his fight with eli.

Are you messing with me? What's with the toy?

whoops. in his defense, how was he meant to know?

johan sighs in exasperation and closes his book. "we're not getting anything done if she's here. by the way, don't expect me to help, alright? you're on your own"

"hmph. yenna doesn't want to hear your obscenities anyway" he pats her head protectively.

he rolls his eyes. "yeah, okay"

yenna suddenly starts smacking her baton-wand against the edge of the table, the smile never leaving her face.

BANG. BANG. BANG.

zack stares at the wand, already dented from her relentless attack on the furniture.

"alright yenna, that's enough of that" he says nervously, gently prying it out of her hand. she immediately starts to fuss, her big eyes tearing up.

johan glares at him. "nice job, genius. now she's going to cry"

"hush!" zack snaps. he waves the wand awkwardly in front of yenna’s face. "see, yenna? it's all better!"

yenna, unimpressed, lets out a wail that could rival a siren.

johan groans and presses his fingers to his temples. "you need to get something to keep her quiet. a softer toy maybe"

zack perks up at the suggestion. "hey, we should go to the city! we can grab something real quick!"

"we?"

"yes, we. you're not sitting on your ass while i do this alone" he grumbles.

johan stares at him in disbelief, but yenna’s cries grow louder, and he visibly gives in. “fine. but if she screams on the bus, i'm out”

zack grins, already packing up. he turns to yenna with a cheerful voice. "alright princess, let’s go find you the perfect toy!"

"...gross"

"you're gross" he mumbles, as they make their way to the bus stop.

zack awkwardly adjusts the baby carrier strapped to his chest, yenna wriggling furiously against him.

“why is she squirming so much?” johan asks, sitting in the seat across from him, his arms folded.

“she’s probably uncomfortable” zack shifts the straps again. yenna lets out an irritated whine, kicking her tiny feet against his stomach. “c’mon, work with me here…”

johan leans back. “maybe she can sense you have no idea what you’re doing”

“real helpful, johan. you wanna take over?” he glares at him while holding the carrier steady.

“pass”

“yeah, that’s what i thought” zack adjusts the carrier again, but yenna’s whining only gets louder. people start glancing over, their expressions ranging from amused to annoyed.

“okay, okay. hang on” he sighs in defeat, unbuckling the straps, gently lifting yenna out of the carrier and onto his lap.

“so now you’re happy, huh?” zack mutters. yenna’s only response is a delighted giggle as she smacks his knee with her baton-wand.

“you’re spoiling her” johan comments, deadpan.

“what do you know about babies, johan?”

he shrugs. "if you say so"

yenna, meanwhile, starts squirming again, clearly eager to explore her surroundings.

“you wanna stretch those tiny legs?” zack carefully sets her down on the floor of the bus. she stands unsteadily for a moment, then takes a few steps, laughing as she bangs her toy against the metal pole by their seats.

“...are you seriously letting her walk around here?”

“she needs some freedom!” zack defends himself, his eyes flicking between yenna and johan. "she's only a baby, it’s not like she’s gonna go far"

“...right”

“calm down. i'm watching her!” zack beams confidently, leaning back in his seat while keeping one eye on yenna.

for a moment, the two of them sit in silence, the bus rumbling along as she continues her wobbly exploration of the aisle.

“...y’know, you’re pretty calm for someone who's scared of babies”

johan shoots him a glare. “i’m not scared of babies”

“you totally are! the look on your face when she said ‘ba’ was priceless”

johan’s eyes narrow. “keep talking and i’ll make you ‘ba’ yourself”

they continue bickering, their voices overlapping as yenna toddles around the aisle, occasionally smacking the bus poles with her baton-wand.

the bus screeches to a halt at their stop. zack stands up, slinging the bag full of baby supplies over his shoulder. "alright, this is us"

johan follows closely behind as they get off, stepping onto the bustling city street. the sound of car horns and chatter fill the air, and zack immediately starts scanning the area.

“so” johan drawls, looking around. “what exactly are we looking for? a squeaky duck? a magic wand that doesn’t double as a weapon?”

“something soft, like you said” zack adjusts the straps of the carrier on his shoulder. "i never want to hear that banging noise again"

johan opens his mouth to speak, but pauses. his eyes flick down, then back up to zack, his face suddenly paling.

“...zack?” his voice is unusually tense.

“what?” zack asks distractedly, glancing around for a toy store.

johan's face is laced with panic.

“where’s the baby?”

“what are you talking about? she’s right—”

but she isn't. he glances down at the empty carrier on his shoulders, his voice catching in his throat.

we left her on the bus.

"johan, you rat!" zack snarls. "how could you forget about our child?"

"how the fuck is this my fault? you’re the one babysitting her!" johan snarls back. "and what do you mean our child?"

the argument attracts curious stares from passerby.

zack waves his hand dismissively, his movements frantic. "who cares?!" he yells, sprinting off. "we need to catch that fucking bus!"

zack hears johan groan, but his footsteps quickly follow after, the bus luckily still in sight as it makes a turn.

"it's fine!" zack pants. "we just need to alert the bus driver and it'll be fine!"

they turn around the corner, but stop in their tracks.

they're both flabbergasted as it's joined by two other identical buses on their route, the traffic blocking the vehicles out of sight regardless. something out of a 90's sitcom.

zack's lip begins to tremble. he's a dead man. will he die without knowing mira's touch?

he aggressively shakes his fist at the sky. "OH COMPASSIONATE BUDDHA!!! why have you forsaken me?"

"...what the fuck? relax. let's just..." johan pants, trying to catch his breath. "let's just think, okay? there's gotta be a way to fix this"

they both stand in contemplation.

they can fix this, right?

"thank you! please come again~" eli hands over the bag of fruit cheerfully, waving the customer goodbye.

his smile falters.

strange. he suddenly has a weird feeling.

he shakes his head, shrugging it off. it's probably nothing, he says to himself.

"the transit authority!" zack exclaims, an imaginary light bulb appearing on his head. "the bus drivers' hand all lost property to them. we just need to call and let them know we left a baby! she has to be with them! no idiot would leave a baby on the bus!"

johan nods, both of them blissfully unaware of the irony. "i was gonna say that"

zack scoffs. "sure you were. now, all we need to do is—"

zack's phone rings. he looks at the screen, his eyes widening in horror.

"i-it's eli" he stammers.

a smile tugs on johan's lips, slightly amused. he gestures to the phone. "answer it. it's gonna look suspicious if you don't"

zack glares at him, but doesn't argue. he breathes out slowly before accepting it.

"eli !" his voice is incredibly high pitched. "what's up? shouldn't you be chopping lemons or something?"

"i'm on my break" he laughs. "i just wanted to check in. is everything okay, zack?"

"everything's fine!" he chirps. "me and yenna are having a great time!"

"...that's good. would you mind putting her on the phone? i want to hear her voice" he says gently.

fuck.

johan smirks, not even trying to hide it anymore, watching zack in anticipation.

zack closes his eyes, pausing.

he does the only thing that comes to mind, shoving the phone near johan's mouth. the latter's face drops.

what the hell are you doing? he mouths.

zack covers the phone so eli can't hear.

"act like a baby" he hisses.

"over my dead body"

"just do it, you hobo! or i'll tell your mom you failed english again" he glares.

"...you wouldn't"

"wanna find out?"

"um...zack?" eli speaks up again. "what's going on? is she—"

"...goo goo?" johan squeaks, removing zack's hand from the speaker.

zack winces. he's heard better acting in porn.

radio silence.

"is she okay? she sounds a bit—"

"i think she needs a diaper change! bye eli !" he hangs up quickly.

johan stares daggers at him, his cheeks slightly flushed. "i'm gonna beat your ass"

zack shrugs, googling the number for the transit authority. "you can beat my ass after we find zami"

"...i thought her name was yenna?"

the human resources department is a picture of monotony, the ticking of the clock being the loudest sound in the room. the clerk behind the desk often jokes to himself that he lives in a time loop. every day was the same — forms to file, complaints to process, and the occasional awkward phone call. nothing ever changes, and he's stopped expecting it to.

until today.

the phone on his desk buzzes, cutting through the endless drone of routine.

“transit authority here” the caller begins briskly. “we’ve got a...situation. someone called claiming they left a baby on one of our buses”

the man blinks, the pen in his hand frozen mid-air. “a baby?”

“yeah. a little girl. we’ve got her safe now, but we’re bringing her over to your department, since...you know, you handle these things” the voice sounds exasperated, as if they can’t believe they're saying this either.

he swivels slightly in his chair, still trying to process the information. “so, wait. someone just...left their baby on the bus?”

“that’s what we’ve been told” the caller says with an audible sigh. “the guy on the phone sounded panicked. i told him to go to your building”

"...what kind of idiot leaves their baby on a bus?"

“i’m asking myself the same question”

hanging up the phone, the clerk leans back in his chair, shaking his head in disbelief.

this is new.

he glances at the clock, bracing himself for what kind of man would walk through the door.

or men, he should say.

the door to the department bursts open, startling the clerk so badly he nearly knocks over his coffee. his head snaps up, expecting one man, but instead, there were two.

they both look like they just sprinted a marathon. the first, a broad shouldered guy with a baby carrier strapped awkwardly across his chest, is hunched over, gasping for air. his face bore the genuine panic of someone who just lost something irreplaceable.

the second young man follows behind him, his sharp eyes darting around the room, like he’d rather be anywhere else.

the clerk stares at them, dumbfounded, as they both stand there panting. finally, he clears his throat, glancing at the baby carrier. “so… i’m guessing you’re here for the baby?”

"y-yes! the baby...we called about the baby! is she here?" zack heaves.

"...she's here"

zack and johan sigh in relief.

"is one of you the father?"

zack rubs his neck shyly. "ah...well no, but we know her very well. can we collect her?"

the older man crosses his arms. "if neither of you are, you'll need to call one of her parents, so we can confirm guardianship"

fuck.

zack looks at johan in wordless communication. it'll be awkward. it'll be difficult. but they both know what they have to do.

"w-what i meant to say was..." zack slowly wraps an arm around johan's shoulder, cursing his sudden high pitched voice. "we're actually both the fathers"

zack leans his head against johan's, trying to control his trembling lip as he smiles sweetly.

the clerk presses his own lips into a thin line, not looking convinced.

johan sighs and briefly scrunches his nose before laying his hand on top of zack's, leaning into his touch. his smile is incredibly fake and plastered. he's afraid he'll commit murder otherwise.

"mhm..." johan manages to croak out.

radio silence.

if the clerk doesn't believe them, it seems he doesn't care enough to press further. he shrugs, gesturing to the door at the back. "alright. right this way—"

that's all they need to hear before they bolt to the door, flinging it open.

yenna is sitting on a small cot, gripping her beloved baton-wand in one hand. she’s completely unbothered, her big eyes scanning the room with innocent curiosity. she gives the wand a few lazy taps against the cot, unaware of the trouble they had to go through.

the moment zack spots her, he rushes over, scooping her up without hesitation. “yenna! we’re so sorry! your uncles are so sorry” he says, his voice filled with guilt. he hugs her tightly, rocking her gently. “uncle zack won't let this happen again, okay? never, ever”

standing just behind him, johan watches silently. "...you’re so ridiculous" he mutters. but zack knows he doesn't mean it. he knows him too well to not spot the softness in his voice.

he doesn’t look back, too wrapped up in stroking yenna's back. "couldn't care less, mommy's boy"

as zack shifts yenna in his arms, her tiny hand stretches out behind him, her fingers reaching for johan. johan hesitates for a moment, glancing down at her outstretched hand, before gently taking her little fingers in his big ones. the room is quiet, the world around them seeming to pause.

johan’s lips curve into a small, genuine smile, one he doesn’t realise he’s wearing. he gently plays with her fingers, a silent exchange passing between them.

zack glances over his shoulder and freezes when he spots it.

a slow grin spreads across his face. “i knew it!” he blurts out, triumphant. “i knew you secretly felt the same way!”

johan's ears turn faintly pink but he doesn't let go of yenna’s hand. “...shut up”

zack snickers. “you don’t fool me anymore! everyone knows you’re actually a big softie”

johan grits his teeth, his grip not leaving her fingers. "whatever, man"

they don't see the clerk silently watching them through the door, his hand hovering over its knob.

he did think they were lying. they were way too jittery to be convincing.

but the sight of the scene made him stop. the broader one, cradling the baby so protectively and murmuring apologies with a guilt-stricken face.

the other, quieter one, gently holding the baby’s hand with a softness that doesn’t match his standoffish appearance.

it’s a moment so tender, so raw, that the clerk pauses, his hand lowering from the door knob. maybe he was being too narrow-minded.

he shakes his head with a bemused smile and turns away, leaving them to their privacy. as he walks back to his desk, he mutters to himself.

"what a progressive world we live in"

after parting ways with johan, who pats yenna's head for a little too long, he sits on a bench, waiting for eli's return.

"okay zami. you had a good time with uncle zack and uncle johan, alright? nothing crazy happened"

"ba!" she chirps back, as if she understands.

zack nods solemnly. "good"

"zack! hey!"

he sees eli walk over, sally with him.

zack spots eli's jaw tense a little less as he sees yenna safe and sound. she instantly reaches out, squealing at the sight of him.

"there you are..." eli beams, gently carrying her. "did you have a good time with uncle zack?" he says softly.

yenna aggresively shakes the wand in response.

he laughs and then looks up at zack. "so, how was it? did she give you much trouble?"

he waves a hand dismissively. "of course not! cool as a breeze. no problems at all"

"wow" sally grins. "eli, you should have him babysit more often!"

eli smiles, his gaze shifting back to yenna. "yeah...thanks a lot zack. i was worried because you hung up suddenly...i guess i was just being paranoid"

i'm off the hook! zack tries not to appear too excited.

he sighs, looking pleased with himself. "psh. don't worry. just had to focus all my attention on her. i'd never leave her out of my sight"

he nods, removing some lint from her clothes. "yeah, i get it. seriously, thanks a—"

he pauses, his smile suddenly dropping.

"hey zack?"

"...yes?" he looks up in anticipation.

is he gonna promote me as official babysitter?

eli turns yenna around, lifting her dress up slightly to reveal a big, bold PROPERTY OF HUMAN SERVICES stamp.

"what's this?" he asks, his voice a little too sweet.

zack's face drops. he can feel comical sweat beads appearing on his forehead.

"w-well that's uh..." he begins, but the words don't form.

eli silently hands yenna to sally, the grin now wiped clean from her face, being replaced with awkwardness instead.

eli smiles at him as he walks closer, pulling his sleeves up and cracking his knuckles.

"sally? please cover her eyes" he says quietly, his stare never leaving zack.

"wait eli !" he splutters. "let's just talk about this! it was—"

PUNCH

"owww! fuck! okay fine! just watch the hair—"

PUNCH

A/N: posted this on boxing day because zack is a BOXER 💜

[miraculouslbcnreactions]

Can you elaborate more on how Amelie is indulgent with Felix?

In Felix (the episode), after Felix does all that awful stuff including trying to make Adrien's friend's hate him via impersonating him, we get this:

Adrien: That video you sent to my friends... Unforgivable, Félix. (Félix doesn't look him in the eye, only looks down, upset and ashamed) Amelie: Now that his father isn't here to stop him from getting into mischief - (Félix stops her.) Félix: I don't deserve to be forgiven, mom. I put my favorite cousin in danger. He's right. No apology can ever be enough.

Now, we don't know exactly what Amelie was about to say, but Felix's interruption makes it pretty clear that she was about to defend everything he did or at least downplay it. Otherwise why would he say that he didn't deserve to be forgive and that Adrien was right?

This is further supported by the next scene in which we see Felix and Amilie. They get on the train and what does Amelie do?

Félix: I've got a surprise for you, mom. (He reaches behind her ear and pulls out Gabriel's ring.) Amelie: (gasps) But Gabriel refused to hand it over to me! And after everything that happened - (reaches out and cups his face) My little magician. I can never understand how you always manage to get what you want. (closes her hand over his) Keep it. It's yours now. Félix: But... you wanted it so much. Amelie: Only to give it to you. You've always been so fascinated by them. How many times have you asked me to tell you the story of the Graham de Vanily twin rings, huh? (she kisses his forehead) I'm glad it's back in the family where it truly belongs. (She winks at him and then rests her eyes. Félix smiles deviously out the window.)

She praises him for stealing and doesn't say a single word about all of the messed up things he did. If this were my kid, we would be talking about his actions were and trying to get him to explain why he did all of that. We'd also be discussing his punishment.

We also learn that Amelie only demanded that her recently widowed and still grieving brother-in-law give up his wedding ring because Felix wanted it. Even though, arguably, the rings should go to Adrien or at least stay with Gabriel until someone in the family is ready to marry. Amelie had no need for them other than "baby wants it, baby gets it."

This was before the sentireveal, so it's debatable if the original intent was to take it this far or if this is just another victim of the retcon, but it's canon now and the writers claim to have planned it all from the start, so I'm going to treat it as fully intentional and discuss the sentistuff, too.

We never see Felix or Amelie learn that the rings are Adrien's amoks, but Felix very clearly knew that's what the ring he had was. Based on that, it's not illogical to conclude that Amelie knew that she was asking for Adrien's amok and didn't care. Baby wants his cousin's controls, baby gets it.

Moving on!

The start of season five sees Ladybug and Chat Noir try to track down Felix since he knows Monarch's identity and gave him all of the miraculous. Kinda a big deal. When they get to London, this happens:

Amelie: My son wasn't here this morning, when I woke up. I didn't worry though, because I thought he might have gone to see his cousin Adrien in Paris. Those two are so fond of each other, but Félix wasn't returning my calls, though I contacted his uncle Gabriel; he told me he hadn't seen him. Cosmobug: And yet he was in Paris I talked to him. Amelie: Oh, Cosmobug, Astrocat, I hope nothing's happened to him! Cosmobug: Don't worry, ma'am. He'll probably end up at his uncle's. Astrocat: Or he might already be on his way back home to London. Amelie: Thanks so much to the two of you for your support!

Then the heroes leave. At the end of the episode, we cut back to London and see this:

Amelie: Tea break. (Félix comes out of the room holding a laptop and follows Amelie to the main hall. Amelie pours tea into a cup, while Félix sits on a sofa and works on his laptop.) Amelie: (putting her hand on Félix's head) Don’t worry, my Félix. Mom is here to protect you from those superheroes who think you’re a villain.

Who cares about saving Paris from a terrorist? If her baby wants to hide away, then Amelie will help him hide away.

Also, if she had forced Felix to talk to the heroes here, then Gabriel wouldn't have died because this is before Destruction. Not saying that his death is her fault, but Amelie did inadvertently let to her nephew be orphaned because she didn't want Felix to face the consequences of his own actions. Remember that as you read this next bit.

And then we have Emotion, which sees Amelie storm into the diamond dance and cause a massive, confusing scene:

Amelie Graham de Vanily: (struggles to make her way in through the guards) Gabriel! My son Félix has been missing for weeks now! (storms towards them) Not only have you and your friends been no help with the search! But now I'm not even invited to the ball?! You haven't been the same since my sister Emilie disappeared! Why are you rejecting us? Gabriel: This is not the place nor the time, Amelie. Nathalie will see you out. (Nathalie begins to walk towards Amelie, and grabs her by the wrist, walking her outside of the ball) Amelie: I don't understand how Gabriel could've become so cruel, let alone why you're still complacent in his actions. Nathalie: Sorry, Amelie. I have no choice. (hands Amelie to the guards) Amelie: There's always a choice, Nathalie.

Ignoring the massively hypocritical "you're still complacent in his actions" line, this is a weird scene. Amelie waltzed right into the mansion back in Felix (the episode). If she wanted to talk to Gabriel about the fact that Felix was missing, why not do that again? It's not like this is urgent. She's apparently waited weeks to come talk to him. Why now?

Cut to the end of the episode and we get our answer:

Amelie: You were right: I did everything you told me to and Gabriel didn't do or say anything to help me. He despises me. He's a monster! They're all monsters! Argos: Hold my feather. (He de-transforms into Félix and goes to hug Amelie) Félix: Not all of them. (smiles)

So Amelie was just doing what every good mom does: blindly follows her child's instructions.

What were you expecting Gabriel to do, hon? Stop the event? This is such a weird test to pull. It'd be different if Felix had just gone missing, but she literally says "weeks". Why is she shocked that Gabriel correctly said "this is not the place nor the time, Amelie"?

I don't like to give Gabriel points, but he gets them here. I wouldn't cancel my event either. I'd tell her to come talk to me tomorrow or ask an assistant to talk to her. Of course, I'd also have been helping with the search before this, but that brings us to the second issue: Felix isn't missing.

What have the search efforts been? What does Amelie want Gabriel to do? No one has ever mentioned an ongoing search and our heroes would absolutely be involved in that since Felix, you know, aided a terrorist, but they're not so this all feels like a shit test.

Also, please remember, this is right after Felix snapped humanity out of existence as Argos and he detransforms in front of his mother. Either Amelie was living in a bubble or she saw everything her son did and was just like, "That's cool, baby! Mommy loves you! Go commit genocide! Your song was so good!"

This is all probably Amelie overcompensating for Colt's abuse, but you asked this in response to another post where I said that Amelie and Andre are the same, so that excuse doesn't really hold water. Andre spoils Chloe for the exact same reason. Aubrey's abuse may have looked different, but it was still abuse.

The only difference between Amelie and Andre is that Andre abuses his mayoral power for Chloe's sake and Amelie doesn't do anything like that. But then, Amelie doesn't have that type of power to abuse. If she did, then I have no doubt that she'd do the exact same thing, so I'm not giving her that point. She is exactly the same: overly indulgent to the point that she's made her child rotten.

Overly indulging an abused person like this isn't going to help them get over their abuse. That's what therapy is for. I adore the magical power of love, but only when it comes to magical threats. Love is not enough to fix anyone's mental health. You can't love away things like PTSD.

[sillyfudgemonkeys]

Kyoshi AU Where Rangi's a big flirt

Everything's the same until Yun is discovered and he, Kyoshi and Rangi first meet. When Kyoshi and Rangi meet, Rangi goes full flirt (like the type of flirting she does post dating). Absolutely masterblasts Kyoshi out of the damn closet she wasn't aware she was in.

So much so that Kyoshi's like "?????? What is this feeling???? Girls??? I like girls???? HOw do I date a girl????" and is panicking trying to figure out how to reciprocate Rangi's feelings (just say yes Kyoshi!). And she's freaking out so much that Kuruk's spirit literally reaches out to her to give her some advice (he couldn't take it anymore).

And well.....safe to say Kyoshi's screaming and freaking out about this ghost in her room, and now she has a lot more to unpack.

And long story short. That's the story of how Rangi's flirting got Kyoshi a new girlfriend, and had her be discovered as the Avatar in only two months or less.

[crystalkitty1220]

Man I wonder where the leader of the fear realm could've gone, it's alMOST LIKE NEVIN HAS AN

[backpackingspace]

an incomplete list of things I thought were pretty obvious bc I'm feeling petty

The jedi being about processing your emotions and grief and being able to work through the feelings in a healthy way

Odysseus being a rape victim

[hoperaypegasus]

Just statistically speaking here, not all these kids can have absolutely insane parents/guardians like Gingka and Hikaru have with Ryo. 

Like, we know Madoka’s dad runs B-Pit so he’s also a mechanic, but have him also be just an average looking dude. And Yuki’s grandfather might have been an old astronomer obsessed with beyblade, but like have none of his coworkers have believed him with the legendary blader thing. Because let’s be honest here, if your really old floor supervisor said a mythical star was going to chose the next saviors of the prophecy, you would not believe them.

And also, make some of these people have nothing to do with beyblade. Like absolutely nothing. They’re are so confused at what these kids are doing, but are trying their best to be supportive. 

For example...

Kenta’s mom? She’s a waitress at a really nice restaurant downtown and sometimes brings home extra deserts for Kenta.

Kyoya’s dad? He owns his own small real estate company and still also works as an agent a lot.

Hikaru’s mom? A nurse who ended up falling sick and dying from a disease she was working to heal.

Nile’s sister? Oh, she currently works as a seamstress as she’s in law school to become a family law attorney.

Demure’s grandmother? She was teacher who worked especially with language learning.

Julian’s family? Huge tycoons in manufacturing, especially in the car and vehicular industry.

Sophie’s family? She actually comes from a line of famous fashion and costume designers, commonly featured on Broadway and Hollywood.

Wales’s family? They’re old money from the oil industry and work globally to expand their company to this day.

Chao Xin’s sisters? One is a teacher, another is a travel agent, and the third one works at a pet store not far from Beylin Temple.

Mei Mei’s family? Oh, they run a pretty popular restaurant that’s even made it onto some global food locations lists.

Tsubasa’s parents? They were also special investigators but did not use beys at all in their work, sticking to more traditional methods.

Dashan’s mom? She was an admissions officer at Beylin temple and worked outreach for new students.

Gingka’s mom? Oh, she became a horror and mystery author after she left Koma and married an editor.

Masamune’s mom? She’s a diplomat actually and works with trade relationships between the US and Japan.

King’s mom? A social worker who adopted him and his siblings after falling in love with them on the job.

Benkei’s grandmother? She was a chef and the one who taught him how to cook.

And yes, they are all very confused by Ryo as a person as well as how the hell he was able to become director of the WBBA.

[ofgentleresolve]

guess who...instead of doing drafts ended up continuing the monster of a fanfic for their ocs?

[thankskenpenders]

The Lara-Su Chronicles: Beginnings review

The day has finally come. Many, understandably, thought we'd never get here. Maybe we shouldn't have gotten here. We've been through so much. Lawsuits, reboots, redesigns, unreleased NFTs, empty legal threats over the fact that movie Knuckles has a dad, an attempt to license out Scourge the Hedgehog to fans that immediately got canceled (in both meanings of the term), and many, MANY idiotic Twitter controversies. But now, here we are.

Thirteen years after first announcing it in the middle of his legal battles with Archie and Sega that changed the American Sonic comics forever, former writer Ken Penders has released the first part of his new series: The Lara-Su Chronicles.

Yes. I had to buy the book. I had to take one for the team. Look at the fucking URL of this blog, a blog I've been using to talk about the American Sonic comics for nearly a decade while the specter of this book loomed in the distance. The one time I've actually been paid to write an article about anything in any professional capacity, it was an article about the Penders lawsuits. I'm cited on his Wikipedia page. There was no way I was going to skip reviewing this, and there was no guarantee that scans would ever turn up online given the incredibly small audience for this trash. (Only 166 people preordered this, and even that number feels way higher than it should be.) No, I had to preorder it to ensure I could get a copy and cover it for the blog... even if that meant my name would be forever immortalized in the list of "supporters" in the back of the book. These are the sacrifices I must make as a woman who stumbled ass backwards into being an amateur Archie Sonic historian.

So, what exactly is in this book? How much of it is new? How bad is it? How did we even get here in the first place? How can this exist without Sega pursuing legal action? What happens next? And, most importantly... why are there multiple depictions of an Archie Sonic character breastfeeding in this book?

I'm here to answer those questions as best I can, and in agonizing detail.

First, for those just tuning in to this decades-long saga or those who maybe don't know the full story, here's a refresher on the background info.

"What the hell is this?"

The Lara-Su Chronicles is Ken Penders' long-dreaded long-awaited continuation of his 1994-2006 run on Archie Sonic, ignoring everything written after he left by other writers like Ian Flynn. In particular, it picks up from the cliffhanger ending of the 2003-2004 arc "Mobius: 25 Years Later," which was set in what Ken considers the definitive canonical future of the series. It stars Knuckles' daughter from that future era, Lara-Su, among other new and returning characters. The project was first announced near the start of Ken's legal battle with Archie in 2011, and he's been posting WIP previews online for about a decade. Now, after all this time, a Lara-Su Chronicles book finally exists.

We'll get to the actual contents of that book in a bit.

"He can do that without getting in trouble with Sega?"

Believe it or not, yes, he can.

Thanks to the outcome of Archie Comics' woefully mismanaged lawsuits against Ken (yes, they sued him after he started filing for copyrights, not the other way around), he now has full legal ownership of every story he wrote for Archie Sonic and every character he created for the series. This was explicitly granted to him in the terms of the settlement between him and Archie (acting on behalf of Sega). He can even reprint his old Sonic material as-is to his heart's content. The main catch is just that he can't write new stories featuring Sega characters or trademarks, and his new stories also have to be distinct from Sonic at a glance to avoid confusing readers. As such, reprints can't use Sonic iconography on the cover, a few Sega characters (mainly Knuckles) have been renamed and slightly redesigned in the new stories, and the art style has been changed to less closely resemble Sonic. But otherwise, he can do whatever he wants with his own characters.

All of this is because Archie lost the original copy of Ken's work-for-hire contract that signed over the rights to his work. Without that (or any alternative that was considered permissible in court), his comics and characters are the property of their creator by default. Yes, those old comics are full of Sega stuff, but Sega doesn't automatically own the copyright for every drawing of Sonic in existence. And Sega put their stamp of approval all over those comics and let them get sold at retail for decades, even though (in the eyes of the court) there was no legal paperwork granting them ownership of any of it. It's almost like they were unwittingly distributing a fan comic for years and declaring it a fair use of their property, and now there's no takesies backsies. It's a strange and unique copyright situation. Again, they worked all this out in the settlement. And, yes, fans have long speculated that Ken stole and destroyed his own contract to regain the rights to his work, but frankly Archie was so incompetent throughout the lawsuit (it went so bad that they had to fire and replace their lawyers midway through) that I completely buy the idea of them just losing important legal documents.

Also, in case it needs to be spelled out: while Ken's a weirdo, it's ultimately a good thing for creatives everywhere that Archie lost their lawsuit against Ken. We do not want to live in a world where corporations can claim ownership of peoples' work without the contracts to back it up. That would be an incredibly dangerous legal precedent to set. And more comic creators, and artists in general, should own their own work! Corporations are not your friend! They'll delete your work for a tax write-off in a heartbeat! It's just bewildering that this guy, of all people, was the creator who ended up successfully getting his shit back, and that this is what he's doing with it.

"What about his old collaborators? Are they involved? Is he paying them?"

Ken is mostly doing The Lara-Su Chronicles solo, though he has, in fact, talked about compensating the artists involved in any material he's reprinting. The ones who give enough of a shit to get paid for a small scale reprint of something they did 20 years ago, anyway.

On the subject of his collaborators, it's also worth pointing out that Ken's wasn't the only contract that was lost. Most of the early Archie Sonic writers from before Ian Flynn's time seem to be in the same boat as Ken, with the ownership of their stories and characters defaulting back to them. Again, Archie fucked up big time. But like I said, most of them don't really seem to give a shit. For most of them, Sonic was just a random temporary gig they took to pay the bills while Marvel was busy going bankrupt in the '90s, not the thing that defined their entire careers.

The only other Archie Sonic contributor who's tried to do anything on the level of what Ken is doing was writer and editor Scott Fulop. In 2016 he attempted to sue Archie for the unauthorized use of what are now retroactively considered his copyrighted characters and stories, and he even announced a standalone comic about his most famous Sonic character, the recurring villain Mammoth Mogul (sort of a pastiche of DC's Vandal Savage and Marvel's Kingpin, with wizard powers added for spice). However, Fulop lost his lawsuit because he didn't put together a particularly compelling case. Since then he seems to have wiped all traces of his ill-advised Mammoth Mogul comic and his company, Narrative Ark Entertainment, from the internet. For now, this leaves The Lara-Su Chronicles the only project of its kind.

"What about those other Archie Sonic reprints he just announced?"

At the time of writing, Ken is once again claiming that he's trying to get the band back together to reprint all of Archie Sonic, now under the bad new banner "Floating Island Productions: MOBIAN LINE" that I can't imagine he consulted literally anyone else on.

So, like, look. As we've established, Ken can reprint his own stories. And if he can work something out with the other contributors whose contracts were lost, he can print their work, too. But there is no fucking way he's getting his hands on Ian Flynn's run, which Sega undoubtedly holds the copyright for. Even if they don't, Ian needs to maintain a good working relationship with both Sega and IDW if he's to keep his job, so he'd never go for this. Not to mention that Ian and Ken just... don't get along! Ken's whole plan here seems to be predicated on IDW going out of business (a thing he REALLY wants to happen) and freeing up the Sonic comic license, after which he knocks on Sega's door and goes "hey I've still got dirt on you guys," blackmailing them into giving him the Sonic license back so that he can reprint the later comics. Every step of this plan is ludicrous. It's never gonna happen.

He's been saying he wants to reprint the whole series for a few years now, though. This isn't really anything new. And despite his lofty plans that set Sonic Twitter ablaze, he quickly backpedaled. The only specific things in the works right now are a "two-volume omnibus" of all of his Knuckles stories and a collection of artist Scott Shaw's work on the very early Archie Sonic issues, since they're on good terms with each other. I have no idea how Ken plans on packaging these when he can't put any Sega characters or the Freedom Fighters on the covers, but these projects are small enough in scale that there's a decent chance they'll see the light of day. Scott Shaw only did like five issues. But anything beyond that? I'll believe it when I see it.

Or, y'know, this could've all just been a publicity stunt for his new book. I wouldn't put it past him. Let's just focus on the book that actually exists.

"So he finally did it? He made a whole Lara-Su book? It's out? He finished it??"

Yes and no.

The book that's out now is The Lara-Su Chronicles: Beginnings, a prologue for the series of seven graphic novels Ken somehow plans on making, even though it's taken him 13 years to put out literally anything new. I don't know whether or not this counts as book one of seven, because it only features 30 pages of new comics. 30.5 if I'm being generous.

Most of the book is actually just a reprint of his infamous Archie Sonic storyline "Mobius: 25 Years Later", which ran from issue #131 to #144 in 2003-2004. (Again, yes, he can reprint this, he just can't put Sonic on the cover.) Why's it infamous? Well, Ken had been building anticipation for this future era of the series for basically his entire run. We kept seeing King Sonic and Queen Sally from the future. Knuckles' entire backstory hinges on his dad having a vision of this future. Several years before Silver the Hedgehog was created, it was Lara-Su who was Sonic's equivalent to Future Trunks, the cool-looking child of one of the main characters who traveled back in time to try and prevent a dark future. Believe it or not, yes, there was hype for Lara-Su. And then we finally got M25YL, and none of that cool stuff happened. Instead it really ended up being about how unbearably boring the middle aged Sonic, Knuckles, Sally, and co. are in this peaceful future where Robotnik is dead and they're all married with kids, forced into traditional nuclear family gender roles. Lara-Su is present, but she mostly just does generic teen girl stuff and complains about how Knuckles won't let her do anything even though she REALLY wants to be the new Guardian of Angel Island, like, super bad! Come on, dad!!!

In its original printing, this meandering arc ended on an abrupt time travel cliffhanger that Ken was never able to follow up on before he left Archie in 2006. This new printing slightly changes that ending, using the unresolved timey-wimey shenanigans as a convenient excuse to alter the entire timeline. This creates the slightly different world of The Lara-Su Chronicles, where the few relevant Sega-owned characters have been replaced and everyone is ten times uglier.

After this, we finally get two short new stories picking up where M25YL left off: "The Storm," starring Acorn Kingdom super-spy and known creep Geoffrey St. John, and an early release of the first chapter of The Lara-Su Chronicles: Shattered Tomorrows, the first full TLSC graphic novel.

And now that we're all on the same page about what we're looking at, let's actually talk about the book!

The cover

Let's start by beating a dead horse. The cover art: it's still bad! But why is it bad?

The cover is, of course, based on Patrick Spaziante's cover from Archie Sonic #131, the start of the "Mobius: 25 Years Later" arc. (Ken did the layout for that cover, though, so in the eyes of the law he's the original creator who owns that cover.) That cover was, itself, a tribute to the iconic cover of Giant-Size X-Men #1 by Gil Kane and Dave Cockrum, the issue that introduced the version of the team with Wolverine, Storm, Nightcrawler, etc.

Ken seems to have forgotten that the point of both these covers was to hype up the arrival of a new cast of characters. The new guys are supposed to make a dramatic entrance front and center. That's the focal point. Meanwhile, the cover for Beginnings has the old timeline versions of the cast from Archie Sonic dramatically bursting out of a shattered crystal ball, while their new counterparts look on in mild bemusement - if they're even bothering to look at all, since most of the characters here are just copied and pasted from their profile pages. That's just not how you do this particular homage! The point is supposed to be "out with the old, in with the new." And why are they using a crystal ball to view the past? Hell, why are they even using a crystal ball at all? The original arc was presented as a magical vision of the future courtesy of Tails' uncle Merlin (don't ask), but the new story leans all the way into being futuristic sci-fi.

Of course, there is no real artistic intent at play here. The old versions of the characters are placed front and center in the crystal ball simply because Ken traced over Spaziante's original art of Lara-Su and Julie-Su (the only two characters on the Sonic cover he owns) and threw out the rest, ruining the composition in the process. Look at the awkward empty space where Sonic, Sally, and Rotor once were, and the new drawing of The Character Formerly Known As Knuckles who's no longer properly centered between his wife and daughter. Even if Ken can claim ownership of the cover because he did the original layout, this all just feels scummy and lame.

And, yeah, if it needs to be said, the new characters and Ken's new rendering style look like absolute fucking dogshit. Putting new Lara-Su directly next to old Lara-Su does her no favors. The shattered glass effect looks absolutely atrocious. I could go on, but we'll have plenty of time to talk about the art style when we see how bad the stories inside look.

Changes to "Mobius: 25 Years Later"

Overall, 99% of M25YL is presented identically to its original printing. Sonic, Sally, Knuckles, et al. are still present with no changes to their names and no tweaks to the art. Even the original cover for issue #131 is included only a few pages into this book with its Archie, Sonic, and Sega logos still intact and everything. Again, because of the weird copyright situation described above, these preexisting comics can be released without any changes.

There is exactly one bizarre change to the art, though, where a hand drawn shot of Angel Island is replaced with an unfitting photo background and the ugly Floating Island photobash that Ken has been using as his personal logo for decades. I think he only did this as part of a test for his motion comic app that nobody asked for. I don't know why this had to make it into the print version. It's like the book is firing a warning shot for what's to come if you keep reading.

The new content begins on the final page of M25YL. In the original wet fart of a cliffhanger ending, Sonic and co. accidentally alter the timeline with an old time machine of Robotnik's and Lara-Su begins to fade away. Then, after everything goes white, we just cut to the present day heroes going "gee, you ever think about the future?" In this new printing, that last bit has been cut, and the rest of the page has been awkwardly shrunk down so that Ken can fit in a new panel. We now see the hands of an off-screen villain, seemingly named "Override," proclaiming that "the Praetorian" (Knuckles) has messed up the timeline again and that they'll finally get their revenge.

Who is this Override? I have no fucking clue. The new stories in this book make no mention of them. You have to buy the next book to find out.

My confusion over the identity of this villain overlaps with another big problem: name changes. So many names and nouns have been arbitrarily changed in The Lara-Su Chronicles, even ones Ken didn't have to change for copyright reasons, and I only know what half of them are replacing because Ken's been tweeting about this shit for years.

The echidnas are now a totally original alien race called "the Echyd'nya." Even in flashbacks to events from M25YL attempting to mimic the old art style, if it's on a new comic page, they're gonna call themselves "Echyd'nya." Evil echidna faction the Dark Legion is now the "Cyberdark Dominion," hailing from the "Cyberdark Colony." The Brotherhood of Guardians is still the Brotherhood of Guardians, but now the main guardian is called "The Praetorian." Angel Island is still called "The Floating Island," like it was in the older Archie comics, but it's ALSO sometimes called "Avion"? When I read this I wasn't sure if he had randomly renamed Albion, the other echidna city from the Archie comics. But no. Now we have an Albion AND an Avion. Sally is mentioned simply as "Princess Acorn," while Sonic is referenced once as an unnamed "blue-spined Erinaceinae," using the scientific name for hedgehog to make it sound more sci-fi. In an incredibly ballsy move, Ken even mentions Robotnik as "the Insurrectionist Kintobor," retaining his original surname from the Archie comics that's just "Robotnik" backwards. Guess Sega never trademarked that one.

Aside from every name change being a downgrade, this leads to confusion when you're not sure if something is supposed to be new, or if it's just an Archie thing you're supposed to recognize despite having a new name and design. Is "Override" someone I'm supposed to know already? Am I just supposed to have read a fucking tweet from Ken where he said he changed the name of some existing villain to "Override"? The answer is no, but I had to term search his Twitter just to verify this.

Moving on!

New story #1: "The Storm"

If you've been following the WIPs, this is that story about Geoffrey St. John that Ken's been posting previews of for almost a decade. The title page copyright dates it to 2015, and that absurdly long gestation is probably why the art is so inconsistent here. Even the style of speech bubbles and the font change between pages two and three.

This is a problem when there's supposed to be a deliberate and noticeable change in art style here signaling the moment where the time travel stuff alters the timeline, replacing the Archie Sonic world with the Lara-Su Chronicles world. If you don't already know that's what's going on, the idea isn't conveyed clearly at all. It just goes from one hideous art style to a slightly different one with no explanation.

The main problem here is that Ken has hitched his wagon to a franchise about anthropomorphic animals when he can't draw furries to save his life. (Though a bit later in the book we'll also begin to wonder if he can even still draw humans.) He's shifted away from the cartooniness of the original designs and given them more human proportions and facial features, but this just ends up making them look incredibly uncanny and lumpy and gross. With some designs he's trying to lean into more of a Star Trek alien vibe, but then he still insists upon retaining the giant Sonic eyes on most characters even though he has no idea how to make them emote.

The rendering of these godawful designs doesn't do them any favors, either. Ken's going for more of a painterly look now, but it almost seems as though he's shading everything with Photoshop's burn and dodge tools that are designed to darken and lighten select areas of a photo. The result is a muddy, smudgy look that makes it feel like the color layer has been smeared in vaseline. And it only looks worse after coming off of 14 chapters of M25YL that have way more palatable art.

The backgrounds, too, are a complete mess, a jumble of low res jpeg photo elements (sometimes with extremely noticeable pixelation), stock textures, and smooth digital gradients. There's no real sense of place here, and it gives everything a surreal, dreamlike quality when you can't really tell where anything is supposed to take place. This first story is seemingly set in a high-tech stronghold below Castle Acorn called "the Bunker," but it could just as easily be confused for the bridge of a spaceship. This whole story features characters speaking to each other over floating video displays and hologram projectors from three different locations, but without a hologram effect and without a clear sense of where the characters are it often feels like they're just in the same room as each other. Characters will be in one location on one photo background, and then the camera angle changes and they're in a completely different place, because Ken just uses mismatched photos off of the internet. It's been like 25 years since he first tried using photo backgrounds in the Archie comics and he hasn't gotten any better at it.

When I had my boyfriend read the book to see if it made literally any sense to him (it didn't), Anthony said this: "This is the kind of shit I'd see linked on a Second Life world that hasn't been touched since 2004." I think he really hit the nail on the head. Now, there's actually a contrarian part of me that thinks that might theoretically almost be kind of cool, in sort of a messy counterculture way. I love weird indie shit. I was a Homestuck reader! But this isn't a scrappy mixed media zine, or experimental outsider art from someone just messing around with Photoshop, or a loving throwback to weird old internet art, or even something intentionally bizarre and offputting like Xavier: Renegade Angel or a PilotRedSun video or whatever where the fact that it's weird and ugly is part of the humor. This is supposed to be a sincere sci-fi epic drawing on Star Trek and Jack Kirby comics, made by a guy who's been drawing comics professionally since the '80s. This is supposed to look good. This is supposed to compete with mainstream comics that are on sale right now. He thinks any day now IDW's gonna go out of business and Sega will come crawling back to him so that he can stamp the Sonic logo on shit like this. It just doesn't work.

But, okay. It's ugly. We knew it would be ugly. But that ugliness would be much easier to accept if it was in service of an otherwise genuinely good story. So what about the writing? After all this time, how does Ken choose to kick off this new saga? Well, credit where credit's due. "The Storm" feels like a proper continuation of Ken's writing style from M25YL.

Because it's eleven pages of characters standing around and talking while nothing fucking happens.

Here's the synopsis: A dog woman named Brownie, an ensign in the Royal Secret Service fresh out of training and the only character who's almost cute, walks up to Geoffrey to deliver a report. He's immediately suspicious of her, asking who let her in and if she's a spy for Elias (Sally's brother, if you're new here) or Alicia (Sally's mom). The art style suddenly shifts when the timeline is altered, but the scene continues uninterrupted. Geoffrey points a gun at Brownie when she won't say whose spy she is. Geoffrey is distracted by a call and proceeds to have a conversation via a mix of holograms and video screens with Remington (head of Echidnaopolis security), Spectre (Knuckles' great great great great great grandpa, the one with the helmet who always looks evil), and a new scientist character named Dr. Zephyr/Zephur. (The spelling of this character's name changes multiple times throughout the 11-page story, because I guess nine years wasn't enough time to spellcheck this shit.) They say a bunch of made up technobabble nonsense about how it looks like the timeline was just altered and Knuckles and co. seem to be involved. It's complete drivel that I'm not even going to try to make sense of. Everyone decides to investigate further, and the conversation ends. Brownie tells Geoffrey she's his spy, then walks out and implies she's actually Alicia's spy in her inner monologue.

To be continued!!!

Yes, that's it. It's really just a bunch of technobabble where some characters talk about how it seems like the timeline has been fucked with. That's it. The whole time Geoffrey doesn't even get up out of his damn chair, which he's of course sitting in backwards to show how cool he is. It's just 11 pages of Geoffrey sitting in a chair and talking to people and looking uglier than he's ever looked. Nothing happens. Nine years for this.

I'm also struck by how meaningless all of this is to anyone who hasn't read Archie Sonic. The added context from M25YL may help a little, but "The Storm" focuses on characters who weren't in that arc, and the story does very little to introduce who any of them are. Brownie could've been super useful as an inexperienced point of view character who's only meeting the others for the first time here, but instead she's really just a passive observer who's here as part of some kind of 4D chess game between Geoffrey and Alicia, an off-screen character whose motivations in this era of the story are completely unknown to even returning readers. Who are the good guys and bad guys here? What are the conflicts and the stakes of the story moving forward? What do these characters want? Basic questions like this aren't really answered. I can't imagine a new reader being able to make heads or tails of this. Hell, I can't really imagine a returning reader who hasn't been following the last decade's worth of Ken's tweets about this story making heads or tails of it, either.

...Maybe more will happen in the next story?

New story #2: Shattered Tomorrows preview chapter

After another message from Ken, the story of The Lara-Su Chronicles proper begins with the redesigned Lara-Su walking along a jpeg photograph beach at sunset and crying while thinking about how Knuckles - sorry, his name is K'Nox now - is dead.

Yep! Straight into the dad stuff!

Look, I'm the last person to complain about writers getting super personal and drawing from their own baggage in their writing, but Ken's just no fucking good at it. There's no nuance, nothing interesting to say. He just keeps writing mediocre-to-horrible dads whose misdeeds are always justified by their "good intentions," and then sometimes they die and their kids are like "we may have fought but actually you were the bestest dad ever and I'll miss you forever, I'll never be able to fill your shoes!"

This is the only part of the new material here that feels like it has any heart behind it, because I know how much his complex relationship with his late deadbeat father means to Ken (there's an author's note in this outright saying as much). But the guy died 42 years ago, and it doesn't feel like Ken has had any new thoughts about this part of his life in those four decades. He's just not an introspective or self-aware enough artist to actually mine his personal baggage for anything beyond "father knows best."

Anyway, so then it jumps forward in time(?) and now we're following this human guy who looks like this.

Previously, Ken got a lot of shit for literally just using the likeness of Anthony Mackie for this guy, based on his IMDB profile photo. Ken has thus redesigned the character... and by that I mean I think he looks more like Ernie Hudson now? Ken's clearly just working off of photo references (if not straight up tracing), given his face is the most detailed and realistic-looking thing on any page where he's present.

But you may be wondering: who is this, and why is he here? Well, for one, he's here to run around in front of some low res space photos while making trite references to things like Planet of the Apes and Star Trek. Haha, he makes a joke about red shirts! Original!! But beyond that, Commander Mykhal Taelor (yes, that's really how he chose to spell it) is a human... from Earth! Archie Sonic readers are probably confused, because in those comics Mobius is Earth in the distant post-apocalyptic future. Well, despite being a Planet of the Apes fan, Ken always hated that particular worldbuilding decision from Karl Bollers, always preferring to think of Mobius as a separate alien planet. And now he gets to make that canon in his own stories and throw out Karl's ideas. So Mobius is basically just, like, a Star Trek planet now, with its own alien creatures that sometimes just so happen to look like anthropomorphic Earth animals.

Also, at one point Taelor wonders if the inhabitants of the dead Mobius might have been human, and the alien ally he's talking to over the radio says it's unlikely. "I don't understand why your kind has a problem understanding you're a minority within a minority." Perhaps poor wording for a line said to the only Black character in the story.

Anyway, Commander Taelor here seems to have discovered the uninhabited husk of Mobius after the vague time-space cataclysm everyone was worried about in M25YL has come to pass, and he finds an audio log from Lara-Su that I presume will explain what happened. I guess those are the titular Lara-Su Chronicles. In theory this flash forward establishes some sense of pressing danger, but when the threat to the planet is so unclear and technobabble-y it just kind of lands with a thud.

It doesn't take long before we get back to Lara-Su being sad about her dad. A good little chunk of the chapter is spent with this new timeline's Lara-Su recalling moments in her life, including echoes of the original Lara-Su's memories from M25YL, which feels redundant coming hot off the heels of a straight reprint of that entire arc. And boy, for anyone who read the later Archie Sonic comics, the protagonist having vague memories of the old version of the series from before a lawsuit-related timeline reboot sure does sound familiar, huh?

The art inconsistency somehow becomes even worse in this story, with Ken flip-flopping on whether or not he wants to use outlines, with the no-outline art managing to look even worse by relying entirely on Ken's awful rendering. By this point in the book, readers are also likely to start noticing how often Ken reuses art from previous panels. This is a shortcut that tons of comic artists use, of course. Invincible famously did a joke about this. It's often understandable. But, again... it sure does stand out in a book that took 13 years to make with only 30 pages of new art. Amusingly, Ken even manages to combine his inconsistency and recycling problems by reusing the same art with and without outlines. And, of course, any time Ken tries to draw the Archie era designs it's just... the worst.

And, yes, it's in this dreamlike montage sequence of Lara-Su's life that we get...

The uncomfortable family nudity scene, followed by the dual timeline Julie-Su breastfeeding scene.

Yeah, you might have heard about this one already. If this incredibly eerie presentation of Lara-Su's hazy memories of the two different timelines make it hard to tell what's going on, don't worry. There's another, clearer version later in the book as part of Julie-Su's character profile, because I guess Ken was just so proud of it.

(I censored these myself because I'm not playing Russian roulette with Tumblr's inconsistent nudity rules and risking getting banned lmao)

Like, okay. Is a mother breastfeeding her child really that shocking of a thing to see in a story? No, not at all. But, like... when it's two characters who you previously created for an officially licensed Sonic the Hedgehog comic for 7-year-olds... and some of those officially licensed Sonic the Hedgehog comics for 7-year-olds are reprinted in the same book... and when it's drawn like this... yeah, it's kind of a shocker.

It just looks so unnatural. Julie-Su is posed very deliberately so that you'll see both of her breasts, and in the new timeline version she's barely even holding Lara-Su so you can really get a good look at her supermodel body, showing zero physical signs that she just gave birth. Most people will immediately jump to this being Ken putting his fetishes in his work (a type of criticism that I'm incredibly tired of - it's 2024, all the cool artists are blatantly putting their fetishes in their work now). And my immediate response is that, no, this is probably just Ken trying to come off as really mature on a surface level, a thing he's been obsessed with since the Archie days. Free from the shackles of writing a licensed children's comic, of course he's going to jump immediately into depicting some nonsexual, artistic nudity to try and prove he's A Real Mature Artist For Grown-Ups who just thinks the human body is beautiful and breastfeeding shouldn't be a taboo etc. etc.

But then, like. You look at some of the other character designs. Like Espio's daughter Salma, who's now this horrifying alien lizard person who's always nude, and her scale pattern puts scales exactly where her nipples should be. Or you look at his comments about the Echyd'nya age of consent. Or you look at how he keeps drawing Lara-Su in this. Like, does the shuttle really need this, like... reverse chaise lounge thing in the cockpit? So that we can keep getting these shots of the 16-year-old Lara-Su lying on her stomach and posing with one of her legs kicked up, her naked ass in plain view?

The vibe isn't great, is what I'm saying!

I'm not going to try to ascribe authorial intent here. I don't know. I'm not a psychic. Given his very blatant reliance on photo references elsewhere in the book, it's entirely possible he just referenced some figure drawing photos that were maybe just a little too sexy. And also, he's an American comic book artist, and a boomer one at that. Those guys tend to draw women a certain way, even when it's not supposed to be sexual. I don't fucking know. It just sucks. I'm not gonna make some hyperbolic statement about how this makes him a literal pedophile who should be in jail, but it is deeply offputting and objectifying.

But if you already knew about the nursing scenes and were hoping there was some other really shocking stuff in there for me to talk about in this review, sorry to disappoint, but nope. That's the only shockingly weird new thing in here. Once again, not a lot happens in this story, and what does happen is pretty boring.

Once we get past the recap stuff and the human guy, the plot developments boil down to this: The timeline was altered at the end of M25YL... but not as much as you might think. In the new timeline, Knuckles ("K'Nox"), Cobar (now looking significantly younger), and Rotor (now a rhino just called "The Emissary") still traveled via shuttle to go find a time machine in the Badlands and fix the time-space continuum, like in the climax of the original arc. This time, though, Sonic wasn't there, and Lara-Su came along without having to stow away. Lara-Su watches the ship while the grown ups go deal with the time machine, and then after a couple panels Not Rotor comes back with Cobar and is like "Hey, Cobar got hurt, we gotta leave. Dunno what happened to your dad." And then they just, like. Presume that Knuckles must have died. Even though we have no idea what happened to him. And then they just fly away. And then Lara-Su is sad that her dad died.

And that's pretty much it!

This is supposed to be a really emotional sequence - it's literally the scene where Lara-Su learns that Knuckles is dead - but instead it comes off as unintentionally funny because of how poorly it's portrayed. Not showing Knuckles' actual disappearance is a huge misstep, for one, making his uncertain fate more confusing and anticlimactic than dramatic. But also, Ken keeps just using the same two drawings of Rotor for two pages, so he doesn't really seem to be emoting at all, and he's in this spacey hazmat suit that honestly just makes him look like fucking Moltar from Space Ghost. So the whole time I'm just reading his dialogue in Moltar's deadpan voice as he's like "I dunno. We did what we could. Anyway, let's leave."

After this, we get a two-page spread previewing the rest of the story from Shattered Tomorrows. It's basically like a trailer in comic form. It has one of the most mystifying layouts I've ever seen in a comic book. I have no idea what order I'm supposed to read this in.

Yeah, I kinda have a feeling this is the full extent of what Ken has drawn for the rest of that book. I'd love to be wrong, but I fear that I'm right.

Bonus material: Data files

These are mostly very dull, recapping a lot of events shared between Ken's Archie run and the new Lara-Su Chronicles timeline. It seems like almost his entire run is still considered canon to the backstory of the new timeline, just with some names changed, and things only really diverge at the climax of M25YL. But I'll share the interesting stuff here.

Lara-Su

The main thing you'll notice in Lara-Su's profile is the massive, unreadable wall of text where Ken felt the need to list the entire Knuckles family tree, split across both pages.

This is literally so long that Lara-Su's personal history has to awkwardly cut off mid-sentence and be continued on the final page of the book, after the rest of the data files.

Also, please note that this list gives Julie-Su's mom's full name as Mari-Su of the House of Atrades. Incredible on all levels.

There's also a reference to the dark timeline Lara-Su was originally supposed to come from. You know, the one where Julie-Su is the leader of a rebel movement fighting against a Knuckles who had gone mad with power? The timeline that would have been way more interesting than the one in M25YL? Here it seems to have been written off as the result of another "timeline disruption." Lara-Su allegedly has vague memories of this timeline, in the same way that she has vague memories of the M25YL timeline.

Geoffrey

Geoffrey's bio mostly recaps events from the Archie comics, which means the Sonic/Sally/Geoffrey love triangle has to be alluded to. His rivalry with Sonic is described like this:

"He would later resurface when Kintobor was transporting his latest hi-tech weapon, the Dynamac-3000. It was during that mission he discovered a rival for the Princess' affections. Whereas the Princess would be one of a line of conquests where St. John was concerned, the blue-spined Erinaceinae who protested doth a bit too much regarding his affections for the Princess for St. John's taste would prove to be a source of great sport and amusement."

Yes. It's gross. Saying that Geoffrey saw Sally as "one of a line of conquests" is gross. Ken writing this and then still treating Geoffrey as the coolest badass ever is gross. The "Princess Acorn" is also first on the list of Geoffrey's "female relationships" elsewhere in his bio, though I suppose how much of a "relationship" they had is left vague. Honestly, at this point the fact that Ken didn't explicitly confirm that Geoffrey took the underage Sally's virginity in the book comes off as a display of restraint. The bar couldn't be any lower, I know.

Remington

His bio is, frankly, shockingly long for such a minor character, though I guess he does get a large portion of the word salad dialogue in "The Storm." There's a lot of stuff here about how the identities of his biological parents are shrouded in mystery, a plot point that fans have long speculated Ken just straight up forgot about in his time at Archie. (Ian confirmed that Kragok from the Dark Legion was Remington's dad, though, so this isn't really much of a mystery.)

Lien-Da

She gets a bio even though she's not present in the two new stories, just so we get to look at her awful new design and compare it to how Steven Butler drew her earlier in the book:

Commander Taelor

We get to see two drawings of him with the same exact Ernie Hudson face side by side! That's fun.

Julie-Su

She gets a list of "known friends," but the only character listed is Knuckles' mom. Poor Julie-Su.

Also, Ken feels the need to reiterate that Knuckles and Julie-Su are still distant cousins. He made a whole new timeline where he can change whatever details he wants, but THAT had to remain canon. Thanks, Ken.

And then after the data files we get the special thanks page, listing everyone who preordered the book and/or bought TLSC merch from Ken.

With my name on the list. Because I had to buy a copy to cover it for the blog.

My name is on the very next page right after the breastfeeding panel in Julie-Su's data file.

Yep. He got me.

Is it at least a well put together book? Like, in terms of manufacturing quality?

Its physical quality is... fine. It's a nice, sturdy hardcover. The print quality seems fine, though mine does have a bit of smudging from some sort of printing error on one page. The pages don't seem like they'll fall out on me. The image quality is crisp. The colors are vibrant. This is a low bar, but this is one of the few places where I'm able to give this book anything resembling praise.

The formatting and graphic design work, on the other hand...

(I didn't crumple those page corners, it came like that.)

For one, the placement and sizes of the M25YL pages is inconsistent, largely due to the fact that the book doesn't actually match the proportions of a comic. A lot of pages aren't properly centered vertically. Some pages go all the way up to the top edge of the paper, while others leave a visible gap of about half a centimeter. Every page has a 1cm gap to its left and right, which is sometimes filled in with a solid color or gradient that doesn't quite match the page it's surrounding. I have to assume Ken didn't have any sort of source files or original artwork to work off of, as those ideally would've had more generous bleed to account for slight shifts in printing. It kind of seems like he just got the highest resolution versions he could find of the digital releases online and printed those. The colors are a dead ringer for the digital versions, which have always looked slightly more saturated and pastel than they did in print.

I can't say this bodes well for his further plans for Archie Sonic reprints - sorry, Mobian Line reprints. If they ever come out, please, for the love of god, do not buy those. I don't care how much you love Archie Sonic, they aren't going to be good reprints. For comparison, IDW's similarly priced hardcover Sonic collections have none of these formatting problems, because they're made by people who know what they're doing with access to the actual source files.

The book also has its fair share of text-focused pages, split between the data files and messages directly from Ken about the history of his career and this project, and these are formatted in the most amateurish way possible. Just massive walls of Arial text over either plain white backgrounds, simple gradients, or faded photos. I've seen school yearbooks with better graphic design. Even ignoring my subjective feelings about the art and stories within, this book does not feel like it's worth $36 USD.

It's frankly shocking how shabby he let this thing look considering it's supposed to be his baby. And doesn't that really sum it all up?

Closing thoughts

Obviously, I did not expect this to be any good. But I'm still left kind of dumbfounded by it.

I think what really strikes me about it is that Ken had a blank check to do whatever he wanted here. He got an opportunity many writers would kill for when he gained complete ownership of his most famous work. He's free from the limitations of a monthly licensed comic book for children, free to make whatever creative decisions he wants without editors or other writers or Sega to worry about, free to completely reinvent the series to his heart's content and finally tell the story of his dreams. And with that opportunity and 13 years of his time, he made... this. A direct continuation of "Mobius: 25 Years Later" that barely changes anything about the characters or world beyond their awful new designs, even though much of the word count is spent rambling about how the timeline has changed. A story that makes zero concessions for new readers, or even returning readers who don't already have the last decade's worth of Ken's tweets explaining his creative decisions burned into their memory. 30 pages where nothing really happens and the story barely moves forward an inch despite the decades-long wait - but maybe something will happen if you buy the next book!

Who is this for? Maybe this really is a project for no one but Ken. Maybe he just really, really wants to finish the story he started, a story that's personal to him due to the family history it evokes, and the number of people who enjoy it or buy it beyond that is irrelevant. I think that many of the best artists are incredibly self-indulgent ones working with that exact mindset, artists whose enthusiasm for their own work jumps off the page or screen. So, if that's the case, then why the fuck isn't he telling the damn story? What's stopping him? Why is he still spinning his wheels? Where is that passion for his own work? Because it sure as hell isn't there on the page. There's a huge part of me that really wishes I could say "Man, what a weirdo, but you do you, Ken. You tell your weird little story." But there's barely any story here. It's like he loves styling himself as a storyteller, but he's terrified of finally having to actually tell a story after all this time. He's still stuck in the exact same mode of writing he was in almost 30 years ago when he was doing 6-page backup stories about Knuckles, just killing time and stringing readers along until he's eventually able to truly realize his vision. If not now, then when, Ken?

Even the back cover blurb is mostly just a dry recap of the history of this thing. It was a Sonic comic, the original arc was published in these issues, it went unfinished, Ken left Archie, the lawsuits happened, now he's continuing the story. There's nothing about why anyone should give a shit about this as its own story, even though Ken has spent years trying in vain to convince people TLSC is its own beast that shouldn't be judged as a Sonic story. I think deep down he knows that there's no pitch for this beyond the novelty of it originating from Sonic. And that's why, despite declaring that he'd leave the site, he's still on Twitter riling up Sonic fans. It's the only attention he gets at this point.

Maybe this is too harsh when those 30 pages of new comics are just intended as a preview for the "real" book. But the elephant in the room is that we have no idea if that "real" book will ever actually come out, let alone the entire series of seven graphic novels that will supposedly complete this saga.

Ken is undeniably a complete jackass and all around unpleasant, vindictive person who's rightly become an industry pariah. He's a self-proclaimed paragon of progressive values who'll send Comicsgaters after his successors for the crime of not worshiping the ground he walks on, and then turn around and announce he's going to reprint their work without even consulting them. He's a sore winner who already won his copyright battle on a level most comic writers would never dare to dream of, and yet still won't truly be satisfied until he sees an entire major comic publisher go out of business, putting god knows how many people out of work, because he thinks this would get him back the license to a video game franchise he doesn't even like.

But I still have to pity him.

As an artist, the trajectory of his life is my nightmare. I think all of us fear dying before we can tell all the stories we want to tell. There's simply never enough time to do everything. And here's Ken in his 60s, talking about how he's still planning on making his magnum opus all by himself out of stubbornness and pride, despite demonstrably proving he can't handle the workload, and also talking about how if he dies before the project can be finished he'll have to pass the torch on to his kids and get them to finish it for him. It's so grim. Even just typing that sends a shiver down my spine. It took nine years of his limited time on Earth to finish and release an 11-page comic about Geoffrey St. John sitting backwards in a chair.

This is a purgatory of his own creation. And yet... I'm not sure he's ever been prouder. One must imagine Sisyphus happy.

I guess if I want people to take anything away from this review, it's this:

Lesson one: If you're an artist or writer of some kind, or an aspiring creator, don't wait around. No one else is going to tell your story for you. Start writing that novel. Start drawing that webcomic. Start making that game. If Penders can put out this damn book that no one asked for after 13 years of work, then proudly proclaim that he's still going to make six or seven more books and also reprint hundreds of comics he doesn't have all of the rights to, then show up to cons with that foul Lara-Su Chronicles: Shattered Tomorrows banner and sit in front of it beaming with pride, fully aware of his critics but saying "fuck 'em, I know I'm hot shit," then you can do fucking anything. Tell the weird, sincere, cringe story of your dreams. If Ken Penders doesn't have imposter syndrome, then nobody should.

And lesson two: Don't buy Ken's books.

[pipermca]

New AO3 Tag Wrangling Policy and the Transformers Fandom

Edit in the event people come back to the original post: Please do not email AO3 about this issue. See their response about this issue!

(This is a long one, folks, but I think it's important.)

A new tag-wrangling policy on AO3 has the potential to create some massive confusion and chaos in the Transformers fanfic community, with regards to fandom tags. There is a Reddit post about it here with a focus on anime fandoms, but I want to give some concrete examples for the Transformers fandom on why we DO NOT WANT this, and why I think it's a horrible idea.

The Problem

Basically, AO3 is looking to get rid of the "All Media Types" fandom tag across the board, either by dismantling them or just not maintaining them. The Transformers - All Media Types tag has been an all-purpose tag that you could select when your story doesn't fall into any one specific continuity. Additionally, all most (see below) TF continuities on AO3 are considered a subtag of the Transformers - All Media Types tag. For example, if you look at the link above for all works in the All Media Types tag, you will see fics that are also tagged ONLY with Transformers: Animated, because it falls under the All Media Types tag.

One exception: With the upcoming Transformers: One movie coming out imminently, there will likely be a big influx of stories tagged with Transformers: One. In fact, there are several already. However, it hasn't been linked to the larger Transformers - All Media Types tag yet. I wasn't worrying about it though, because I know these things can take time.

With information about this new tagging policy, however, I'm now wondering whether it'll EVER get linked to the All Media Types tag. If that happens, and when more continuities are developed in the coming years (since you know Hasbro loves creating new universes) this has the potential to cause massive confusion when looking for stories to read.

Searching for Stories with the New Tagging System

So let's say the All Media Types fandom tag isn't accurate anymore, because it no longer includes ALL of the continuities (such as TF:One). You will need to include ALL the Transformers continuities when browsing for TF fics.

How many tags is that? Well, here are all of the tags currently listed under the Transformers - All Media Types tag:

Note that this doesn't include Transformers: One since it hasn't been categorized yet.

You will potentially have to have 40 or more different fandom tags in your search, just in case the author tagged their story with something you weren't expecting.

This massively decreases the findability of a story.

Tagging with the New System

The email response from the Tag Wrangling group (see the linked Reddit post above) seems to be a bit flip in the response to the user's concern. "...encourages creators to tag with the media they intend."

While I appreciate what they are attempting to do, this policy change feels like a solution in search of a problem, especially in larger fandoms with multiple continuities, versions, and media types that are all cross-pollinated in both canon and fanon. While I'm focusing on Transformers fandom, imagine a creator in the DC comic universe writing a story that incorporates bits and pieces from a dozen different reboots.

For example, let's say that I am writing a fic about Ratchet. I am using the setting of the original G1 episodes, but I also am using the characterization of him as a bit of an old man grump. That characterization originated in the Animated continuity, but I want to incorporate bits of pieces of his other characterizations as well (old friend of Optimus from TFP, Ratchet ran a faction-free clinic like he did in the War for Cybertron series, he's got a Decepticon boyfriend like in IDW1 - or maybe even Cyberverse, etc.)

With this new tagging structure, I might potentially have to tag the story with ALL of those continuities. So instead of just slapping down the "All Media Types" tag (and maybe one other fandom tag that matches the characters as best I can), I'll have to analyze my story and try to figure out how best to tag for the characters I used.

And what if you're doing a completely AU version of the story? For example, a humanformers story, or merformers? Using the All Media Types tag along with a Alternate Universe - Human or Alternate Universe - Mermaid tag worked perfectly, since you weren't writing the story to fit into one specific continuity. But now, that might not be an option.

What To Do??

The first thing I would suggest is to contact AO3 (using the Feedback and Support page) and let them know (nicely) that you think this is a horrible idea. Give them some examples on how you use the All Media Types tag to find stories to read, or to help you tag a story. People outside of the Transformers fandom don't always appreciate how absolutely tangled the continuities can be with each other, and providing examples might help them see why this would be a really messy change.

Readers: Be aware that when you are looking in the All Media Types tag, it will no longer show newer continuities. And if AO3 starts dismantling that tag like they suggested they are doing, be aware that some stories won't show up in that tag like they used to. You can also create and then bookmark a custom search page that includes all 40+ continuities. REALLY annoying, but it's a workaround.

Writers: Until they start dismantling the All Media Types tag, ALWAYS ALWAYS tag your stories using Transformers - All Media Types... Especially for newer continuities. This will be especially important if you are writing a Transformers: One story. Right now, anyone who is only browsing the All Media Types tag will not see a story tagged only with Transformers: One. Make sure you're aware of how tags work and how they can affect the visibility and findability of your story.

Epilogue

Ugh. That's a lot of words for a long-weekend Saturday. And maybe I'm overreacting a tiny bit. But my work involves information architecture, and this change just absolutely baffles me. It's almost as though they want to make it harder to find stories. Considering that AO3 won a Hugo partially because of its fantastic tagging system, this change seems like AO3 is doing its best to shoot itself in the foot.

When you have a square hole, a round hole, and a rectangular hole… Yeah, you DO want each peg to go in the "right" hole. But if all of the pegs fit in the square hole, who cares? You got the job done.

I love you @ao3org, but please reconsider this change... Especially for IPs that are as old and are as varied as Transformers.

[daincrediblegg]

no you know what I'm going to scream about the stuff I talked about in the tags of this post publicly

I'm tired of the well-meaning "don't feel bad if your work only gets 20 notes your genius is what counts and do it for you!" bullshit. I've had a good handful of friends who have straight up DEACTIVATED in recent months because their work was not getting reblogged AT ALL. No, it wasn't from lack of not being well-liked, no it wasn't from lack of trying to make sure it was getting out there to the people they knew would engage with it. It was because no matter how much they were praised privately for their work, when push came to shove, absolutely NOBODY reblogged it and gave it the audience that it was due, and I'm tired of people shoving the "unsung genius" narrative as an excuse for it. Nothing excuses that. And the boop event really proved that.

because I know given the opportunity, indiscriminately pressing a button (sometimes 10 thousand times, as I did) is not beyond this website's capability. y'all loved doing that. and look at what it wrought. nothing but love and affection and happiness. just from a couple of quick clicks of a little paw button. sure. nobody knew who you booped but the other person (which is how likes used to work on this website, btw). there was an element of anonymity to it. but that is kind of the core of this website that no other social media platform still has: the ability to be anonymous. and hyper-curating a blog on here like you might on twitter or instagram to project an image is simply not viable. and hey. you wanna know a secret: literally nobody cares what you post or whether it goes with the "theme" of your blog or not. yeah. I know. CRAZY concept in this day and age. but literally. I myself have reblogged things that have had nothing to do with whatever I am currently fixated by and you know what happened to my follower count? not a damn thing. in fact, I actively try to reblog things specifically BECAUSE it's my friends who made them (even though I'm not always good at KEEPING UP WITH HOW MUCH THEY POST @prismatica-the-strange will NEVER GO UNRECOGNIZED by me).

And you know what fucking sucks? I have to deal with this too. surprise right? you ever wonder why I reblog fics or art I post like 20 times the day that I post them? do you ever wonder why I ask about tag lists and beg for asks all the time? IT'S BECAUSE EVEN I GET LIKE. 5 LIKES ON THE THINGS I POST. AND THE REST OF THE REBLOGS ARE MINE SO I CAN MAKE SURE THAT PEOPLE WHO WANT TO SEE WHAT I MAKE GET TO SEE IT. and I say that knowing that I'm certainly not an unpopular blog, or an unpopular writer. I know that people love the stories that I create. Hell, half of the people that I've talked to about lady terror have told me that they consider her to be canon (AND EVEN SOME!! THOUGHT SHE WAS!!! WITHOUT EVEN HAVING WATCHED THE SHOW! WHICH IS STILL SO SO WILD TO ME!!!) But especially in the last 4 years (which really dates this phenomenon), my posts, no matter how well received they've been amongst people I've talked to about them directly, I still go into the notes and at least half (often more than half) are MY reblogs to make sure people saw what I posted. and it happens every single time, and I can't tell you how much it crushes me considering that it used to be that I would be able to post it only once, and people would reblog it sometimes even HUNDREDS of times.

It's not about popularity. it never has been. it's not about anxiety. or shifting website cultures. even if you lurk, the simple fact is, that if you want people to keep making what you love. you have to reblog. your theme won't suffer because you reblogged a fanfiction that you really admire. your posting won't be ruined because you reblogged some fanart from someone in a different fandom. really. I promise. and if people do unfollow you for that? who needs em. followers come and go but you should NEVER have to cater to them. on this website it has ALWAYS been the other way around. lean into it. make it yours. put stuff you ACTUALLY WANT to be seen and that you love and appreciate on your blog. no matter how old it is, how new it is, no matter how niche or off-theme it is.

so please. if you really want to show your appreciation for someone's work? you reblog. it's really as easy as that. check the tags. add some when you reblog if you like. but please for the love of god reblog. it's as easy as booping and even more rewarding for the people who you reblog from. if you want to let someone know that their work is genius and appreciate it? show it. reblog. then DM them if you're too nervous to say what you want to say but not in a public forum. but for christ's sake. REBLOG.

[gffa]

One thing that caught my attention while watching The Phantom Menace in the theater, a movie I didn't expect to find anything new with after how many times I've seen it and analyzed it, was that Sidious mentions multiple times that he has to change his plans to fit the new circumstances. It got me to thinking about how Palpatine gets credit for his carefully crafted plans, but often times not for how flexible he is in changing them on the fly, especially in time travel fics where someone destroys one of his plans and that's the end of it. Which, I'm not advocating against, I love a good Take That Wrinkled Walnut The Fuck Down However You Gotta Do It fic and I don't want them to change! But in canon Palpatine makes note of things he's not expecting, like:

When Valorum sends the Jedi as ambassadors, it's not part of Sidious' plan: DAULTAY DOFINE: This scheme of yours has failed, Lord Sidious. The blockade is finished. We dare not go against the Jedi. DARTH SIDIOUS: Viceroy, I don't want this stunted slime in my sight again! This turn of events is unfortunate. We must accelerate our plans. Begin landing your troops. NUTE GUNRAY: My lord, is that… legal? DARTH SIDIOUS: I will make it legal. NUTE GUNRAY: And the Jedi? DARTH SIDIOUS: The Chancellor should never have brought them into this. Kill them immediately!

On the Trade Federation ship, after Queen Amidala has disappeared from Naboo, Palpatine originally planned that she would be forced to sign the treaty, and then brings in Maul to deal with this. DARTH SIDIOUS: And Queen Amidala, has she signed the treaty? NUTE GUNRAY: She has disappeared, My Lord. One Naboo cruiser got pat the blockade. DARTH SIDIOUS: I want that treaty signed. NUTE GUNRAY: My Lord, it's impossible to locate the ship. It's out of our range. DARTH SIDIOUS: Not for a Sith. This is my apprentice. Darth Maul. He will find your lost ship.

On Naboo, after Padme allies with the Gungans: NUTE GUNRAY: We've sent out patrols. We've already located their starship in the swamp....It won't be long, My Lord. DARTH SIDIOUS: This is an unexpected move for her. It's too aggressive. Lord Maul, be mindful. MAUL: Yes, my Master. DARTH SIDIOUS: Be patient... Let them make the first move.

Palpatine's plans aren't static, they adapt and change with the events that happen, just as the other characters react to new information and head in new directions for it, so too does Palpatine and I think it's interesting to note that part of what makes him such a good villain is that he has an outline for what he wants to do, he sets up the dominoes of what he needs, but even when they don't fall precisely into place, he generally gets what he wants. He originally intended that Padme would sign the treaty, the Jedi wouldn't be involved, and that would lead to a vote of No Confidence to oust Valorum, using the sympathy for Naboo as a way to boost himself into the position. But he didn't really need her to sign it and still managed to use the sympathy for Naboo to get elected, it ultimately didn't matter what happened to the planet, so long as it was in danger while he needed it to be, he could use it either way. Nor, honestly, do I think he ever planned for Anakin Skywalker's existence, he had no idea they would find such a boy on Tatooine or how useful he was going to be, that was another way he changed his plans once the opportunity arose. Or a lot of his plots in TCW--he has Cad Bane steal the list of Force-sensitive children and kidnap them, bringing them to Mustafar for some sort of program to use them probably not too unlike how he uses the Inquisitors later. That plan is foiled by the Jedi, the babies are returned to their families, and Sidious' plans fall through, but that doesn't really change the outcome. tl:dr: I don't think Palpatine gets enough credit as a villain whose plans shift and change along with the new events that happen, just as much as the heroes' plans shift and change when new things happen. Yeah, he's a great villain because he creates an impossible trap for people, but also because the thing about him is that he's incredibly charming and charismatic and he knows an opportunity when he sees one, that any one given plan might fall through, but it's not necessary to his overall plot.

[foone]

Look if there's one thing, just one thing, that I wish everyone understood about archiving, it's this:

We can always decide later that we don't need something we archived.

Like, if we archive a website that's full of THE WORST STUFF, like it turns out it's borderline illegal bot-made spam art, we can delete it. Gone.

We can also chose not to curate. You can make a list of the 100 Best Fanfic and just quietly not link to or mention the 20,000 RPFs of bigoted youtubers eating each other. No problem!

We can also make things not publicly available. This happens surprisingly often: like, sometimes there'll be a YouTube channel of alt-right bigotry that gets taken down by YouTube, but someone gives a copy to the internet archive, and they don't make it publicly available. Because it might be useful for researchers, and eventually historians, it's kept. But putting it online for everyone to see? That's just be propaganda for their bigotry. So it's hidden, for now. You can ask to see it, but you need a reason.

And we can say all these things, we can chose to delete it later, we can not curate it, we can hide it from public view... But we only have these options BECAUSE we archived it.

If we didn't archive it, we have no options. It is gone. I'm focusing on the negative here, but think about the positive side:

What if it turns out something we thought was junk turns out to be amazing new art?

What if something we thought of as pointless and not worth curating turns out to be influential?

What if something turns out to be of vital historical importance, the key that is used to solve a great mystery, the Rosetta stone for an era?

All of those things are great... If we archived it when we could.

Because this is an asymmetric problem:

If we archived it and it turns out it's not useful, we can delete.

If we didn't archive it and it turns out it is useful, OOPS!

You can't unlose something that's been lost. It's gone. This is a one way trip, it's already fallen off the cliff. Your only hope is that you're wrong about it being lost, and there is actually still a copy somewhere. If it's truly lost, your only option is to build a time machine.

And this has happened! There are things lost, so many of them that we know of, and many more we don't know of. There are BOOKS OF THE BIBLE referenced in the canon that simply do not exist anymore. Like, Paul says to go read his letter to the Laodiceans, and what did that letter say? We don't know. It's gone.

The most celebrated playwright in the English tradition has plays that are just gone. You want to perform or watch Love's Labours Won? TOO FUCKING BAD.

Want to watch Lon Cheyney's London After Midnight, a mystery-horror silent film from 1927? TOO BAD. The MGM vault burnt down in 1965 and the last known copy went up in smoke.

If something still exists, if it still is kept somewhere, there is always an opportunity to decide if it's worthy of being remembered. It can still be recognized for its merits, for its impact, for its importance, or just what it says about the time and culture and people who made it, and what they believed and thought and did. It can still be a useful part of history, even if we decide it's a horrible thing, a bigoted mess, a terrible piece of art. We have the opportunity to do all that.

If it's lost... We are out of options. All we can do is research it from how it affected other things. There's a lot of great books and plays and films and shows that we only know of because other contemporary sources talked about them so much. We're trying to figure out what it was and what it did, from tracing the shadow it cast on the rest of culture.

This is why archivists get anxious whenever people say "this thing is bad and should not be preserved". Because, yeah, maybe they're right. Maybe we'll look back and decide "yeah, that is worthless and we shouldn't waste the hard drive or warehouse space on it".

But if they're wrong, and we listen to them, and don't archive... We don't get a second chance at this. And archivists have been bitten too many times by talk of "we don't need copies, the original studio has the masters!" (it burnt down), or "this isn't worth preserving, it's just some damn silly fad" (the fad turned out to be the first steps of a cultural revolution), or "this media is degenerate/illegal/immoral" (it turns out those saying that were bigots and history doesn't agree with their assessment).

So we archive what we can. We can always decide later if it doesn't need preserving. And being a responsible archivist often means preserving things but not making them publicly available, or being selective in what you archive (I back up a lot of old computer hard drives. Often they have personal photos and emails and banking information! That doesn't get saved).

But it's not really a good idea to be making quality or moral judgements of what you archive. Because maybe you're right, maybe a decade or two later you'll decide this didn't need to be saved. And you'll have the freedom to make that choice. But if you didn't archive it, and decide a decade later you were wrong... It's just gone now. You failed.

Because at the end of the day I'd rather look at an archive and see it includes 10,000 things I think are worthless trash, than look at an archive of on the "best things" and know that there are some things that simply cannot be included. Maybe they were better, but can't be considered as one of the best... Because they're just gone. No one has read them, no one has been able to read them.

We have a long history of losing things. The least we can do going forward is to try and avoid losing more. And leave it up to history to decide if what we saved was worth it.

My dream is for a future where critics can look at stuff made in the present and go "all of this was shit. Useless, badly made, bigoted, horrible. Don't waste your time on it!"

Because that's infinitely better than the future where all they can do is go "we don't know of this was any good... It was probably important? We just don't know. It's gone. And it's never coming back"

[tiredsmashbros]

SMG34: LIPBITE COMIC WIP UPDATE

oh boy... i know a bunch of folks are hyped for this comic... and boy oh boy are ya'll's prayers going to be heard... kind of... butt for the celebration milestone, and granted majority are from this comic, i thought it was best to give EVERYTHING that i have currently.

starting off STRONG with what you freaks most want: the completed pages. andddd yep that's it that all that i have done LMAO. i've been fixated on my own smg4 oc: tsb, and during the end of my summer was unfortunately fucked over by some personal issues that fortunately got resolved last minute good grief the anxiety prevented me from drawing the gays sigh... aNYWAYS LINEART WIPS!!!!

here are linearts i have completed / in the progress of!! want to aim like i did in the past by finishing up lineart first, and then speed through with color + minor rendering. the reason i have a few colored is to test out what it would look polished and my god... i have improved A LOT. THESE GAY PEOPLE GIVE POWER I AM NOT KIDDING BELIEVE ME IM NOT CRAY- anyways onto wip pages!

jumpscare: tsb stickman sketches. oh yeah. this is how i sketch and i blame sensei eiichiro oda /j. and in case anyone is unable to understand it {i don't blame u LMAO}, smg4 wakes up from the dream and is startled to see mario by his bed. they have a short convo before mario leaves, and we get a job to smg4 in the bathroom trying to put up a brave face. until the moment he leaves he's stunned due to seeing smg3 at his front door. will i elaborate more on specifics or unwritten dialogue? NOPE! gotta keep secrets to make it even more enjoyable at the end!!

currently at 13 sketched pages total, but this is probably gonna be reaching towards 20-ish pages, surpassing part two, but it will depend on how i come up with how to end it. additionally to confirm there will be a PART FOUR / chapter 3, to end this story. my goal is to have it done before i finish my senior year, or at least during the summer after i graduate bc good lord who knows whats gonna happen.

and lastly, before i end this crazy update, SCRAPPED PAGESSS!!!!!

CONTENT WARNING : NSFW SKETCHES !!!! PLEASE LOOK AWAY IF YOU ARE A MINOR OR DON'T LIKE THIS TYPE OF STUFF!!!

oh boy... dont draw comics while sleep-deprived at 6am... idek what i was even aiming with this ngl other than just for fun, but i scrapped it due to not being what i had in mind for the story. if it doesn't serve a purpose or narrative, its bye bye YEAH BYE BYE THIS IS THE CLOSEST NSFW UR GONNA GET FROM ME HAHAHAHAHA- i say that despite writing a nsfw jojo wattpad smh im only confident doing it in words good lord. btw not watermarking these bc i gen don't care since they're legit scrapped {left top part was kept and completed} so idk what to do with these. im just throwing it and walkin away

now to end with this update, i can hear your question, "when will this be done?" and to answer that question: i'm not entirely sure due to my heavy focus on my smg4 oc: tsb, but my best chance is postponing my oc lore a bit and complete this before november UOIYGJDSIUHJKDWSXYUGHJKCS but we shall have too see...

if you want to join the ping list comment on this post LMAO [click]

ignore below if you're not from the tsb birthday partydddjdhdhdjd

...

...

...

thurs: smg34 is canon in the tsb universe / au. though most of their encounters are platonic or best-friendy-way, they eventually express their feelings to one another and start dating 3/4’s way of the tsb storyline arc. tsb is a supporter of his friend's relationship and admires and takes inspiration from their relationship heavily to input his future love life. yearning to be in a similar position... to learn what is to really love someone... or what it's truly like to be loved...

[brucewaynehater101]

I think it would be really funny if Tim kept up one very specific connection he made during Young Justice. One that no one but Tim and his team know about. One of the most dangerous beings in all the Universe.

Lobo The Space Biker.

The Main Man Himself, who has either tied or beaten Superman in a number of different comics *and* shows. When he showed up during the Justice Leauge Animated show, the entire JL (minus Clark) had to work together to just *barely* keep him in line and even *then* they did not command full authority nor respect from him. He is a top tier threat almost everytime he is spotted.

And I can only think of one person who he canonically will do basically whatever they say.

Tim Drake.

Tim managed to reign Lobo in multiple times during their adventures together, and no I don't mean the weaker clone. I mean The Real Actual Lobo (who had been turned into a teen by Klarion at the start of their friendship but *still*) does what if asked of him by Tim Drake, up to and including *walking away from unfinished fights*. Evidence by the time Tim got him to not fight the Space Cops right before The Baseball Game and got him and Big Bear to stop fighting when both wanted to continue.

All this to say, some kind of all hands on deck happens and the JL needs some back up for some kind of invasion and Tim says, "I have someone who owes me a few favors and it pretty strong." And makes a phone call. All the JL can hear is Tim as he says, "hey, Lil- I'm cashing in a favor... Yeah there's an invasion about to happen... Yes, you are the first person I call for Cracking Skulls, of course.... yes well, with or without you it's happening in an hour. Get here sooner and after we can have an extra meeting... of course I'll make the usual tea, plus Lavender and Rose cookies~... yes I know you very well.... see you in 25 minuets Lil." And he hangs up.

30 minutes later, Lobo breaks into the Watch Tower and the whole JL is like "WE DONT HAVE TIME FOR THIS DAMN IT." until Tim walks past them saying, "Lil! I got some cookies, they're chocolate chunk." And Lobo simply replies, "you know me so fraggin well, Runt."

Tim gets placed on Lobo's shoulder and they start talking about where Lobo will be so he can Crack the most skulls.

I don't know enough about Lobo (so thank you for the explanations), but I am all for Tim's friendship powers.

I don't know how he does it, but he's constantly nestling himself into villainous or morally grey characters' soft spots. Is there a list out there of folks that, for all intents and purposes, shouldn't like Tim but got bedazzled by his friendship charm?

Anyways, I'd love a 5 plus one fic of Tim being like: "Oh? We've got this problem? Hold up. I know a guy." Then he just calls up someone he definitely shouldn't be friends with. They act like the best of buds, too.

[teaspacebar]

spiced chai

pairing: carmen "carmy" berzatto x reader

summary: you've been living in chicago for about a year, and you're suddenly managing the coffee shop in the well beloved bookstore, nan's. you meet carmen berzatto on a not-so-good day. you're thrust into the everchanging societal landscape that is making friends in your 20s..

word count: ~9.7k

warnings: language, depictions of mental illness, barista!reader, afab!reader (but tried to be as neutral as possible), neurodivergent!reader, they don't kiss, could be read as platonic tbh but there's crumbs in there if you look, takes place over the course of a few months, probably doesn't follow canon fully (i'm not caught up yet forgive me)

a/n: *dumps this here and runs* but actually this piece of writing appeared in my brain and i've been picking away at it for a couple of months. i feel like i've put more of myself into this fic than with anything else i've written, so this is definitely more of a self insert (pls be kind or don't read if that's not your vibe). i'm queer, non-binary, and autistic and i just wanted to insert that into this space. i feel like there's more to explore here, so i might write more for this if i feel so inclined.

Meeting Carmen Berzatto was not on your to-do list for Tuesday morning.

Not that having to run down to the nearest corner store to grab milk - since the milk fridge was on the fritz…again - at 4am was in your plans either. It always seemed like one step forward, three giant leaps back with the little shop on the corner you basically called home. It was weird, to be thrust into leadership as your manager made an abrupt exit. 

The small bookstore, with an even tinier coffee shop, had been your place of work for the last year or so. You loved it. The people were great, and Nan, the shop owner, was absolutely lovely. She was getting up in her years, but the genuine care she had for the employees made all the difference. She put her trust in you to run the cafe, saying “You have the experience, and the care you have for people shows. I know this. Everyone knows this. Now you just have to see it - have confidence.”

“Confidence my ass,” you mutter, carrying five gallons of milk around the corner.

What happens next might have been considered the beginning of a rom-com, but you’re a realist, and the world is shitty.

There’s a crash, and the distinct sound of three of the five gallons of milk dropping onto the sidewalk. You stare, watching in slow motion as the milk forms into a river, dripping off the sidewalk into the gutter.

The person who ran into you curses, “Shit — fuck, sorry, I—I wasn’t looking where I was…dammit.”

You grip the other two jugs in your arms, blinking out of the haze to let out a hysterical laugh. “Great…cool cool.” Cold plastic bites into your fingers, and you take a deep breath. “Yeah, okay, what else was gonna happen?” You finally look up to see the one you collided with. The man looks extremely uncomfortable, foot tapping like he wants to bolt. Plastering on a smile you shake your head, “It’s fine. I’m the one who thought carrying five gallons of milk would be fine.” You ramble on, trying to ease his nerves, “I mean — why would I drive, like, thirty seconds. Park, get the milk, come all the way back. Seemed stupid…but now there’s milk in my socks.” You grimace, fighting the urge to chuck the remaining jugs of milk in the street so you could also hurl your milk-soaked shoes and socks after them. It makes the ache in your chest sharpen.

“Here, where are you —“

You cut him off, “No, no, it’s okay. I got it, thank you.” You gesture to the door that’s just a few feet away from you. “This is me, anyway.” You adjust your hold on the milk, brushing past the man to pull open the door. You catch it with your hip, not daring to look back as you head behind the counter. You release a sigh, setting the bane of your existence on the black speckled marble. 

“Fuck,” you whisper, pressing the backs of your hands to your eyes. You shake out your arms, biting your lip. “Okay, asshole, let’s get your shit together.” You quickly put the milk into the small fridge below the bar and walk to the back. The squish of your socks curdles your stomach, and you breathe through your mouth to avoid the smell. You take off your shoes, throwing them into a plastic bag to take home. Tossing your socks into the garbage, you grab your replacement sneakers and socks from your cubby. It wasn’t the first time you’ve dropped something on your shoes, it wouldn’t be the last.

You take your time in the back. You had gotten to the shop around 4am, unable to sleep. You were messing around with recipes, seeing if there was a possibility of baking some of the food in the cafe fresh, instead of outsourcing. It was something you put on your own plate, and you didn’t want to disappoint Nan. You had shown up early, looking to try out some muffins, and noticed the fridge had been hovering at sixty degrees all night. You’ll have to grab some more milk before the day starts, but that could be a problem for 8am you.

Walking through the swinging doors, you jump as you see someone at the bar counter. Pressing a hand to your fluttering heart, you finally take in the man that had run into you earlier. A mop of curly hair on his head, white tee, very blue eyes…and standing behind eight gallons of milk.

“Um…” you look between the milk and him a few times.

“The…uh – the door was unlocked. Figured I owed you one.” He rubs the back of his neck.

“How’d you even get it all here?” 

“Made two trips.” His gaze snaps back to you as you laugh, this time more genuine. “Fridge go out, or somethin’?” You’re still staring at him like he has two heads, and he rambles on, “Sorry for just…barging in. I used to go to this place…when I was kid. My sister and I would grab whatever pastries they had left for the day. And, yeah, we’d just sit, read random shit. I work at the restaurant just down the street…’s why I ran into you. Wasn’t paying attention – sorry, again.”

Suddenly, it all clicks. “You own The Bear.”

“Uh, yeah – yeah, I do.”

You feel nervous, out of the blue. Nan hadn’t stopped talking about the Berzatto’s, and Natalie had become a regular while the restaurant was being remodeled. You’re sure you’d seen other employees come in as well, for reading material. You vaguely remember talking to a very sweet man about baking, as he carried a ton of cookbooks in his arms.

You knew Carmen Berzatto, but only through the words of others – and the research you did late one night because you were nosey. To have him standing in the bookstore you worked at, for him to have gotten you milk, is sending you for a loop. Swallowing a lump in your throat, you begin to put the milk in their new home. You really need to call the refrigerator guy again. 

“That’s so cool,” the words fall from your mouth, others staying in your head. 

It's insane that someone like him is even speaking to you. He’s around the same age as you; He owns a restaurant and you’re barely able to run a tiny coffee bar in a bookstore. You’re an idiot who dropped milk onto the sidewalk. Why didn’t you just take the car? You should’ve just taken the car. Now Carmen fucking Berzatto has bought you milk at 5am because he feels bad for you. How pathetic. Call the fucking refrigerator guy.

“Thanks…for the milk.” You back away from the counter, gesturing behind you, “Lemme grab some money from the cash box real quick.”

“No, don’t worry about it.”

“It’s really fine, you didn’t have to go out of your way. I’ll be right back.” The itch creeps its way up your spine, and you push through the door as a shudder passes through you. You shake out the twitch, going and grabbing the cash box. You do mental math, trying to see how much you should give him. Did he even need the money? “Idiot,” you chide yourself. Today was not the day for your brain. 

Snagging a twenty and a ten, you rush back out to the bar, only to find the store empty. A groan escapes through your teeth, and you clench the cash in your hands, crumpling it. You walk to the front door, peering out to see if you can spot the chef. He must’ve made a quick getaway. As you turn to get prepped for the day, you spot a brochure on the counter, far away from its home of the stand at the front of the bookstore. Eat Your Way Through Chicago! 

Scribbled on the front is a phone number, and the words:

Fridge  Ask for Fak Say Carm sent you

“Fucking fuck.” You whisper, a smile creeping on your face against your will, “Asshole.”

It’s later in the week when you hear the bell attached to the front door – ding! You poke your head up from where you're arranging some alternative milks under the counter, seeing a familiar blonde.

“Hey, Natalie!” You pop up, an easy grin appearing on your face. “Half-caff?”

She nods, “Please.”

“How are you?” 

“Oh, you know.”

You ring her up quickly, then grab a pitcher to steam some milk for her latte. Natalie walks away from the counter to browse some books. The steam wand whirs, and you watch the vortex inside the pitcher. You touch the sides every so often, waiting for it to get to the right temperature. Making drinks is all muscle memory now, and you tamp the espresso grounds into the portafilter with precision. Wiping the excess from the lip, you lock it into the machine and press the shot button. As the shot pulls, you wipe down the steam wand with a wet cloth. 

“Is this any good?” Natalie has come back over, holding up a book with a half-naked man on the front.

You laugh, “It’s a Nan recommendation, so…” The shots are poured into the paper cup, and you swirl the milk into it, doing a quick tulip design. You sprinkle a little cinnamon over the top, before placing it in front of the woman.

“Smutty then, for sure.” Natalie laughs, then does a little excited gasp when she sees the latte art. “It looks so good every time!” 

“Thanks,” you reply, “Gets covered by the lid, but it’s fun to practice.”

“Too bad you don’t have for-here mugs,” she says thoughtfully.

“Ever the idea-haver! There'd be more spills to clean up – Nan would lose her mind if any books got ruined.” You point to the book still in her hand, “You want me to ring you up for that?” It was early enough in the afternoon that the only other person here was a part-timer, Jack, somewhere between the shelves stocking books. You had convinced Nan to upgrade to a different register system (which ended up saving money in the long run), so you’re able to ring up both books and café products at your register. 

She shakes her head, sighing. “I barely have any time to read, these days. I was thinking about trying out audiobooks? I used to listen to them at my old job, but it’s way too loud in the kitchen for that to work out.” The latte goes to her mouth, a pleasant hum leaving her as she takes a sip. “You’re the best.”

“Thanks, Natalie.”

She squints at you, “It’s Nat, c’mon.” A big conspiratorial grin makes its way onto her face, “So, I heard that you got some help with your fridge.”

A sharp pain twists in your chest. “Oh, um…yeah.” You let out a soft chuckle, “It’s working, which is great. Neil was a big help.”

“He said you made him the best hot chocolate he’s ever had,” Natalie taps the counter with her pointer finger twice. “Said he didn’t know how you got his number, though.” 

You shrug, wiping down the counter, “Nan had it. And the usual guy wasn’t calling me back.” Neil had told you the exact same thing, both about the drink and the number. Something had held you back from saying where you got the number from. Embarrassment, maybe? It felt weird, feeling like you owed anyone favors, or that things would be unbalanced. People usually never give without looking to receive.

“Frankie, right? He’s an asshole. Overcharges for everything.” Natalie doesn’t push you for answers, something you’re grateful for.

“Right! He disappeared one time and said he’d ‘be right back’ and then was gone for like, two hours! And he added that to his hourly!” The two of you giggle at the shittiness of people for a minute, when a ping causes Natalie to pull her phone from her pocket.

“I should run.” She reaches into her purse, and puts a five into your tip jar. “Thanks again!” 

As she turns to go, you call out her name. “Would you - maybe - I have some extra muffins. The place we get them from gave us some of the wrong ones…or they’re a tad over baked, or something. I can’t sell them. Would you wanna take them with you?”

“That’s so sweet of you! Yeah, I’m sure they’ll get eaten up.”

You grab the box of muffins, handing them over to her, “Thanks.”

“Thank you, babe.” She leaves with a smile, and you look down to brush the flour off your apron. 

“Hey, guys, I got some goodies!” Natalie sets the box of muffins on the table, where everyone is seated for family meal. 

Neil immediately grabs the box, pointing to the sticker on the top, “You went to Nan’s? Man, I could use a hot chocolate right now.” 

“I’m sure you can walk over there and order one, my love.” Natalie replies, waving for him to put the box back on the table.

Marcus snags two muffins, handing one to Sydney who is sitting on his right. Taking a bite, he stops chewing, eyebrows raised. “Dude,” he nudges the girl next to him.

“Dude,” Syd parrots, popping some muffin into her mouth. “Wait, woah.”

“That’s what I’m saying!” 

“Nat, where did you get these?” Sydney calls to the woman now sitting at the end of the table. The muffins are passed down the rest of the table.

Marcus has started dissecting the muffin, “Macadamia nuts, sick.”

“Oh they’re from Nan’s just down the corner!” She tells them how you offered them to her since they were the wrong ones from a vendor and possibly over-baked.

Syd snorts, “Over-baked? These are perfect!”

“What’s perfect?” Carmy walks out of the kitchen, wiping his hands on a towel.

“Bear, come eat!” Natalie waves him over, pulling him into the seat next to hers. “You’ve been at it all morning, take a minute, okay?” She gives him a look that tells him not to argue, and he huffs in response, but does as she says.

“What’s perfect?” He asks again, taking the muffin box from Sweeps as it’s passed to him. As the cinnamon crumble topping hits his taste buds, he leans back in his chair. “Shit.”

“That’s what we’re saying!” 

Syd and Marcus begin talking over one another, the dull roar of family making its home in Carmy’s ears. He has another bite of muffin, thumb swiping over the sticker atop the box.

Nan’s Books & Brews

Simple lettering, surrounding a doodle of a coffee cup sitting on an open book.

“When did they,” he clears his throat as he leans closer to Nat, “when did they start doin’ stuff like this?”

Natalie purses her lips, “Not sure, honestly. They only had that small coffee machine and that plastic pastry case when we were growing up, remember? I think they added the actual coffee bar right before Covid?” Carmy nods, looking out the windows, a curdle in his stomach.

“A lot’s changed,” he murmurs.

“Yeah,” Nat sighs, a hand over her stomach, “a lot has.”

A few weeks go by, as uneventful as they can be. You try out more recipes, and the staff of Nan’s is always sent home with one treat or another. Muffins, cinnamon rolls, croissants (which were a bust), and the like. Natalie is still a regular, and Neil has shown up to save your ass more than once. The brochure with his number on it taunts you from where it’s stuck up on the corkboard in the back.

Which is what has led you to standing in front of The Bear, a joe-to-go in one hand, paper bag in the other. An envelope burns in the inner pocket of your flannel jacket. Steeling your nerves, you knock on the door. Some yells are heard from inside, nicknames getting passed around like it’s a holiday dinner. You see a man walk towards you, in a nice suit, and he opens the door.

“Can I help you?” It’s not said unkindly, but there’s a look in his eyes that’s making you nervous. 

“Coffee delivery?” You say sheepishly, holding up the coffee traveler by its cardboard handle.

“Richie, who’s at the - hey!” Natalie immediately smiles when she sees you, and you sigh a breath of relief. Things were easy with her; she had this amazing way of comforting you without even trying.

“Hi,” you wiggle your fingers, still keeping hold of the objects in your hands. “Wanted to say thanks for all the help Neil’s been giving me, and when Nan found out, she insisted I bring over some coffee for the team, so…”

“You workin’ at Nan’s?” The guy - Richie - asks.

“For the past year or so, yeah.” You reply, thanking Natalie as she grabs the paper bag from you.

“Let them in, Richie, c’mon.” She presses on his chest, causing him to back up with his hands in the air. “Come in! I’ve been meaning to ask if you wanted to come by for a tour.” You follow behind her, taking in the layout of the place. It’s absolutely gorgeous, and a sense of awe falls over you. She has you set the coffee traveler on the bar, letting you take the paper bag from her hands. You pull out a cup holder with two cups in it.

“One half-caff french vanilla latte for you and…a hot chocolate for Neil.” As if by magic, Neil pops through the door to the kitchen.

“For me?!”

You chuckle as he pulls you into a hug. When he pulls away, he grabs his cup with a happy sound, rushing back into the kitchen when “Fak!” is yelled.

“The fuck Fak get a coffee for?” Richie frowns, causing you to bristle. Natalie swats at him, beginning to explain as you continue to walk around the restaurant. As you pass by a wood table, your fingers tap on it, the sound echoing in your ears. It sends a shiver through you, and a small smile appears on your lips. 

Natalie calls out to you, tearing your gaze back to her. People have begun to swarm around the bar, placing food on it, and your coffee is suddenly surrounded by things that smell amazing. “Did you want to eat with us, babe?” Attention turns to you, and the itchiness in your limbs reappears with a vengeance.

 A tall man, wearing a beanie, grins, “Hey, those muffins were amazing, by the way.”

You sputter, “Oh. Um—“

“Tell the chef, or baker — whoever,” he laughs at himself. “They were fire.”

Warmth rises in you, “Yeah, I’ll pass it on.”

“Babe, lunch?” Natalie says again, louder this time. More of the staff have begun digging into their meals.

“No, it’s okay!” The corner of your mouth curves up in a small smile, this one less genuine than before. You begin to back up towards the door, a gnaw of guilt in your gut as Natalie frowns. 

“Cousin! Food!” Richie yells out, followed by laughter from everyone else.

“I’m coming!” A familiar figure bursts through the kitchen door, “You don’t gotta yell like an asshole.”

Carmen Berzatto stops in his tracks when he sees you; the envelope in your pocket burns hotter. You look down at your shoes, but they just remind you of the milk dripping down the sidewalk.

“Carm,” Natalie introduces you, “they work at—“

“Nan’s.” Everyone chimes in, and you have to stop yourself from flinching. You look over at Carmy, eyes meeting.

There’s a moment where you feel like you’re going to get swallowed whole. The pipes are going to burst and water will fill up the room and you’re going to drown.

You walked straight into a den of hungry beasts, and you’re just a measly rabbit.

“Are you sure you don’t want to stay?” Natalie’s words are muffled in your ears, but you manage to shake your head.

“I have someone from books covering me, and they barely know how to work the espresso machine.” You force a laugh. It grates against your vocal chords. “It was nice meeting you guys, though.” With a meek wave, you turn on your feet and speed out the door. Rounding the corner, you keep walking until you’re sure they can’t see you. Veering into the alleyway behind the restaurant, you let out a shaky breath, leaning against the brick. 

You press your thumb into the palm of your hand. Inhale, hold four seconds, exhale. Inhale, hold four seconds, exhale. It’s over before it starts, but your chest remains tight. A reminder, which will eventually dissipate once you're back in the shop.

The coffee bar, your shield; apron, your armor. 

A door opening causes you to jump, startled. Your eyes meet blue, widening like you’ve been caught. “Sorry! I was just–” You push off the brick.

Carmen seems just as surprised as you, “No, s’fine.” He clears his throat, as the two of you settle into silence.

A fwip of a lighter. Four seconds. An exhale of smoke.

You’re unsure if you should leave, but it’s like the bottoms of your shoes are stuck to the ground. “Did you-” He starts, lifting up his hand that holds a lit cigarette.

You shake your head, “No, but - um, thanks.” Your fingers twitch, and you reach to pull the envelope from inside your jacket. Something that appears so insignificant, held out in the space between you. When he just stares, you wave it a bit, until he takes the envelope with his free hand.

“What’s this?” 

“Cash, for the milk you bought.”

“You didn’t have to-“

“I did.” You bounce on your heels, “I should actually get going this time. Just wanted to give you that but…” He doesn’t respond, something you’re getting used to. You wonder where the man who rambled about reading with his sister at Nan’s went, but decide now is the best time to make your escape. As you start to walk toward the street, you turn, “The restaurant looks great, by the way. Good luck with the opening.”

“Good luck with the opening.”

Inhale. Four seconds. Exhale.

"Let it rip, Bear."

Inhale. Four seconds. Exhale.

“-a complete waste of fucking time.”

Inhale. Four seconds. Exhale.

“I’m really sorry you feel that way, Carm.”

Natalie invites you to Friends & Family.

You don’t go.

The next month flies by. Marcus, Richie, and Syd have joined your little group of regulars. Richie even brings his daughter, Eva, whenever he’s able. She’s a joy and absolutely hilarious to have around. Richie has grown on you, the rough edges of him softening after a few cortados.

One night, he had rushed into the shop, Eva in tow, all but begging you to watch her for a few hours. He was supposed to be off for the day, to spend time with his daughter, but they’re understaffed at The Bear. A few weeks in, which confused you, but questions weren’t asked. You said yes - obviously - and had Eva help you with little things around the shop, until you close. The two of you bonded over a shared love of Taylor Swift while making muffins. By the time Richie came to pick her up, Eva was tuckered out in a loveseat, patchwork blanket tucked up to her chin.

“I owe you one,” Richie had whispered, holding his daughter in his arms.

You shook your head, “You deserve to have time with her.”

He scoffed, rolling his eyes, “Yeah, bring it up with the Bear himself.”

You weren’t planning on it. The man is barely on your mind. Except for every time someone from The Bear walks in. They look drained, more and more each day. It’s a certain type of pain, to watch people – that once had so much life in them – lose the light that you felt so harshly the first time you walked into the restaurant. You hear inklings; mentions of a changing menu every night, nonnegotiables, and the like.

It worries you. It’s not your place - you’re more than aware of that. But you’ve come to care for these people. And by extension, some part of you wants to see how he’s doing. It’s an odd - biting -feeling. How strange it is, to know someone through everyone else’s eyes but your own. You have to fight back the urge to force yourself into the places you do not fit. You’re resigned to watching from afar, providing comfort behind your coffee bar. It’s what you’re good at. It might be all you're good at.

Some sick twist of fate decides to upturn it all one Friday night.

Carmy had stayed late, to nobody’s surprise. He’d been adjusting the menu, preparing it for tomorrow, when the flashes hit him. He decides to walk it off, popping another thing of nicotine gum into his mouth. He walks aimlessly, trying to push the overwhelming thoughts out of his head. The street is dark - most places being closed - but light pours onto the sidewalk, just a few feet ahead of him. Almost a reflex, he peers into the windows.

A laugh of disbelief - more a huff of air through his nose - leaves him.

You’re dancing, headphones over your ears, as you mix something in a large bowl. It’s unlike anything he’s seen - from you or otherwise. There’s a sense of freedom in your movements, so different from the few times he’d seen you before. The tightness in his chest lightens, some, at the sight of you so obviously in your element.

And you're looking right at him.

“Shit,” he mumbles. You tilt your head at him, doing a little wave. He lifts a hand in reply, and you point haphazardly at the door. Before he can respond, or walk away – anything, you’re heading around the counter. A click of the door unlocking, and you pull it open part way.

“Hey,” you say, a little loud. With a wince, you pull the headphones off to rest around your neck. Music can be heard – a muffled, upbeat song that he doesn’t recognize. “Hey,” you say again, quieter this time. Silence passes between you, and he watches your nose twitch. “…did you wanna?” You jut your thumb behind you. You’re almost unrecognizable from the first time you met, calmer, somehow.

“Yeah, sure.” The words come out, easier than he thinks, and slips through the door you hold open. You lock it behind him, turning back around to slide behind the counter.

You grab a muffin tin, beginning to fill each one with a scoop of the batter you had been mixing. You make quick work of it, pushing them into the small commercial oven, wiping your fingers on the towel that’s pulled through a loop in your jeans.

Leaning against the counter, you finally look at him, “Okay, Pick your poison.”

“What?”

“Coffee? Americano, latte, cappuccino?” It’s like you’re trying to read him, wanting to crack the spine of a book and see what’s inside.

“I don’t really do the…caffeine.”

You hum thoughtfully, tapping your fingers on the counter in some type of rhythm. “Can I make you something? Low-caffeinated, of course.” He nods. “Anything you hate?” A shake of his head.

You grab a cup and get to work. You’re singing under your breath - the song that’s playing from the headphones around your neck. With your eyes off of him, he takes a moment to actually observe the shop. Warm lighting, with dark wood bookshelves making it feel cozy without being too claustrophobic. There’s smaller tables, with different recommendations for certain genres. A sprinkling of string lights and hanging plants just adds to the homey feeling, one so different from the pristine, white kitchens he’s used to being in. So different from his own restaurant. The coffee shop portion is close to the front, dark marble countertops and a chalkboard menu - swirling letters describing monthly drink specials.

“Alright, order up,” you call out softly.

Carmy walks back up to the bar, eyeing the cup. Warmth presses into his skin as his fingers curl around it. You mention that it’s hot, to let it cool for a bit. Silence falls between the two of you - in a way he finds comforting. Your eyes flick between him and the counter you’re wiping down.

“Do you normally do this?” He asks.

“The making drinks thing, or the staying at the shop way too late thing?” You give a wry smile. “Could ask you the same.”

He scratches at his nose, “Noted.”

The minutes pass; you go about cleaning the shop, rinsing dishes and setting things up for the next day. It’s an art he’s well versed in. The muscle memory takes over for you, and Carmen becomes invisible. It feels nice, to just be in a place where nobody has anything to ask of him. He finally tries the drink. It’s good, milky, if a little sweet, but it eases the last of the sourness in his stomach away. A timer on your phone goes off, and you tug on a flowery oven mitt to pull the muffins out of the oven. Chocolate and spice invades his nostrils, soothing him even more. You grab one, hissing a bit since it’s hot, and put it on a plate, bringing it back over to him. Leaning over the bar, you reach for forks that are in a metal cup, right near Carmy. You’re close, with no care about being in his personal space. It’s only for a second, and then you’re back in your previous position.

“You can have some, as long as you promise not to be an ass about it.” You hold out a fork for him. The words cause him to cringe, but he takes the utensil from you.

He stares at the muffin, running his thumb on the underside of the fork. “How much trouble am I in?”

You shrink back a little, “W-what?”

He’s met you what - twice? Both times felt clunky, an awkwardness to the both of you. Here, it’s simpler. Under the cover of night, huh? A voice that sounds awfully like Mikey’s says in the back of his mind. His family won’t stop talking about you. Or drinking your coffee.

“The Bear,” he mutters. “They talk to you, right?”

You laugh, surprised. “Do you actually want to know?” You hold up a hand before he can reply, “Actually, no. They don’t talk to me. I see things, sure. But I’m not getting anyone in trouble with the boss.” You’re on the defensive, not even for yourself, but for his kitchen.

“They-They’re not in trouble.” One look from you and he deflates, sighing. “Okay, yeah. Just…just say something.”

“I haven’t even been to eat there.”

“You should come,” he says.

Another laugh - a scoff, more-like, “You think I could afford your place?” You bite your lip, pinching the bridge of your nose. After a moment, you continue, gently, “Do you have any fun?”

“Fun.” The word is like poison in his mouth.

“Yes, fun. I know that food service isn't the best, but it’s good to have fun, or to at least enjoy it.” You wave your hands around, “That family meal stuff you guys do? That’s so sweet, and you have a whole family unit going on in that kitchen, or whatever. If this restaurant is supposed to be the rest of your life, you should like it, at least a little bit, right?” Your torso melts into the counter, and you rest your head on your arm. “And like, maybe? Don’t change the menu every night, or something. It’s new, right? You gotta work out the kinks first before jumping in all-” you blow air out through your cheeks.

A beat of quiet, then, “The menu, huh?”

“Eleven thousand for butter?” You parrot back. At his frown, you hold up your hands, “I’m just a barista, what would I know?” You say it without heat, and yet he feels guilt crawl up his throat.

“That’s not-”

“I know, Carmen.” A sigh leaves your lips, “You asked, so I talked. Again, take everything with a grain of salt.” The words get softer, as if you’re talking more to yourself than to him, “Just remember who’s going down with you if it ends up crashing and burning.”

You stab your fork into the muffin, tearing it in half. He follows suit, lifting a bite of it to his lips. Spice floods his taste buds, and he grunts. You blink up at him, fork hanging from your mouth. He’s suddenly starving, and he eagerly gets himself another forkful. “S’good.” He mumbles through the food. Carmen watches as you process his words, pressing your lips together to hide a smile. You two finish the muffin, and there’s an ominous sense of peace that covers him like a blanket. “Thanks.”

“For yelling at you?”

Carmy lets the chuckle spill out, “If that’s what you call yelling…” He trails off, sobering, “Do you have fun?”

You hum, contemplating. “Yeah. I mean, it’s coffee, at the end of the day. It’s just nice to see people, to make their day a little better than it was. I like to try out new things, to create, to get recommendations.” You stop, seeing him staring at you, “What?”

“You’re different…from the other day, s’all.”

You’re perplexed, scrunching your nose, “Well I had a bad day, the first time. And I don’t do…well, with new people.”

“Unless you’re behind the counter.”

Your eyes widen, something flickering behind them, like he’s seen something you didn’t want him to. “Touche.” Checking your phone, you clear your throat, “Alright, we should probably get out of here if we want any semblance of sleep.” He follows your lead, as you flick off the lights, throwing you backpack over your shoulder. He waits while you lock the front door, small key dangling on a keychain. You turn, looking at him, before holding out a paper bag, “Muffin for the road?”

He grabs it, an odd feeling bubbling in his chest, “Oh - uh, thanks.”

You suddenly look sheepish, fiddling with the strap of your bag, “And if you’re out late again, feel free to stop by. If you need a break, or something.” A beat. “Oh, again, take what I said with a grain of salt, yeah? Just - maybe - try to take care of yourself a little.” You laugh nervously, and Carmy sees the truth of his earlier observation. You’re still more relaxed, but the nerves have crept in as you step outside your comfort zone. Something he knows all too well. “Anyways, have a good night - morning.” You shake your head, blowing a raspberry through your lips.

“Night. Get home safe.” He murmurs. You turn on your heel, walking down the street. He tightens his grip on the paper bag.

Take care of yourself.

At least enjoy it.

You should like it, at least a little bit, right?

Carmy doesn’t know if he truly remembers what liking cooking is like. He’s found little bits of it, in moving back home. In Marcus’ eyes as he creates something new. In Syd’s determination to make amazing food. There’s a passion there that he’s lost somewhere along the way.

He sees it in you, and it calls out to him - the tide being pushed and pulled by the moon. A curious feeling, gnawing at his stomach. A hunger for something he can’t make sense of, but he pulls the muffin out of the bag to eat on his walk home.

Carmy keeps showing up at Nan’s, usually late at night. You didn’t expect him to take you up on your offer, yet a smile graces your lips every time he does.

He was right, when he said you feel most comfortable behind the counter. You knew it, but having someone else acknowledge it felt…weird. Like you weren’t playing your part right. Yet it also felt good, to be seen.

Conversation between the two of you still feels stilted, occasionally, but you find comfort in the quiet moments. And the not-so quiet ones; with music playing at just above a reasonable level, you mouthing the words as you dance around behind the bar. The mask slowly slides off when he comes around, and it’s easier to be goofy.

You think it surprises him. He’s not quite sure what to do, when you’re cruising on the linoleum tile you call a dance floor. But he never tells you that you’re weird, or too much. You’ve maybe even seen him bite back a smile. You swear there’s dimples hiding somewhere — a fleeting thought that you let fly away before you linger on it too long.

“What do you think?” You’ve turned the music down, notepad on the counter, your favorite pen in hand. You click it a few times, sound satisfying the little itch in the back of your brain.

“Not sure if I’m a matcha fan,” Carmy murmurs. You nod, writing down his response onto the paper. It’s almost filled — you’ll have to turn to the next page soon — with different drinks you’ve had Carmy try, determined to find the right one. He’s harder to pin than others, something you’re not necessarily surprised by.

That's partially on you. You're unsure of how much to ask. How much could you poke the both metaphorical and literal Bear until it breaks? You've been enjoying your time, but you've yet to ask him how work is going. He doesn't ask you about your personal life, so why would you ask about his?

There's a curiosity there, though. To see what makes Carmen Berzatto tick. You fear the two of you might be a little too similar.

You turn to go back to cleaning your mess — the reason being a fresh tray of cookies cooling on the counter, when he says your name. “Did you get a new tattoo?”

Gaze flashing to the wrap you have on your arm, peeking out from the sleeve of your shirt, you turn bashful. “Oh,” you hum, “I did. It’s been on my list for awhile. I’m keeping it wrapped at work while it heals - god knows I spill everything all over myself.”

“Can I — What did you get?” He’s just as sheepish as you, a boyish glow about him. You’d never talked about tattoos before. His evidence is on his arms; yours are mostly concealed — easy to hide with the oversized button downs and jeans you wear.

You pull your phone from your back pocket, “Here, I’ll pull up a photo of it.” Placing your phone on the counter, Carmy grabs it, zooming in on the two-headed calf that’s found its home on your bicep. The tattoo is fresher in the photo, line work popping out against your skin. “The longest living two-headed calf lived 17 months. Her name was Gemini — a little on the nose, I think. There’s also this poem by Laura Gilpin, that just kinda struck me.” Your ramble tumbles off, a half smile pulling at your lips. “It’s sad, but the kind that makes you hurt in a nice way? If that even makes sense.” You wave a hand around, then reach to take a sip from his cup.

The matcha settles the nerves hiding under your skin, the earthy flavor dancing on your tongue. As you set the cup back on the counter, you point at his hand, “What’s that stand for?” Your own fingers twitch, fighting the urge to brush them across his own. “S.O.U?”

“Ah, sense of urgency.” He says, fiddling with your phone.

You laugh, quickly covering it with a hand, “Sorry, I — sorry, that just makes so much sense.” Before he can speak, you shake your head, “Not in a bad way, necessarily. It’s just so obvious how little work-life balance you have.”

“We’re literally at your shop in the middle of the night.” Carmen huffs exasperatedly, corner of his mouth curling up.

You hold your hands up, conceding, “Okay, I get it. Misery loves company - or whatever. God, we’re both crazy, aren’t we? We should get out more.”

He hums in response, tapping his phone twice to check the time. Anxiety swells up in your throat, and there’s something biting at your heels. The silence doesn’t feel comfortable anymore.

You said something wrong, the little voice in your head whispers. You lost the script and got too close and now he’s pulling back. How can you fix it? You have to fix it.

“What’s your favorite one?” His blue eyes glance up at you. Invisible hand squeezing your lungs, you stammer, “Tattoo. What’s the one you like most?”

His words come out softly, “A house boat. I, uh, got it before leaving Copenhagen. I stayed in one while I was over there, and put out water for an invisible cat.” Relief floods you as he talks. It’s the most he’s spoken about anything, and you see a glimmer behind his eyes.

It feels a little too close to home.

“You really loved it over there, huh?”

As if caught, he clears his throat, “It was cool…different.”

Different from Chicago, you don’t say. “I get that,” you murmur instead.

You knew what it was like, to run away. The need for escape pushing you into flight as the metaphorical dog chases the rabbit.

You wonder what Carmen’s dog was. Or is. If it’s even a dog at all.

“What about you? What’s your favorite?”

You’re pulled from your thoughts. “Oh! Um, it’s silly.” You worry at your bottom lip.

“You don’t—”

“No, hold on, it’s just,” you push yourself onto the counter with the palms of your hands. Carmen leans back as you swing your legs over the bar, letting your feet rest on the barstool next to him. You lean over, pulling up your pants leg to show the tattoo on the right side of your calf. He stares at it for a moment, confusion clear in his gaze. “See, I told you.”

“Is it a moth, or something?”

“Moth-man, Carmen. Mothman.”

“Am I supposed to know what that is?”

“He’s a cryptid. There’s literally stories of a Chicago Mothman.” He peers up at you in amusement, causing you to scrunch your face at him. “I swear on my life Carmen Berzatto, don’t be an asshole.”

“I’m not.” He laughs, and your chest loosens. You got Carmen Berzatto to laugh. “It looks good, the style is nice,” he gestures to your leg.

You smile, “Thanks.”

Nodding, he goes to sip from his cup. He makes a face, pulling it away from him, “Yeah, I don’t like this.”

He holds it out to you as you reach for it, laughter spilling from your lips, “More grass for me.” You drink, and let the cup rest on your thigh, fingers tapping on the plastic lid.

“I’m not…” Your head turns to look at him, watching as he runs a hand through his hair. “I’m not really good at this.”

“...at what?” You whisper, scared if you talk any louder you’ll scare him away.

“Talking? Not working? Who the fuck knows,” his hand leaves his hair and passes over his face.

“I’m not either, really.” You pick at your jeans, “But we’re trying, right? You come by more than I thought you would.”

“Really?”

You snort, “Dude, the first time I was surprised you even came in.” Gently, you add, “And you don’t have to be perfect at conversation to be friends with someone.” His eyes meet yours as you nudge his shoulder with your knee. “I’m weird, you’re weird, that’s okay.”

Carmen rolls his eyes good naturedly. His legs are bouncing, and you can almost see him chewing the word around before it finally leaves, “Friends?”

“Friends.” You affirm. Silence passes between you, until a growl comes from your stomach.

The man laughs, looking all the prettier for it, “You hungry?”

“Starving,” you groan.

He gets up from his seat, grabbing his denim jacket that’s hung over the chair on his left, “C’mon.”

It takes a moment, but it clicks. “Oh my god,” you gasp out, hopping off the counter. With a speed you only have during a lunch rush, you run to the back. You untie your apron, hang it up on a hook, and grab your tote bag. “Wallet, keys, phone…phone!”

“Out here!” Carmen yells. You grin, rushing back out to the front, bouncing on your heels. “You good?”

“As I’ll ever be.” You shake your keys with enthusiasm. He laughs as you both leave, and you turn to lock up. There’s excitement buzzing through you, like caffeine would if your brain weren’t wired a bit funky. A thought cuts through the haze, “Oh shit, I forgot to–”

“I got the trash.” The street lights reflect off his blue eyes.

Your heart twinges a little, “Thanks.”

“No problem.” He gestures with his head, “Now let’s go before your stomach eats itself.”

“Hey Carm?!”

The man pokes his head into the office, one hand wrapped around the door, “Yeah, what?”

Natalie raises an eyebrow, “You busy?”

Carmy scoffs, “Yeah, Sugar, I’m busy.”

It’s lunch time. Marcus has pastries, Tina’s running prep. Syd is around…avoiding him. He tries not to think about it for too long. Richie is who knows where.

Fuck, don’t be an asshole, asshole.

Deflating, he asks, “What’s up? Everything okay?”

“I’m spending my hour of alone time figuring shit out here, while Pete watches the baby.” His sister sighs, glancing down at the paperwork on the desk, “I’m managing. Anyways, that’s not what I wanted to talk about.”

He wants to ask about the baby. His niece. But Natalie barrels over the topic to say, “Were you here late the other night?” He must have made a face because Natalie sighs, exasperated. “I know you stay later than everyone else, doing god knows what, but I got a notification on my phone the other night-“

“What notification?”

She rolls her eyes, “The alarm system, dummy. I get alerts.”

“No, yeah, I get that. But I turned it off.”

It could only be from the other night, when he brought you back to the restaurant. He’s not sure why he did — he almost had a panic attack in front of you while debating what to make. It's strange, how much an environment can affect someone. Nan's feels so comfortable to him now, like nothing can happen to him when he's in those four walls. Where was the last place he felt like that?

You don’t need to impress anyone, Carmen. It’s just me, you had said.

Simple words that cut through him like a knife. You asked for comfort food, so he made you grilled cheese with tomato soup. The little dance you did every time you took a bite relit a fire inside of him that had been burnt out by years of working in kitchens.

“I know. I’m asking because the alarm was set, and then you turned it off again a few hours later.” Natalie unlocks her phone, showing him her screen that has some app pulled up with timestamps on it. “Are you sleeping? Look, I know things aren’t great right now—" Natalie cuts herself off with another sigh.

“It’s fine. Things are fine.” At her pointed look, he holds his hands up in surrender. “I’m working on it, okay? Just…are you good? Do you need anything?”

“About 48 hours of interrupted sleep would be great.” Her gripe falls off into a laugh, which he returns.

Stepping into the room further, he pulls the door closer, just a slim crack of clean white light coming through. “I’ve been a shitty brother lately.”

“No…” Natalie snorts, “Okay yeah, a bit. I love you, though.”

He mumbles the words back, tapping out a rhythm on his thigh, “Maybe I could come by, sometime. See the baby.” It’s a blessing and curse how his chest aches when he sees the way her eyes light up.

“I’d love that, Bear.”

“Yo, delivery!” Marcus yells out, pulling the attention of the Berzatto siblings.

“The fuck?” There isn't supposed to be a delivery today.

Natalie gets out of her seat, “Oh thank god.” She ushers Carmy out of the office, pushing past him into the dining room. He follows after her, confused, only to stop in his tracks.

You’re here.

You stand next to Richie, talking animatedly, albeit shy. You’re wearing clothes he doesn’t regularly see you in, the worn denim jacket catching his eye in particular. It’s clear that you aren't working, yet you hold two cups from Nan’s in your hands, a few drink carriers littering a table.

“You’re literally my savior, thank you.” Natalie pulls you into a hug, and you look at Richie with wide eyes. Carmy has to hold back a snort at your expression.

“You should expect this reaction by now, kid.” Richie takes a sip from his drink when you gape at him in exaggerated outrage.

“Shut up, Richie,” Natalie is barely paying attention, saying the words more out of habit. Grabbing a cup from a drink holder, she says, “You’re coming home with me.”

Giggles bubble from your lips, and you go to cover them with the back of your arm. There’s a pull Carmy feels, instinctual, to urge your arm away from your face and hear your genuine laughter fill the room.

Your eyes meet his, finally noticing that he’s there. The smile you give him is earnest, a gentle hello without words. He forces his feet to move, closing the distance. Carmy blatantly ignores the looks both Richie and Natalie are making. You hold out the cup in your hand - the one you weren’t drinking from - and he takes it from you.

Condensation clings to the sides, his name hastily written on the side.

⋆⁺Carmy!⁺˚⋆

There’s a heart in place of the dot at the bottom of the exclamation point, little stars doodled around his name. His stomach flips.

“Iced?” He swirls the drink in hand, mixing it up.

You shrug, “Thought I’d try something different. It’s hot outside.”

“You off?” Bringing the straw to his lips, he hums at the taste. You’re watching him eagerly, head tilted to the side as you wait for his review. “This is nice.”

Squinting at him, you huff, “Not perfect, though.” You type something into your phone — most likely to add to your notebook later. “Had to run some more syrup by the shop. Saw Natalie’s car on the street so I texted her to see if she wanted something to drink. I have errands to run after this.”

“You a regular too now, Cousin?” Richie barks, and Carmy watches as you remember where you are. Who you’re with.

A protectiveness rises up in Carmen, hating the way you recoil into yourself. “Fuck off, Richie.” He looks over at you, “Hungry?”

“Dude, we got shit to do.”

“Richie!” Natalie hisses at the older man, shoving him back toward the kitchen. She calls back to you, “Thanks for the coffee! I promise I’ll come by when I feel more like a human again.”

The customer service clicks into place behind your eyes, “Take care of yourself! Hope the baby is doing well!” Once it's just the two of you, you sigh, knocking the heels of your boots together. “I should get going.”

Carmen nods, “Can I grab you a sandwich, first?”

“Grilled cheese?” You tease, stifling a smile.

He huffs, shaking his head, “Nah, but Ebra’s got window right now. I could throw something together real quick.”

“You don’t have to do that.” He glances down; you’re pressing your thumb into the middle of your hand. It's uncanny, the semblance of himself that is mirrored in you.

“I know.” He wants to, though. “Give me five minutes?”

A moment of hesitation, then, “Okay.”

“Cool.” And he’s off.

Chaos erupts the minute he’s back in the kitchen.

“Since when did the two of you become buddy-buddy?”

“Can we please get back to work? Richie, respectfully, what are you doing back here?” Syd is working on pasta, flour covering her work service.

“I got shoved outta my space, so here I am,” Richie waves his hands around.

The overlapping voices turn into white noise, and Carmy inhales sharply, “Fak!”

“Yes, chef!” Neil appears out of nowhere. Sometimes Carmen thinks there’s a series of underground passages that makes it so easy to get ahold of him. It’s not that crazy of a notion.

“Go and say hello to them, okay? I’m gonna throw together something, give it to them, and then I’ll be right back.” The last part is meant for everyone to hear, but is pointed more toward Richie. “Seriously, just leave it, alright?”

“I’m leaving it,” Richie snarks, but nudges Fak with his elbow. “Think there’s a drink out there with your name on it anyway. Snag me another one of those apple-donut-things too, eh?”

“Fritters!” Marcus calls out from his station.

Carmy sighs deeply, pinching the bridge of his nose. He’s queasy; he’ll have to take some pepto later.

Inhale. Four seconds. Exhale.

Let it rip, Bear.

Neil barrels into you, wrapping you in a hug. He talks your ear off for the next couple minutes; you smile when you need to, laugh when you remember.

The yells from the kitchen are playing on repeat in your ears.

They’re talking about you.

The urge to flee tickles the back of your throat. You thought it would be nice to stop by and bring Natalie a coffee, but then you had felt bad about not bringing anything for everyone else, which turned into you jumping behind the bar to make ten drinks. It’s not like you were going to make Morgan, the barista on shift, make them all.

You always had a hard time not working on your days off.

“You should absolutely come!”

“Yeah, that’d be nice.” You reply, still not fully checked back into your conversation with Neil.

He smiles, “Great! I’ll send you the info!”

Before you can ask what you actually agreed to, Carmy pushes back into the room, to-go container in hand. “Hey, uh, Fak, can you go take a look at the toilet for me?” You barely notice Neil leave, focusing more on how your chest releases as Carmen walks closer to you.

He hands you the container, and you murmur a soft, “Thank you.”

“I’ll walk you out, yeah?”

The thought is nice. Glancing behind him, you see Natalie and Richie watching through the window. “It’s okay, you really don’t have to.” You take a step back just as Carmy reaches out to you. You can’t run, they’d see you. Ask questions. They probably see a caged animal.

“Hey,” he whispers your name, “it’s just me.” He’s repeating the words you said to him the night you were here. You tear your eyes away from the kitchen, looking at him. “Lemme walk you out?”

With a nod, you let him guide you out the front door. The warm summer air washes over your skin, and you take in a deep breath. You count the lines in the sidewalk as you pass them, sipping at your iced latte. “It was cool of you to come by,” Carmy says. “And your jacket’s dope.”

He’s trying to make you feel better.

“Did you just say dope?” You peek over in his direction, catching his shrug. “You’re so old.”

“Fuck off,” he laughs, and your smile widens.

You make it to your car, a little thing that has a new problem every other week. It’s been with you for years, moved with you to five different states. More of a sentimental object, than a real mode of transportation. You mostly used CTA these days if you were able, but it was nice to have a car for when you’re running errands all around the city.

“Sorry if they bothered you,” he apologizes, shoving his hands in his pockets.

“No, no, no,” you push out the words, throat tightening, arms hugging your middle. “I thought I was going to try to be a human today. May have jumped the gun on that one.” Fiddling with your keys, you continue, “It was nice to see you. Thought you might be a vampire or something, since I only ever see you at night.”

The joke causes Carmy to roll his eyes, “Is that considered a cryptid?”

You perk up at the word, “Oh, don’t get me started.”

He smiles big enough for his dimple to appear, “Oh, yeah?”

“Unless you want me to talk for hours on end. I’ll make a power-point presentation and everything.” You might already have one in the works, but he didn’t need to know that.

“You could - I mean, it wouldn’t bother me. If you did, you know?”

You blink a few times, frozen in shock. He looks shy, almost. Like the first time you met him, but there’s something between you now. A plant that will keep growing - might even bloom - if the two of you keep watering it. He keeps pecking away at your carefully crafted walls that let people see exactly how much you want them to.

Carmen Berzatto keeps seeing you. Whoever that is.

He coughs, scratching the side of his head. “I’ll see you later?”

“You know where I’ll be.”

“Yeah.”

You walk around to the driver’s side of your car, opening the door. You slide in, turning the key to let your car sputter to life. You roll the windows down, and music starts to blare from your speakers. “Kick ass tonight!” You yell the words as you pull away from the curb. You spare a glance in your rearview, watching Carmy wave before he starts walking back to his restaurant.

When you're parked outside your apartment, it hits you. You dig into your tote bag, pushing aside old receipts, chapstick tubes, and fidget toys. You cheer to yourself as you pull your notebook out, favorite pen hooked over the cover. Flipping to the back, you stare at the list of drinks you've had Carmy try.

You think you want to keep seeing him, too. Whoever that is.

You scribble at the bottom of the page, circling it twice.

Spiced Chai ~ HOT, xtra cinn