#and then it was curly again

[incessantlark]

made some icons of the pony crew !!

[lakesparkles]

It's not the best timing, but I wanted to show my animal designs of the Mouthwashing characters :>

[0rganicatom]

Tulpar crew from memory!

[kesoo]

reanimator crossover

[sirmanmister]

My sister bought me mouthwashing on Tuesday and my computer almost blew up when I played it but IDC THIS GAME IS PHENOMENALL

[supercutszns]

a place with you; luke castellan

wc: 2.8k (got a little carried away whoops)

pairing: luke castellan x f! reader

synopsis: luke is used to people coming in and out of hermes’ cabin without a second thought. so when you’re having a hard time adjusting to camp life, he doesn’t expect you to stick by his side, even after you’re claimed.

warnings/notes: shy reader going through a tough time, hurt/comfort, pining, kisses, fluff, potential ooc luke i don’t know what i’m doing, most of this is prob inaccurate lol, i got wayyy too attatched to this i am sorry, title inspired by dragon eyes by adrianne lenker

Luke Castellan is the son of a messenger. He’s used to delivering, passing things along, letting them enter his life and leave him. Sometimes it makes him angry. At his father, at the world, at himself.

So when you passed through the Hermes cabin for the inevitable few weeks before getting claimed by your Godly parent, the last thing Luke expected was for you to stay.

When you first got to camp you were terrified. Luke remembers that much. He can still picture you in Chiron’s towering shadow as he led you up to Hermes cabin. He gave you the usual spiel about the cabin, the land of the unclaimed, but it clearly hadn’t quelled your nerves. You were wringing your fingers together when Luke first spotted you, your eyes blown wide in what he knew as shock and a sort of . . . grief. For a life you’d left for what Luke knows as a life you’d never really have. He’d seen it in so many campers before you. He’d see it many times after.

“This is Luke, Hermes’ head counsellor and one of Camp Half-Blood’s finest,” Chiron pointed him out to you at the entrance. After Chiron introduced you, Luke held your name in his memory. Not because there was anything particularly intriguing about you at first, to be honest, because he’d seen a lot of people like you that needed help settling in (although maybe not many his age). It was harder for some people to adjust than most. He knew that better than anyone.

“Nice to meet you,” he stuck out his hand for you to shake after Chiron left. “I’m Luke.”

You sniffed, shaking it without looking at him. You were so, so embarrassed. This whole time you’d been too stupidly overwhelmed to process anything. Why was this so hard for you? Was it this hard for everyone? “Hi,” you managed, and that was it.

Now, weeks after your first meeting, you’ve concluded that it was not, in fact, this hard for everyone. The camp is crowded but full of life. You’ve never seen more happy kids in your life. There’s a sense of community on the wind.

So why can’t you feel it? Why is it so hard to connect with people? To participate in the fun? Everywhere you look there’s people but it’s all just so . . . lonely. You don’t fit. You’re lost.

Luke wakes up at night when the cabin door creaks open. He’s already tossing, so it’s no surprise he catches it. Unfortunately, he’s supposed to be a good counsellor—sneaking out at night is against the rules, and you’ve gotta reign the strays back in before they cause a ruckus. Sure, Luke’s not exactly a stickler for the law, but the least he owes is to make sure everyone’s safe.

Groaning, he draws himself out of the comfort of his bunk but doesn’t get far when he spots a familiar silhouette slipping out the door. He knows it’s you. He’s been hearing crying at night, and this is confirming his suspicions. It makes him ache in a million different places. Every time he thought about approaching you he shut himself down almost instantly, because who the hell wants some random guy coming up to them in the middle of the night and drawing attention?

This time, though, he’s a little worried.

It’s chilly tonight but not too bad, especially when you’re huddled up in a ball on a hill in front of the lake, grass tickling your ankles. Your tears keep you warm.

It’s a sorrow that feels bottomless. You don’t know what’s gotten into you. You don’t know why everything’s so hard.

There’s a scuffling of shoes, and your name is carried to you on the heels of a breeze. Oh God. There’s someone else here.

You sniff and smear your tears on the palms of your hands the best you can but a little part of you only wants to cry more now that you’re all anxious, and you only have a few seconds to collect yourself before you turn around and see Luke, your cabin leader, with furrowed brows. “Oh, h-hi, Luke.” It’s hard to ignore the splinter in your voice. You curse yourself a thousand times.

“Hey,” he says hesitantly, eyeing you in a way that makes you feel entirely exposed. “You, uh, you know you’re not technically supposed to be out here, right?”

You start to scramble to your feet with an apology on your tongue but surprisingly he laughs, a gentle sound, and beckons you to sit back down. “No, no, I’m not gonna get you in trouble or anything, just . . . letting you know.”

It’s uncertain if you should keep sitting, but you decide to because well, you’re already down here, and things can’t go lower than this. Luke comes to sit next to you and you stare out into the sea like your life depends on it. “Wanna talk about why you’re out here?”

“Wh-what do you mean?”

“I mean,” Luke sighs, scooting a little closer to you. “Most people don’t up and leave in the middle of the night because they’re having a great time.”

The answer is too hard to say so you don’t reply.

Again, Luke sighs, and you try not to look at the shadow the moon casts on his admittedly handsome face. “It’s hard settling in, I know. It happens to a lot of people. I’ve . . . I’ve seen a lot of them, and it doesn’t get any easier.”

“Well it sure seems easier,” you snap, and your self-control flies away before you can stop it. “I have no idea why I can’t just suck it up and fit in here. Everyone seems so happy and it’s driving me nuts because I’m just so confused on why I can’t—why I can’t—process any of it.” Tears burn your eyes. “I’m just miserable. I don’t know what’s wrong with me.”

In the corner of your view, Luke’s face falls. “I’m your guide, you know that, right? I can help you.”

You sniff, embarrassingly pathetic. “I know.”

He comes even closer. “So why didn’t you ask?”

“Because I—I don’t know, you’re busy all the time with all the people in there, so I’m sure your job’s already stressful as is, so—”

“My job is to help you,” he says, a hand on your shoulder. “That’s what I signed up for. If you need something, I’m the one to ask.”

“I’m not sure you signed up for me crying like a baby,” you swallow, the ripples of the lake blurring together. “I mean, I’m like, older than half the kids here, and they’re all so much better than me. I’m not good at a—anything, and I’ve tried it all, and nobody’s claimed me yet, and I feel so weird and old and alone and . . .” It’s too much to think about so you dig the heels of your palms into your eyes, hoping the sting wards off the thoughts. “What if I’m nothing? Why am I here?”

You’re crying again, hiccuping into your hands. Shame sears into you. Luke’s arm curls around your shoulders and you realize how cold you are when he’s warm, so warm, and you want to cry even harder. You don’t even know him, but it’s the most tenderness you’ve received in what feels like years. “Hey, deep breaths,” he murmurs, rubbing your arm with his other hand. “It’s okay. Look at me.”

It takes a ridiculous amount of strength to heed him. His hand catches your cheek and you can’t bear to pull away. Something strange rustles in your stomach.

Luke’s taught instinct when faced with situations like these is to reassure that the Gods always have a plan. But he doesn’t feel like much of a liar tonight. Both his hands steady your face towards his, your skin damp and cold beneath his thumb. “It's not your fault. It always takes a little bit of time for people to get claimed, it’s never . . . well, you can never tell.”

“What if I don’t get claimed?” You say it so quiet you can pretend it was imaginary.

His eyes crinkle at the sides when he says, “Well, Hermes’ll always have a place for you.”

I’ll, Luke wants to say, I’ll. His father is not responsible for his cabin’s kindness.

“No one really prepares you for how overwhelming this is,” he continues, thumb rubbing the apple of your cheek. Your vision is clearer now, and Gods, he is handsome, isn’t he? Even when his eyes are forlorn. “It’s harder in a way when you’re older. More to leave behind. Less to look forward to. It’s easier when you have a friend. Or a great cabin head.” He tilts his head with a faint smile, “Lucky for you, I’m both.”

It almost makes you laugh, and that’s enough. “It’ll get easier,” he promises softly. “There’s nothing wrong with you.”

Your cheeks burn. It’s hard to keep his gaze, so you blot at your eyes with your hands as Luke gently slides his off your face. “Thank you. Sorry for, um, all that. And the crying.”

He chuckles, “Don’t even worry about it.” You watch him rise in the throes of starlight. He offers you a hand. “Aren’t you cold?” He asks after pulling you up, and you sheepishly nod your head. He tosses you a sweater he’s been wearing, and it smells like firewood. Nostalgic, in a way. “I’m gonna poke around for some tea. Wait for me back at the cabin.”

Before he leaves, he squeezes your arm and that thing happens again in your stomach. “No need to be embarrassed, by the way. You can come to me anytime. I’m probably less busy than I look.” As he walked away, he added, “And don’t worry about the crying. You’re pretty either way.”

Either way. The tea doesn’t seem important anymore because your face is on fire.

Time reveals that Luke is right. He is a great cabin leader and a friend, and it’s hard to tell which he’s better at. You fall in with him right away. Soon enough, you’re drawn into your new life, so slowly you barely realize it’s happening. The days get shorter and you start wishing they were longer. The nights get easier. And when they’re not, Luke tucks you into his bunk and folds you in his arms until you drift off. You pick up a bow. A sword. Luke tells you to straighten your shoulders with a hand on the small of your back, and you swear it always lingers. You braid garlands of carnations for your cabin mates and they wear them with pride. It’s warm, your cheeks hurt from smiling, and things start to feel like home.

Until you’re claimed.

Now you’re a ghost in Hermes cabin, another empty bunk to be filled, and Luke stares at it until he can remember every last detail of what it looked like when it was yours. A beautiful, gentle daughter of Demeter, no longer in arms’ reach. He should’ve seen it coming.

He sees you with your siblings all the time. You’re so happy and he envies it. You belong there, he knows that, the way your face lights up at the dinner table and how you giggle when your half-sister presents you a flower. But sometimes your eyes wander, and something inside them dulls, until you look at him, too.

Luke’s place at camp is to be nothing but a funnel for lost campers to find their home. He’s a temporary stop in everybody’s journey. He’d made peace with it a long time ago. But here you are, messing it all up, because you still don’t leave him.

You beg him to give you another sword-fighting lesson. You sit next to him at bonfires. You pick him for partner camp activities. It doesn’t matter how many younger boys want to latch onto him for guidance—he sees you heading towards him, and he can’t imagine choosing anyone else.

But you’re always whisked away by your siblings, separated at meals and in sleep and in activities so it’s never, ever enough. Why did he delude himself into thinking you’d stay forever?

After weeks of distance from you, he’s elated when you have even a fraction of a conversation. “Hey, Luke!” You call out to him, and he finds you instantly. You’ve broken away from your siblings to get to him.

“Hey,” he smiles, and hopes he doesn’t look too pleased.

You lean a little towards his ear, and you smell like every wonderful thing in the world. “Can we hang out tonight? On the hill?” You’re a little bashful when you say it and it’s entirely endearing. Even now, you’re still so unsure. “I miss you.”

“I miss you too,” he says almost instantly, and it makes you look less nervous. “Yes. Absolutely. But don’t get caught breaking curfew now, you hooligan.”

Someone calls your name and you give a curt, playful nod. “Yes sir, camp counsellor sir!” He carries your laugh close to his heart until night falls.

You’re already there when he arrives, a vision in the moonlight before he even sees your face. “Hey, angel.”

When you turn around you look flustered. He won’t pretend like it doesn’t flatter him. “H—hi, uh, hello.”

There’s a moment where the world is still. The two of you, alone, for the first time in ages.

He sits down next to you, and it’s like the first time all over again. You get to talking, about your days, your anecdotes, your cabins. The strangeness of it all. “It’s so weird waking up in the morning and not having you yapping in my ear,” you remark, and he teasingly pushes your shoulder.

“Well, one of us has to be the talker, and it’s clearly not you,” he retorts.

You fiddle with blades of grass between your fingertips, weaving them together. “I’ll have you know I had a cabin-wide conversation about Capture The Flag yesterday, and I contributed greatly.”

“Oh, really?” He grins, knocking your elbow to steal your attention. “Look at you, coming out of your shell. I’m so proud.”

It’s hard to hold his gaze for more than a second. You’re afraid you’ll do something stupid if he keeps looking at you like that, but you almost want to. “Oh, shut up.”

He puts a hand on your shoulder. “No, I’m serious. I’m proud.” His eyes rake over your face. “You’re flourishing. You found your place.”

You can’t stop yourself from saying, “I kind of miss my old one.”

There’s a way he studies your expression that makes you feel utterly helpless. You wish you could dish it back to him, but you know you just look awestruck whenever you stare at him for so long. He’s quieter when he replies, “I miss it, too. A lot. Sometimes, I—” His face scrunches up like he just tasted something sour. “Nevermind.”

Frowning, you prod, “What? What is it?”

He sighs and turns to the horizon. This is the first time you’ve ever seen him struggle. “Sometimes, I wish you hadn’t been claimed. Sorry, that’s . . . that’s awful, I know.”

His surprise is evident when you say, “Sometimes I wish I wasn’t either.”

He turns back to you. “Really?”

“Really,” you nod, staring at the beads on his necklace. “You’re the only reason I’ve adjusted here at all.”

“Don’t sell yourself short.”

“It’s true. And I miss you.” A few months ago you would’ve kicked yourself for saying this. But Luke has a way of inspiring confidence in people.

“I miss you, too. So much.” He gently prys the grass you’ve been weaving out of your hands, now a small necklace. “But look at how talented you are. I’ll tell you, I’m lucky you’re still sticking around. For most people, Hermes is touch-and-go.”

Luke leans forward to tie the garland around your neck, and your pulse picks up. “This isn’t about Hermes, Luke,” you try to be firm but it comes out soft. “It’s about you.”

His hands stop fiddling and rest on your neck. When he speaks, you can feel his breath on you. And you have no idea that he’s been waiting to hear that his whole life. “What’s about me?”

It’s not fair, your inability to string sentences together only worsens right when a beautiful boy is this close to you. “Hermes isn’t—it’s not special because of your father, it’s special because of you.”

There is nothing else you can possibly think of saying with the way his fingers trace up your neck and hold your jaw. “Yeah, well,” he murmurs, “The only reason anything in my life is special is because of you.”

You don’t know if it’s a lie or not; you don’t care. His nose nudges yours. There’s a moment where you wonder if this is as close to Elysium you’ll ever get. Then he slips a hand to the back of your neck and pulls you to his mouth.

He kisses you in a near fury, then when he knows you’re not going anywhere, it’s the gentlest thing you know. It’s hard to believe this is even happening. Your hands weave through his curls but he holds you steady, and thank the Gods for that because you’re pretty sure you’re melting. You kiss again, and again, and again, until you genuinely think you’re going to pass out and you have to pull away.

“Aw, look at you,” he murmurs when you can’t meet his eyes, a playful lilt in his voice. “Still so nervous.”

“Would you shut up?” You press your face into the crook of his neck with a huge smile.

He kisses the top of your head. “Love to, angel.”

Luke Castellan is the son of a messenger. He’s supposed to believe he’s bringing the best of humanity to the Gods and glory above.

But screw the Gods. He’s keeping this one for himself.

[niinnyu]

No one's coming.

I couldn't help but also think of the secondary anti-capitalist tone under the enabler-culture commentary of the story. How there's no way a company supplying mouthwash that was okay sending 5 people in a ship with 4 non functioning cryo-pods is coming back to save anyone. A company that did announce that it was laying everyone off and shutting down 20 years ago to boot. The cryo-pods were formality and nothing more.

[chloesimaginationthings]

sorry if this is bothersome but i just absolutely adore how u draw Cassie TToTT

I honestly adore drawing her!!

[chipchopclipclop]

few more scratchings before i forget about them

[idk-kun]

responsibility

[dykedvonte]

I think depictions of Anya being cruel to Curly or drawing out his suffering are artful and chilling but completely miss the point of the story and her character.

I'm not saying she doesn't deserve to have that "I told you so" moment with him but not in something callous or cold. Even if that is how it happened, she'd immediately feel guilty cause at that point she's not tormenting her tormenter or even the person truly at fault. She's doing something cathartic, similar to how Jimmy likely hits Curly to release rage he can't against the rest of the crew. She'd see herself as no different when she'd come back from the moment and see Curly cowering at her. She wants someone to take responsibility but how does being cruel to the defenseless help? Why would she want the power Jimmy has over her over Curly?

The idea of her extending someone else's pain is just so against the struggles she already faces and how she can't even bring herself to cause someone pain even to help them. Her very desire is to release herself from her own suffering and I doubt she'd even fine some sort of guilty release in being cruel to another.

[themouthwashes]

QUE VIVA MOUTHWASHING WEON GRACIAS POR TANTO PERDON POR EDITS TAN FEOS

[rainy-days-and-nights]

Last train home

[vanmarkus]

EVAN BUCKLEY + close-up 26/?

[psymachine]

two friends who just bought a bar together and have their whole lives ahead of them

[canine-economy]

On Swansea’s (often understated) role in Mouthwashing

I say this as a big swansea fan but I don’t rlly understand why ppl are acting like he’s not also complicit in what happened to Anya? AUs where “Anya tells Swansea” and he jumps to violently defend her don’t make sense to me because canonically she does tell him, as he admits to Jimmy. But swansea represents another way of interacting with the capitalist heteropatriarchy that ALSO harms victims: holistic jadedness and resignation.

Swansea is across the board unkind to the Tulpar crew. We can’t forget that he calls anya a “so-called nurse”

and says this to Jimmy, which (if unintentionally) reiterates Jimmy’s own warped perception of Anya’s usefulness and competence. This allows Jimmy to feel justified in his imagination of the nurse’s inferiority. Swansea’s clear lack of respect for Jimmy does less to hurt Jimmy than his lack of respect for Anya harms Anya, because at the end of the day, Swansea’s attitude is contextualized by the violent culture it exists in and he does nothing to reconcile with that when Jimmy becomes the captain. His resignation can thus be weaponized even by Jimmy, a man who Swansea disrespects but whose power he doesn’t try to meaningfully jeopardize, because his across-the-board disdain punches people already marginalized by the environment twice as hard as it does those with power.

Swansea doesn’t position himself as an ally, he positions himself as willfully uninvolved in everything, an observer to the shitshow ride to hell. Just because he dislikes Jimmy doesn’t mean he aligns with Anya. He makes it clear that he’s not on her side, either. After a life of doing what he felt was expected of him, Swansea on the Tulpar looks out for Swansea and Swansea’s comfort. In trying to situate himself outside of the politics of it all as an older white man, he simply allows them to play out. The toxic culture keeps existing, playing out in the microcosm that is this freighter, and Swansea in all his experience recognizes that shit has hit the fan and elects to coast through it, even explicitly numbing himself to it by breaking his sobriety. It is, of course, hard to force yourself to be sober—to see clearly. But had Swansea forced himself to get involved sooner, he might have set a precedent for Daisuke to recognize Jimmy’s abuse, which could have saved Daisuke’s life as well as created a safe space for Anya. But Swansea’s inaction forces both victims to confront an abuser on their own, unable to reap benefits from his privilege and experience.

Jimmy is clearly intimidated by swansea in a way he is not by Anya, Daisuke, or a post-crash Curly (Swansea, for example, physically manifests as an aggressor in Jimmy’s “responsibility sequences”, and Jimmy ties Swansea up to avoid what he sees as the real possibility of pushback that he doesn’t conceive of Anya being able to do). Swansea has a power he does not act on or with until it is far, far too late. In fact, he acknowledges in his final monologue that he was dissatisfied with the discomfort with opening his eyes and living an exemplary “good man”s life. The best days of his life are ones in which he’s belligerently drunk—days in which he didn’t have to hold himself accountable. He regrets the life he spent performing for higher-ups and we watch him reject it by scorning Captain Jimmy, but he also doesn’t want to be held responsible for helping other people when it’s their turn to endure the expectations and violence from similar (if not the same) higher powers. Tragically, he possesses the hindsight to recognize that how he acted on the Tulpar consequently wasn’t what Daisuke needed out of a role model, leading to Daisuke becoming a victim. His hands-off approach to emotional engagement with his young male intern (another symptom of patriarchal gender norms) may have been to avoid Daisuke turning out miserable and jaded like himself, but it doesn’t actually indicate to an already-confused Daisuke what the dangers of that attitude are. Swansea never admits his own shortcomings in a tangible way which, had they come from a man with experience and prestige like himself, may have shifted that culture that failed Anya. She comes to him with the story not because he has situated himself as any earnest friend, but likely out of desperation on a ship Jimmy now controls.

When we allow “the machine” (Swansea’s own words) to beat us down to the point that we don’t find it productive to challenge unjust power dynamics, we become complicit. I think too many people get hung up on his disdain for Jimmy and Jimmy’s fear of Swansea as a marker of allyship with Anya, but the truth is that Swansea. Is a bad ally. He’s hardly one at all. His long stint in the demanding capitalist environment molded a perfectly complicit result out of him, as it aspires to do, even if Swansea bitterly recognizes that. Jimmy’s overt violence from a position of power is a different and much more brutal approach to abuse enabled by people who have been left too tired and bitter to care that he does it. A man who could’ve intimidated and even threatened Jimmy is too resigned to try until there is literally nobody but himself left to fight for, which is an attitude carefully cultivated among the lower rungs of hierarchies to keep the top safe. Swansea in particular seems very unhappy with the capitalistic, patriarchal expectations laid out for him as a father, husband, and laborer. His decision to just stop trying and spare himself the grief instead of questioning why those expectations exist and how they would hurt the others onboard only delays him being directly targeted by Jimmy and doesn’t interrupt the latter’s violence.

Not a single man in mouthwashing is innocent in Anya’s victimhood. This is a statement tentatively uninclusive of Daisuke, because I think the game very deliberately positions him outside of manhood through his youth and thus struggling with the concept of “fitting in” to the patriarchy. Curly, Jimmy, and Swansea all represent different failures that ultimately perpetuate Anya’s suffering and force her to defend herself and finally take her life into her own hands. A holistic analysis of rape culture in MW necessarily engages with all three of them. Only not being a friend and ally to rapists and other male abusers isn’t enough, and Swansea proves it.