#and write essays that wouldn't be out of place in gender studies class

[starcurtain]

Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

[nightowlwriting]

summary: steve is acting weird. avoiding you, being snippy and mean, leaving the room when you enter. all you want is your boyfriend back, but all he wants is to pretend you don't exist. when he's almost hurt on a mission, you do what you're made to do.

word count: 11k

reader specifics: no race/gender/sexuality/body type mentioned, no pronouns for reader used, powered!reader, insecure!reader

warnings: steve is mean to the reader in the beginning, heavy angst, hurt/comfort, canon-level violence, brief ptsd symptoms, slight description of blood, brief mention of racism in the '30s & '40s

brief mentions of: reader's parents being toxic, homelessness, past accidents, ableism in the past & present

note: this one hurt me lmfao. idk why this went the way it did but i'm not mad at it // also i am a queer, trans, disabled american. i have fundamental disagreements with things that marvel/the mcu as it stands for and some of the more nuanced things that you might not notice unless you're looking for it. this will take place in my writing because i cannot separate myself from the lens in which i consume/create content.

title credit: lil nas x

mobile masterlist - request - support my work? - ao3

Falling in love with Steve Rogers went against every instinct you had. You knew that he was going to hurt you from the first moment your lips touched his. Sure - he’s clever, righteous, courteous… You can’t forget he’s also drop-dead gorgeous because every trashy gossip magazine in a three-state radius of New York doesn’t let you forget. Neither does the sight of him waking up in your bed every morning. (Well, actually, maybe that would remind you if he was still fucking doing that.)

But lately, you’ve had to rely on the fucking tabloids to catch a glimpse of your super-hero boyfriend. The university class you had picked up on a whim at the end of the summer - Life & Times of the ‘30s and ‘40s - avoids any mention of Steve Rogers and the Howling Commandos. Not that your classmates do because, Christ on a bike, those magazines manage to catch pictures of you and Steve in moments that you don’t even remember. Plus, you’re an Avenger too. It’s bound to catch some attention when you waltz into a college classroom.

You’re sure if you were an undergrad trying to fill a gen-ed requirement and were sitting next to someone who could kill you without blinking but also dating Captain Rogers you’d be a little distracted too. You try not to blame your classmates too much, but they do make it hard to concentrate with their -really dating Captain America?- and -wonder if I could get an autograph- whispers. None of that matters because you’re learning, really studying, in between missions and missing Steve and believing that maybe the gossip reporters are right.

Maybe he’s forgotten about you.

You grit your teeth and push the thought away. It does you no good right now, while you’re training with Peter. He’s working his way up to bona fide missions and, because you’re the only one on the team who has experience with real-life teenagers outside of saving their lives, it’s up to you to get him to the level that he needs to be. Plus, the mission where he’s going to get his gills wet is just you, Tony, Steve, Nat, and Bucky. You’d much rather be the one to train him because you won’t traumatize him.

Right now, though, you’re just kicking his ass to try and get rid of some of the tension in your body. You feel a little bad about it, but when you started as his mentor you told him point-blank that you’d never go easy on him. That meant if you were having a bad day he either needed to up his game or he’d have a bad day too. It appears he’s taken that to heart as he struggles to dodge the hits you’re throwing his way. He lunges out of the way when you try to land a right hook but practically walks into the leg sweep that sends him crashing to the ground.

“Awe,” Peter groans, letting his guard down. You take the momentary lapse of focus to grab him by the collar of the hoodie he’s wearing and haul him to his feet, jerking one fist back to cold-clock him but he beats you to it. You hear the sound of your nose cracking before you feel it but then the pain rushes you all at once. You’ve had worse but coming from Peter, the move surprises you. You don’t yell out but he does when you push him away from you and call the fight off. Peter practically yelps your name, hands up by his head as he watches you bend at the waist, both hands over where your nose is absolutely gushing blood. “I am so sorry, I just reacted-!”

“It’s fine, Pete,” You shake your head and stand straight again, the blood beginning to leak through your fingers, “Just go get me a towel, okay?” Peter practically trips over his feet to get something for your nose and as you track him on his way into the locker rooms, you see Steve, Bucky, and Nat. The latter are looking your way, eyebrows raised like they’re asking you if you’re okay. Steve hasn’t even broken stride in his conversation so you wave them off with a bloody hand. Peter’s back in a flash, pressing a wet towel into your grasp and snapping you out of your self-pity party. “It was a good hit,” You compliment as you wipe your face off, “I just wasn’t expecting it. Prob’ly wouldn't have landed it if I had.”

He wrings his hands, shifting from foot to foot. “I’m sorry-”

“It’s a good thing, Peter, means you’re getting better.” You deadpan, checking to see if your nose has stopped bleeding yet, “I don’t think you actually broke it, but I’ll go down to medical to check later.” You do your best to clean up your hands with the wet towel, but it’s so soaked with your blood that it mostly just smears it around. You grimace and shake your head. “Well, I should go now before our sparring match ends up looking like I murdered you.”

“I’ll go with,” He offers, “I’m the one who broke your nose.” You let Peter walk you down to medical even though you were originally going to refuse. Perhaps petty, but it was the way that Steve didn’t even look your way as you left that made you let the teenager walk you the two floors to where you’d be able to clean yourself up. He hums in the elevator and you know that he wants to ask you something - it’s the way he holds his mouth when he’s prying for information or keeping a secret that tips you off. Finally, just before the elevator opens, you sigh and turn to him.

“What, Peter?” He grins but then it falls when he has to skitter after you down the hall. Maybe that’s why it falls - the question he asks next nearly sends you to your ass.

“Is everything okay with you and Captain Rogers?” He easily catches up to you when you stop in your tracks, ignoring that you’re still bleeding a little bit down your face and you might be dripping blood everywhere from where it’s run down your arms.

“What?” You do your best to look confused like everything is fine, but Peter is perceptive. He may fumble around and be pretty awkward, but those are really just teenager things that he’ll hopefully outgrow. You should have known that when someone caught onto how bad things are on your end, it would be Peter. (You wonder if Nat or Bucky has brought it up with Steve, considering he’s spent more time with them in the past week than he’s seen you in the past month.) “We’re fine.” Your words are stilted as you begin walking to the medical wing much faster than before.

“I just thought I’d ask, well, because I’ve sort of noticed… Something just seems off, you know? Like, you two used to spend a lot of time together, and maybe it’s the recon mission coming up, but I was just thinking that you two really barely look at each other even when you’re in the same -”

“Peter!” You say his name much louder than either of you expected and both of you jump. “Peter,” You say softer, looking at the glass door to the medical wing instead of him, “Just leave it, okay? It’s nothing you have to worry about, kid.” Peter ducks around to open the door, forcing you to look at him. “He’s just focused on his stuff and I’m focused on getting you whipped into shape for this mission. We only have two days.” Once you’re inside and surrounded by the medical crew Tony keeps on staff, he thankfully drops it. You love Peter, you do, but it’s a lot like having a little brother. You can only love them so much before you want to fucking strangle them. Eventually, as the doctor checks to make sure he hasn’t broken your nose, you have to order him away to go study or something. “I’ll join you later,” You promise him as the doctor prods at your tender flesh, “I have an essay due soon.”

That’s another thing that’s been bugging you that Peter surely picked up on. Nearly everybody knew you were taking a course at the local community college, but nobody knew what it was about. You’d wanted to keep it a secret until you told Steve, but the day you had registered he’d flown out for a two-week mission without telling you or saying goodbye. After that, you decided it didn’t really matter if anyone knew what class you were taking, and keeping it a secret sort of spiraled from there. If they wanted to know they could look it up. Maybe it was petty, but you just wanted the class to be over and done with so you could forget that you really only picked it up so you relate to your boyfriend more.

If you can even call Steve your boyfriend anymore. You’re not so sure where you stand and, honestly, you’re really close to giving up on the relationship as a whole but you can’t do that. Before you were dating, you were friends, and Steve… He never gave up on you. Not once. How could you repay him by giving up on your relationship? The one that you thought was The One? Even if it hurts, even if you’re unsure more than sure these days, how could you? Somewhere, though, you know you deserve better. You don’t deserve the sinking, dark feeling that lingers in your gut for most of your days now or the way that you second-guess every move you make - even in the field. It’s dangerous but you can’t do anything to fix it.

You’re too scared. You know that eventually, it will happen, he’ll break up with you, but you’d like to put that day off for as long as possible. To relish in the love he once had for you, how pure and powerful it was. You’re sure that you’ll never experience anything like that again.

Hell, you might never fall in love again.

Those thoughts don’t do anything to help you, though, so you try not to have them. You get clearance from the doctor and get cleaned up as much as you can without taking a full body shower. The idea to go back to your room and take one crosses your mind but you know that Steve’s probably done training, probably heading back for his own shower, and you don’t want to open that can of worms. Instead, you go to the common room and drop into the couch between Peter and Tony. They’re talking about something something science something something, but you pull your stack of books and notebooks out from the shelf underneath the coffee table and continue outlining your essay from where you left off. The assignment was focused on how the end of WW1 changed American life and then how life changed leading up to and during WW2 but that had hit a little too close to home for you, so you’re writing about the racial tension and overall racism of the times. Tony and Peter keep talking over your back and then you hear footsteps heading toward the common room.

You barely look up when they enter - Nat and Bucky - because it’s fine. It’s normal. They’re just two of Steve’s best friends, that’s all, nothing to be jumpy about. You don’t even register that emotional pain that hits when you realize that, yeah, you’re not one of his best friends anymore. You doubt you’re even considered a friend in his book.

You groan and lean back into the couch, bringing your study materials with you. Peter glances over, skimming over your page and a half of shorthand, and gags. “Jesus, can you write like a normal person?”

“Oh, sorry,” You say lazily, not looking up as you continue to scribble in your incomprehensible code, “I do forget that some of us had privacy at home.” You lift your lips just a little bit to let Peter know you’re kidding, looking up at him through your lashes as you slouch next to him. He looks red in the face. “Besides, once you have to start doing mission reports you’ll be begging me to learn my shorthand and use my stenography machine.”

“I keep telling you that I can update that ol’ thing,” Tony draws your attention. For the first time, you realize that Nat and Bucky are on the loveseat looking at you expectantly. Steve is standing in the corner over their shoulder reading a book from the bookshelf in front of him. His back is tense and he looks like he’s not reading, just listening. You force your eyes back to Tony on your right and shake your head.

“No, because then you’d know my shorthand and it makes me too happy to see you spend hours trying to decipher it.” His eyes wander to your essay again, trying to find any patterns that he can use to figure out what the hell you’re writing on anything ever. He’s opening his mouth to make a smart-ass remark that will no doubt lift some of the weight off of your shoulders when another voice speaks up.

“Wow,” Steve doesn’t even look at you even as he says your name sardonically, “Way to be a team player.” Your mind comes to a screeching halt, trying to figure out what the fuck he’s playing at. Even Bucky and Nat look surprised at the cold way he spoke to you, Tony and Peter both gasping from your side. You can’t say anything, throat tight and burning with tears as you stare at your boyfriend with raised eyebrows. What do you say to that? How do you respond? You know it wasn’t a joke because he’s not laughing, not smiling, not even looking up from that fucking book in his hands. You can’t tell if you’re more hurt or embarrassed, but either way, you don’t want to stick around for someone to get the nerve to say something.

Instead of replying, you slam your textbooks shut and bundle everything into your arms. You doubt Steve even notices that you’re making such a hasty retreat but if he does, he doesn’t say a fucking thing. You feel like you’re in high school - practically running through an empty hallway with your notebooks and textbooks pressed to your chest, trying not to cry. It’s ridiculous. You’re a trained assassin, you’re an Avenger, you are strong and powerful and yet… And yet. You’ve given so much of your heart and soul to Steve Rogers that he can knock you down eight pegs without even trying. Without even looking at you. You can’t wait to go on this fucking recon mission, where you can put all of your focus on making sure Peter is doing okay and gathering the intel. Where you can stop thinking about how easily Steve Rogers seems to be pushing you to the side.

You spend the next two days writing your essay, ignoring almost everyone, and working on your essay. On the day of the recon mission, you’re running out the door for your eight a.m lecture, printed essay in hand, and reminding Tony that he promised to pick you up on campus after class for the mission.

You’re lucky that you went, too. You hadn’t counted on the professor making everyone stand up and tell the class the subject of their essays - didn’t realize that it would be twenty-five percent of the grade on the paper. You’ll never understand college professors and the weird shit they do, but the class is informative and entertaining. He goes around the room, starting on the opposite side of you, so you’ll be last. Great.

Several students did their papers on the propaganda of the time, one student was brave and did her essay on the ethical dilemma of the super-soldier serum and eugenics, and most of the other students focused on pop culture and how it changed. When your professor looks at you it’s almost like he’s expecting you to have done nothing but fawn over Steve and Bucky, considering you know them personally. He looks surprised when you clear your throat, stand and say: “I focused on the casual and institutional racism that faced non-white Americans at the time.” You almost preen when he looks impressed and then the shame fills you. It’s just… You want Steve to be proud of you. You want him to congratulate you on going back to school, even if it’s just for one class. You want him to be happy and surprised that he was the inspiration for taking the class.

Though, lately, the class has been more for you than for him. You like learning new things, pushing the boundaries of assignments, making people uncomfortable with the truth of the times you’re studying as told to you by two people who lived it. It’s nice. Normal.

Everyone needs a little bit of normal.

But, honestly, normal is fucking boring. By the time your class is over and you’re handing in your essay it’s like ants are crawling over your skin. A combination of nerves from the upcoming mission, a head full of fog from whatever is happening with Steve, and a little bit of fear at the thought of taking Peter into the field has you bolting for the door the moment your essay is taken from you. You’d worn your tac-suit underneath a pair of baggy sweats and a loose hoodie, so you don’t even bother slowing down as you head toward the car that Tony has waiting for you. He’s in the front seat, grinning at you from underneath his aviators and Peter is driving.

You slip into the backseat without thinking or looking at who’s there, tossing your bag in the back and peeling your hoodie off. “God, Tone, we’re goin’ to die before we even get to the mission with Petey driving.” You toss your hoodie back to join your bag and finally see who’s sitting next to you.

Of course, it’s Steve. He’s looking at you - but not really. He’s looking through you, like he can’t stand that you’re both crammed in the backseat of Tony’s electric car. His gaze catches you and holds you in place. Everything around you goes cold and fuzzy, making you miss Peter’s indignant complaining that he has his license so he should be able to drive… And then Steve scoffs and looks out his window, ignoring you. It stings but you have a job to do. You make some witty retort back to Peter, but it falls flat as you struggle out of your sweats. This is what life is, you think. Relationships aren’t meant to be forever - you learned that at a young age.

Until your accident at fifteen, you had watched your parents run out of helium, their relationship expanding and cooling in arguments, in days spent not talking, in trips to your grandparents without the other, in passive-aggressive computer searches for divorce attorneys left open for anyone to see. Then, after you were trapped between those machines - after you spent hour after agonizing hour with electricity pressing between your atoms, being torn apart and rebuilt as a young god - after that day you watched them expand against each other before the neutron core of their relationship collapsed on itself and the resulting supernova sent you to the streets. But then Fury found you. Then Tony, then Nat, then Steve.

Your parents exploded out from each other and the shockwaves ruined your life. At least now, your relationship with Steve is ending silently. There’s no explosion, no collapse, no rapid expansion to take over your cosmos. Your relationship with Steve is simply approaching the event horizon, where it will hang in the air until one of you takes the final step and you both become frozen, two collapsing objects on opposite sides of the universe. Maybe that’s what you already are. You feel so far away from him in the back of Tony’s car - like he’s eons and light-years away from you - and you feel so cold. Frozen, down to the bone. It makes you stiff in your replies to Tony and Peter, slow on the uptake when the car pulls up to the quinjet, nearing stasis and unable to respond when Nat asks if you’re okay.

Finally, you turn to look at her, nodding. “Fine,” You clear your throat, “Been a rough day.” You do your best to smile at her, but your face feels heavy. Your chest feels cold and tight, making you worry about your performance on the upcoming mission. When Peter shakes his head next to you, discreetly telling Nat not to press, you’re focused on Steve and the electricity humming in the most base part of your body.

He scoffs and rolls his eyes. You turn away and force yourself to smile, throwing a weak and numb arm over Peter’s shoulders. “Are you ready for this, Pete?” You jostle him back and forth, leading him toward the sitting area behind the cockpit. “Gonna get your ass kicked?”

“Please,” He shoves you off, nervously laughing, “Not with the skills you’ve taught me.” He mimics throwing webs, making hissing noises under his breath, and you bark out a laugh, shaking your head.

“You’re payin’ my medical bills when I have to save your ass, Spidey.” You shake your head and strap in next to the wall, Peter taking the seat to your right. Tony, from the aisle across from you, points a thick finger your way.

“You don’t pay medical bills anymore,” He waggles his finger, “So you’ll just have to make him do your homework for a week.”

“Mister Stark!”

“He’ll have to earn shorthand to do your essays,” Nat chimes in from between Bucky and Steve, who are both doing their best to not look at you - or anyone really. “You willing to share that with him?”

You lean back in your seat and jab at Peter with your elbow. “Hell no, so I guess Spider-Boy better do his best.” The arachnid in question grumbles, crossing his arms and slouching in his seat.

“No pressure, right?” He complains, “Not like I’m already nervous or anything.”

“You’ll do fine, kid,” Bucky pipes up, drawing your eyes back to Steve, “It’s goin’ to be a cakewalk.”

“Don’t jinx it, Barnes,” You warn half-heartedly, tucking in on yourself, “We need this to be easy.” From the look on his face - everyone’s face, really - you know that they heard you loud and clear when you were really saying I need this to be easy.

After an uneasy laugh from Bucky, a claustrophobic silence settles over you all as the jet begins to take off. You’re in for an hour ride and plan to spend it going over battle plans with Peter when harsh whispering catches your ear. It’s Bucky and Steve nearly crushing Nat between them until she gets up and sits across from Peter, rolling her eyes. Still, you try your best to run him through the actions you both had planned - the names, the setups you needed to execute them, everything. If something happens to Peter, you’ll never forgive yourself.

And then, cutting through your soft promptings to Peter and his equally soft replies, Bucky’s voice. “Leave it, Steve. Until after this mission.” Even Tony looks up from his tablet, curiosity piqued. Their faces are both red, set hard and angry at each other and your stomach drops. What the hell is going on that Steve ‘Till The End Of The Line Rogers is fighting with Bucky You And Me, Pal Barnes? You must shift, or lean too far into Steve’s eyesight, because for the first time in what feels like years he is looking directly at you - and seeing you, too. It makes your pulse jump and, almost instinctively, you want to reach out and ground yourself on the rubber of the seat underneath you.

You don’t get the chance, though, because Steve speaks. “No, why should I? This is clearly affecting the team.” He’s still looking - glaring - at you like you’ve done something wrong. “What’s the point of waiting? I’ve been waiting to talk about this.”

“Bo, I don’t think this is the time,” Bucky looks over his shoulder at you, then, and you know what’s coming. You know that it’s time, that Steve is about to break up with you in front of your teammates. Your friends. Your family. You steel yourself for the anguish you’re about to feel and then jerk your chin out, hardening your resolve.

“Buck, it’s fine. If Steve wants to address something, he can.”

Natasha says your name, a low warning over the hum of the quinjet. “I think he should wait.”

“Well, I’m not goin’ to wait!” Steve unbuckles himself and stands, “I have tried waiting, and look at where that has gotten me.” He puts his hands on his hips and puffs out a breath. You unbuckle and stand, too, unsure of where this is going. “You need to,” He holds one hand out, pointing at you while his voice shakes. You notice his hand is shaking, too, but fractionally. If you didn’t know Steve as well as you do you may have never noticed it. “You need to get it together.”

“I need to get it together?” You question, eyebrows nearly hitting the ceiling with how fast they shoot up. You’re not totally sure you’ve heard him right because what do you have to get together? The broken shards of your relationship? The information and research for your final paper? The awful way you’ve let yourself be treated for what seems like forever?

“You heard me,” Steve says, at the same time Bucky leans his head back and groans deep in his chest. “What? Someone had to say it.”

“We should wait for this,” Nat speaks up again, but lifelessly. She knows now that you and Steve are both on the warpath, neither of you are going to stop. (That’s also why the two of you work together as a couple so well. Very rarely are you both so worked up about something that you can’t back down, so the other is always there to meet you halfway and get you back to earth.)

“No, no, no,” You say, near hysterically, “No, he wants to do this now? Before a mission? Instead of the fuckin’ weeks we had to hash whatever crawled up his ass and died out? Be my guest. He’s already dragged everyone into this by treating me like a pariah.” You’re not sneering, but your teeth are gritted so tightly together you can hear them scraping and feel a tension headache beginning to bloom in your temples. Bucky looks… Almost incredulous at your statement. Like putting the blame on Steve is a dick move or something.

“Oh, so I’m the bad guy here?” Steve is curling his lip, glaring at you. There’s something behind his eyes, but he’s buried it so deep that you can’t reach it and figure out what it is. “I’m the bad guy, right. Right, right, right.” He scoffs, shakes his head, and then he’s running his fingers through his hair like he really can’t believe what you’re saying to him.

“Well, what else am I supposed to think?” You throw your hands out to the side and let them slap back down on your thighs. “You ignore me, you make me feel like shit, you talk down to me like I’m some insignificant foot soldier. How else am I supposed to take that, Steve?”

“Oh, I don’t know, maybe ask me what’s wrong? Maybe ask me why I’m acting like this, instead of ignoring all of your problems like a child?” He mirrors your moments, but the sound his hands make when they hit the outside of his suit is more powerful than yours. Fueled by anger, you think. Anger and whatever the hell was in the serum Erskine pumped into Steve.

“Ask you?” You repeat, near-hysterical, “Ask you? Oh yeah, let me get right on that. Hey, Mister Rogers? Mister Captain America? Mister Ignores-His-Partner-For-God-Knows-Why? Hey, just why are you doin’ that?” You’re surprised that you’ve said something so snotty, but you don’t back down. (Steve looks surprised, too, and Bucky has stood up next to his friend like he’s about to start berating you as well. At least he looks more cautious about it, like he’s not totally sure that this fight should be happening.)

The more surprising part of your fight is how fast it’s shut down. Tony and Nat stand at the same time and exchange a glance like they’ve surprised each other. “That’s enough,” Tony starts.

Nat cuts him off. “I don’t care if you fight this one out instead of talking, but if you do it before this recon mission you two are going to blow it. Do you understand me?” She looks dangerous, the sharp edge of a knife spiraling through the air. You force yourself to look away from her, from Tony, from Bucky, from Steve. She’s right. You know she’s right - especially on this mission. Peter is there, going to be in real danger even though there’s not supposed to be one Hydra agent in a four-mile radius. You have to clear your mind and focus on protecting him.

Steve seems to think the same thing because he stands down. When you watch him collapse in on himself, Bucky’s arms around his shoulders, into the little quinjet seats your everything aches. Heart, lungs, eyes - everything. Even though you don’t know what’s going on, what could have possibly happened to make your relationship sink this quickly and out of the blue, you still love him. He’s still The One for you. You still want to be the one to comfort him and make him feel whole when he’s struggling.

But you can’t. You can’t and it kills you.

The heat of battle makes a lot of things fade into the background. Important things like why the fuck are there Hydra agents here? and Steve is going to break up with you when you get back on the jet and Tony swore on the fucking limited edition AC/DC vintage tour poster he has in his office that this would be an easy in/easy out information mission. None of that matters, though, because you’re in deep shit. There are seventeen of them, all primed to the teeth with weapons made to take your team down permanently.

You’re practically glued to Peter, calling out commands and plans for him to initiate. It’s when all of your plans fall through that you take a hit from a heavy fist on purpose, hitting the ground hard. “Plan F, Spidey, Plan F!” You cover the instruction with a groan and then you’re back on your feet, working your way toward him.

“Plan F?” Tony says, somewhere above you in his suit. Your comms crackle ominously as another heat-seeking grenade is launched, interfering with the radio waves your tech relies on. You don’t worry about it, because you know Tony is on it. He’s your eyes in the sky.

Peter is the one who answers his question, watching your close hand-to-hand tilt out of your favor briefly. “Plan Fuck It, Mister Stark.” He grunts as he webs up a Hydra agent, jerking him away from where he was about to slip a knife up and under Natasha’s kevlar. You finally drop the guy in front of you, ignoring Steve’s disappointed Language! and toss one of your knives toward Nat for her to use. Tony is still laughing in your ear, wheezing as he drops down and snags the rifle from one of the snipers and then takes back off.

What your little protégé failed to mention about Plan F is that it’s not just chaos, but controlled chaos. You let loose, letting a soft current cover every inch of your skin as Peter switches to his conductive webbing and takes special care to not web any of his allies. Except for you - if you’re in the way and he catches you in a web it doesn’t matter because you’re you, alive with electricity that drops the men that get caught in the web, too. You rip out of the webs and turn the current off when one of your teammates gets too close.

More Hydra agents are pouring out of the woods, topping out their numbers around twenty-five. That’s twenty-five too many in your opinion, especially when you can see Peter getting tired, his anxiety spiking, his moves having more and more hesitation behind them. You need to get this over with quickly, but you don’t have the options to do that. Steve, Bucky, and Nat are really the heavy-hitters - you, Pete, and Tony are the only ones without serums despite all of your individual abilities. Desperately you reach out for a web that’s still connected to Peter’s arms, pulling him out of the way of a baton that’s about to come down on the back of his neck.

The baton the agent is wielding glints in the coming dusk, freezing you as Peter scrambles past you with a quick apology. You’ve seen that before - seen it, felt it, know it like the back of your hand. There’s no way that you could ever forget that weapon. The man stumbles when his hit doesn’t connect but then rights himself and searches for a new target.

A long, black baton that splits into two prongs at the end is heavy in his hand. Electricity crackles between the bulbs at the end, flashing in the setting sun and your memories. The man only has one, but if it was hooked up to a machine, spinning. If there were four, five, six. If you were pinned between them, screaming in the pain as they rewrote your DNA… You’ve only felt it once, but you’ll never forget it.

And now, you’ll taste it again. On purpose this time. The man holding the stun baton is going for Steve’s back - his strong back, the one that protects people, the one that holds the weight of the world, the one that lays in your bed, the one you see whipping out of rooms as you’re entering just so that he doesn’t have to look at you - and you can’t let that happen. It only takes ten amps to kill a regular human, but you know those things are cranked up to twenty minimum. You don’t want to see how many amps of current it will take to stop Steve’s heart. You’re between the baton and Steve before you can think about what you’re doing or what comes next, the hard bulbs settling unyielding into your side and cranking out maximum power for maximum damage as soon as the current is connected and able to flow from one bulb to the other.

The pain hits you and your throat catches on it. It burns through your body, setting everything on fire - your chest hurts as your heart protests the electrons and then your powers kick in, sweeping them into your very atoms and cells. You’re a live wire now, ears humming and body thrumming with power you’ve only dreamed of. It hurts, and it burns, and you feel tears rising in your eyes because you’re back there - back begging for death or for life or for God and god at the same time - but then it’s over. The man sees that you’re not seizing up, not dropping dead in front of him, and he takes three steps back.

It’s not far enough.

You’ve only felt like this once before - right after you were unhooked from the machine that changed your life and brought you to your new family. You remember how you looked when you were put in front of a mirror with all of the pent up electricity circling your body - how your eyes were filled to the brim and dripping with bright and blue electricity, the way it was jumping across your body, how you didn’t need to breathe because your body was fully saturated with pure, unadulterated power. You wonder if you look like that now and assume you do because you can see the bright blue reflecting in the terrified eyes of the Hydra agent.

Your suit, unlike everyone else’s, is not grounded. It’s metal, metal, metal. You’re made to conduct, born for it, and the earth beneath you comes alive with bright white as you release all of the energy, the power, surges down and out. You’re practiced. You can reach out and feel the synapses and neurons of every human being in the clearing, know exactly where your teammates are standing, and know exactly how to target everything but them and the pitiful amount of electricity their brains carry. You grin, something truly feral and unhinged, and you can see the fear in the Hydra agent. Then, you let go.

You know that everyone is going to be pissed. (Maybe not everyone.) You’re not built for this, not made to take down nearly twenty fucking people at once. As you let go, you feel what they feel. The seizing muscles, the stopping of their hearts, the inside of their bodies crisping against their bones. At that moment, that delicious moment, you see the universe.

You become God. You become everything - your mother and your father and God and god and anyone else who’s watching your life from the ether. You become the judge, jury, and executioner of souls that you don’t know from Adam. You become lightning, and thunder, and exposed nerves of the cosmos at the same time. The world bends to your will and you relish in it, taking that power in your fist and wielding it to protect the man you’ll love for the rest of your life and the family that you’ve made. You will stop at nothing to end this, even if it means turning yourself inside out to do it.

You damn near do turn yourself inside out too, but that doesn’t matter, does it? The blood spilling from your ears, nose, and eyes feels like heaven. It’s hot, and thick, and it’s proof of the power that your body holds. You’re a temple and a sanctuary, a war-room and a bunker, a field of flowers and a sun-dry desert. It does not matter if Steve doesn’t love you at that moment, because you are love and hate wrapped into one package. You are everything and nothing, spread thin at the beginning and the end of time.

And then none of that is true. You are just… You. Standing in a clearing, surrounded by twenty-something dead Hydra agents and your terrified, terrified family. It hurts to breathe and you can taste blood in your mouth, but that’s an afterthought. Steve is still standing behind you, but he is alive. That is what matters.

This is what love is, you think.

Pain and pleasure.

Even if he leaves you, you will always love him.

Pain and pleasure.

You’re weak at the knees when he finally turns to see you - and you’re a sight. Struggling to stand, fingertips blackened with soot but not burnt, blood pouring from your nose, ears, eyes… You look like death, but you feel like life. Someone says something behind you - Peter, maybe? Or maybe Tony, in your comms? - but you don’t hear it. Everything tunnels out, your weak knees finally collapsing as you keel backward.

Steve bears down upon you almost immediately. You’re halfway to unconsciousness when he wraps you up in his arms, keeping you from falling in with the pile of bodies around you. He’s saying your name, harsh and soft and then in a voice like he’s ordering you to wake up. You loll about as he drops you down onto a patch of clear grass, hands searching your body for wounds. When he skims over your side, where the baton has burnt through your suit and your flesh, you surge back toward being able to have cohesive thoughts. The pain brings you back, hands wrapping around Steve’s arm and calling out his name. “Steve! Fuck, that hurts!”

“Honey,” He breathes, “Fuck, we have to get you back to the jet.” His jaw ticks, hair dirty and loose from its normal style. “Why’d you do that?” Steve doesn’t wait for an answer from you, ordering Peter to web something up to carry you over your protests.

“I’m fine,” You argue, only slurring slightly, “I feel fine.” But you’re going to let Nat and Bucky load you up on the webbed stretcher anyway because it’s the first time Steve has cared for you in a long time. You want to relish in this moment, the way that he didn't say your name but called you honey.

Well, and because Natasha slides a thumb across her neck over Steve’s shoulder in a silent threat.

You groan when Bucky accidentally grabs your calf where there is an absolutely awful stab wound, but you wave off his apology. “How could you have known?” To be honest, you hadn’t even known it was there until his Vibranium hand was slipping against it and sending shockwaves of pain through you. Peter is next to you the whole time that you’re being carried back to the jet - Tony staying back to begin scanning the bodies of the Hydra agents for the information you need and any other information they may be carrying. The poor kid is nearly at a breakdown, so you reach out to him and shake his arm when his fingers twine with yours. “Chill out, kid, I don’t know how you got it into your head that this is your fault, but it sure isn’t.” He sniffles, but hands back with Steve as Bucky and Nat get you situated in the small medical room of the jet. They transfer you and then make to leave, only Bucky hesitating near the door.

“Stevie’s goin’ to be here soon and… I don’t know what made you do what you did but you have’t explain it to him. He’s bendin’ over backwards to figure it out, and we don’t have’a clue. Came out’a nowhere.” He looks at you for another moment before shaking his head and stepping out of the room. Your head is spinning, partially from what Bucky just said and partially from the pain and stimulus of electricity. You wait there, then, because this is it. This is the event horizon. You wait there, eyes closed, until you hear footsteps approach the med room, and then the door slowly opens. Steve says your name, holding all the finality and weight of an atomic bomb. You don’t open your eyes until he swings a chair next to the stretcher and lays a hand on your calf.

“You don’t have to do this,” You finally say, pushing yourself up onto your elbows to watch him. “I know that you don’t want to.” Steve only scoffs and begins to wash the stab wound using a packet of soap and a water bottle. You say his name twice before he looks at you, something between hate and hurt curdling into a glaze over his eyes that stops you in your tracks.

“Just let me do this. It is the least that you can do.” His words are painful and stilted, like it’s taking force to push them past his teeth. You lay back down and close your eyes, content to just feel the pain of Steve beginning to stitch you up and then dress the wound before you feel the pain of Steve leaving you like you knew he always would. (Falling in love with Steve Rogers went against every instinct you had. You knew that he was going to hurt you from the first moment your lips touched his.)

When he’s done he sits back and puts his elbows on his knees, head in his hands. He heaves a heavy sigh and then shakes it off, “I’ll dress your burn, and then we’ll talk.” And normally, yes, you would agree but this is too important. You want to get it over with so you can lick your wounds metaphorically and dress them literally - and then you want to go home, you want to pack your bags, and you want to disappear and remake your life somewhere else.

Some far-off place where everyone you know won’t take one look at your face and know that you’re still painfully, deeply in love with Steve Rogers, end of your semester be damned. Family you’ve made be damned. You can’t sit around and be in love with him like a neon sign on a dark highway while it’s painfully clear that he hasn’t had a sign on his highway in a long time.

So instead of agreeing, you swing your legs over the stretcher and swallow your flinch when the burn pulls tight. Steve opens his mouth to argue but you give him a tight-lipped shake of your head and his jaw snaps shut. “No,” You say, voice not giving in to the emotion swirling in your chest. “I have let this go on long enough.”

It’s the wrong thing to say because Steve fucking scoffs again and looks away from you. “One day was long enough.” He says, cutting straight to your core. Okay, ouch. You take a deep breath and shake your head to try and bite back the tears that are inevitably rising in your eyes. If one day was long enough for him to realize he doesn’t want to be with you, why did he let it go on for nearly a full year? Why did he spend so long leading you on, pulling you by a thread before garroting your heart with it? What was the point?

“If you want to leave me, just say that,” You reply harshly, standing and wobbling away from him. He just watches you go, watches the way you struggle past the lead weights your muscles have become, the way you’re starting to feel the stab wound on your leg, the way the skin on your burn is beginning to blister and only just now losing its heat. He just watches you, where the Steve that loved you once upon a time might have helped. You turn your back on him, hands on your hips so that you can hide the way that you’re crying and your hands are shaking.

“If I want to leave you? If?” He says. You hear the scrape of his chair as he stands, “I think after what you’ve done, it’s not an if, sweetheart.” The way he says it tastes like iron. Steve never calls you sweetheart like he never calls you by your name. It’s always honey, lover, dovie. You don’t turn to face him because you’re struggling to keep yourself above water. “I spent so long thinkin’, wonderin’, askin’ myself - God damnit, will you look at me?” You turn slowly, not because you’ve never heard Steve speak like that but because his voice is desperate and raw. When you turn, you’re not sure what to expect. Maybe him, standing in front of you, broad-shouldered and disappointed like in those PSA’s he had to film once. Maybe he’d be angry, hands clenched at his sides and eyes narrowed like he gets in meetings when he doesn’t agree with something but he’s out-voted. But you never expect to see him crying, lip wobbling, folded in on himself like a young boy instead of the strong, invincible man you’ve come to love.

He looks so different.

It hits you, then, that you’re not looking at Steve Rogers. Not really. He's not Steve Rogers, not Captain America, not even Captain Rogers. You see him as he was - before America spat it’s untruths all over him and injected him with a serum that changed who he was, is, will be. He’s not the able-bodied man that you know, not strong and unreachable, not the heartthrob that overshadows the team during press events. He’s not America’s Darling, not really. Not where it counts.

You’re looking at Stevie Rogers. Stevie Rogers who, for all intents and purposes, was supposed to die before he made it out of toddlerhood or soon thereafter. Stevie Rogers who the doctors said wasn’t supposed to survive. Stevie Rogers who grew up sickly, rattling painful breaths and never playing ball with the neighborhood boys. Who couldn’t walk until middle school when he got his braces off. Who never had a partner because Bucky, strong and handsome and tall Bucky, was always deemed the better option. Who believed in his country so much that he tried to sneak into the second world war, subjected himself to a painful medical procedure so that he could change his very DNA to be what the world wanted him to be.

Captain Steve Rogers. Captain America. Strong, blond, patriotic, resilient.

You’re sure that if men don’t want to go to therapy now, in the modern age, they certainly didn’t want to go in the ‘40s. So where did that leave Steve, your Steve, standing in front of you and looking small, and broken, and sad, and alone? Did they expect him to take his new, taller, working body and run with it? Did they not think about how he would lose a part of himself in the process? How did they expect him to go from disabled to abled without some disconnect?

You think about the You That You Were Before and the You That You Are Now, and how you lost a part of yourself when the accident gave you your powers and how you’d lose yourself if someone figured out a way to take them away. You Before formed your identity around being normal - living in a shitty home with shitty parents, sure, but normal - and You Now form your identity around your powers, your team, your job, your love. If you lost those things, what did you have left? Who would you be?

When Steve lost his identity and became everything that America wanted everyone to think that America was, what did he have left? Sure, he could tell himself that he represents America - strong and patriotic and just - but it must have conflicted with everything he knew about himself before that. You know that disabled people now know that American society is unjust, unfit for them with abled people not willing to make room to allow them to thrive. You can only imagine what it was really like for Steve in the ‘20s and ‘30s and ‘40s. What he had to do just to survive. (Medical experimentation, you remind yourself. Did they know it wouldn’t kill him? Did they know his body wouldn’t rip itself apart with the new sinewy muscle they were packing on? Did they care? Or was he just a body they saw as broken? A project to fix? To turn him into something more like them and call it patriotism?)

You shake your head at him, still filled with despair, and try to figure out what he’s talking about. “Stevie,” You start, pet name easily replacing what you had been calling him because it’s not fair to shoe-horn him into a body that doesn’t feel like his own. You wonder if he still expects the bone-grinding pain that he used to tell you would happen when it rains. He raises a hand, a strong and family hand, shaking his head.

“I just need to know why I wasn’t enough for you,” Steve looks sad, slouching in on himself like he’s expecting to get his ass handed to him in another alleyway and hope Bucky is there to save him. “I need to know why you wouldn’t just break up with me if you wanted to see other people so badly.” You suck in a shocked breath because, okay, that’s not what you were expecting. Between that and the paradigm shift you’ve had on how Steve must view his identity, body, and self, you’re stunned. Steve continues like he doesn’t even register that you look shocked and pale and now you’re crying because he thinks you’re cheating on him? “And I get it. I get it. You have no idea how much I understand. If I were you, I wouldn’t want me either, okay?”

You cut him off there because what the actual God damn fuck is he talking about? “No, Stevie, I’m not cheating on you.” You shake your head again and this, your statement, lights a fire in him. He still looks like Stevie rather than Steve, but there’s anger there. You imagine that’s what it might have looked like moments before he got himself in trouble back before he was serumed. “I’m not.”

“Oh, yeah?” He challenges, jaw ticking and chin jerking up, “Oh, yeah? You can’t lie to me. I know, okay? The act is up, it’s over, I know, okay? You can stop pretending.”

“Steve, I do not fucking know what you’re talking about but I”m not cheating on you!” You raise your voice, not really angry but more out of necessity. You need to get it out of his head that he is anything less than everything you want - that you could possibly love anyone more than you love him.

“I wanted to clarify something for you,” Steve says like he’s reading an old script from when he was just a beefy, red/white/blue stage prop for the American military, “I am excited to meet with you, but there are some rules. Do not talk about Captain Steve Rogers. I don’t want to hear about him,” As he continues to recite something that has clearly hurt him, you go lax. You know exactly what’s happened - your fists unclench, your jaw drops a little bit, and it feels like someone has gutted you, “I think it is wise to keep work and pleasure separate, and it’s a rule I will enforce heavily. I look forward to seeing you again.” He’s sneering at the end, tears falling down his ruddy cheeks.

“Steve,” You try again, but he cuts you off.

“Am I just work for you?” His voice is shaking more than you thought possible, and so are his hands. You’ve never seen Steve so off-kilter, so thrown, and it breaks your heart that yes, technically, you’re the cause of this. Before this, before this horrible misunderstanding, your relationship with Steve was the paragon of trust so neither of you cared if the other read emails or texts. You remember the email - the email from your fucking college professor - because it had made you so angry that he’d referred to your relationship with Steve as something as simple and base as just pleasure - like you could even put words to the galaxy of a relationship you had with Steve - that you’d gone to the gym to work off some of that irritation. You hadn’t wanted to take it out on anyone accidentally. When you came back from the gym, Steve was gone on that two-week mission that he’d left on without saying goodbye.

Oh, God. You feel sick to your stomach as the paradigm of the way that Steve’s been treating you shifts violently to the left. You have to physically hold yourself up and try to speak past the lump in your throat. Steve looks… Brokenly smug. Like he knows he’s right, but he’d rather gnaw his own legs off than be right.

“No,” You croak, “No, Steve, you’ve got it all wrong.” You want to reach for him, but it feels like the room is closing in on you. You’re second-guessing everything now - especially what you’ve just said. How many people said the exact same thing to him pre-serum because they said something meant for Bucky to him? How many times did he hear that when he was getting a new diagnosis, hoping for the best? How many times had his own mother said it to him when he told her something someone had said, fresh-faced and not yet used to the way that abled people sometimes treated disabled people? You think you might be sick. “That email was from my professor, Steve. I’m not cheating on you, I’d never.” He laughs darkly and sits back down in his chair, head in his hands again. You try to gather the strength to move toward him when you see his shoulders shaking, a telltale sign that he’s crying.

“A professor,” He says with a watery laugh, “Right.”

Finally, you realize that he needs you, needs to know you love him, that you’d do anything for him. You can iron out the kinks later - figure out why he didn’t want to come to talk to you past the original hurt, why he treated you so coldly, why he didn’t trust that you wouldn’t do this to him - but now, you need to show him that you’re here. That you choose him. That you’ll always choose him.

You make your way to him and set a shaking hand on his shoulder. For a brief second you think he’s going to shake you off but then Steve’s hand shoots up and latches onto where your hand is resting, dipping his head to press against your arm. “Stevie, please,” You say, unsure of what you’re asking him to do, “I picked up a class, just one, and it’s… I picked it up for you, it’s about the ‘30s and ‘40s and…” He looks up at you and he looks so broken - face ruddy and wet with tears, lip wobbling, chest heaving as he tries to not sob. His brows are knit and he looks confused, “I just wanted to be able to understand you better. You had to leave so much of yourself at the door when you joined the Avengers, had to leave so much of yourself in the ice… In Erskine’s lab… Stevie, I just wanted you to be able to be you when you’re with me. I wanted to know the you that you were before you became Captain America.” Your voice is shaking, knees knocking together, and honestly? You feel like you might blackout.

“What?” He rasps, “What?”

“He sent that email because too many kids signed up for his class thinking that they’d be able to look at pictures of you and Buck for a semester. Emailed me directly because he knows we’re…” You choke on your words, shaking your head because you’re not even sure there’s a we anymore, “Because he knows I’m on the team. Didn’t want me walking in and making his class about just a few years in the ‘30s and ‘40s rather than the culture of the time.” You don’t know how else to explain it to him, but Steve isn’t saying anything - practically isn’t moving or breathing- so you continue to try and explain what’s really happening as best as you can, “And - and that email made me so angry because he singled me out, didn’t email anyone else about it, and I left to try and work some of that out; I didn’t want to take it out on you, or let it spoil - let it spoil… But when I came back from the gym, you were gone. You were gone for two weeks and I didn’t know why.” You’re crying harder now and pretty sure that within the next sixty seconds you’re going to collapse if you don’t sit down.

Steve shakes his head, still looking like he doesn’t understand. “What?” He says for a third time, “A class? A college class?”

“I just wanted to feel closer to you,” You confess, “Just wanted to understand a fraction of your life without making you do the heavy liftin’ and teachin’ me. Shouldn’t have’t do that,” You’re sobbing, barely biting out your words as you realize that something you’ve done to strengthen your relationship with Steve has destroyed it, “Shouldn’t have to explain a whole different time just to feel loved, Stevie. Should be able to be with someone who understands without you havin’ to explain.” You’re not sure you can say Peggy’s name out loud, and you hope he understands what you’re saying without making you actually say it, “Should’a been able to have love with someone who knew, and I know I’m nothin’ compared to what you should’a had, but I want to be. I want to be in the same ballpark instead’a watchin’ from the stands.” You wipe your face with your free hand and look away from Steve when he stands in front of you. You don’t want to see the look on his face - what he’s thinking about what you’ve said.

He says your name and you glance at him, but his expression stops him in your tracks. Where Steve looked broken and hurt and fuming with anger to hide the anguish, now he looks stricken. You shake your head, “No, no. I didn’t say that to make you feel guilty-”

“You think that I care about whether or not you can understand the ‘40s?” He cuts you off, hands moving to curl around your biceps, “You think that I care whether or not you can relate to a time in history when you weren’t even thought of?”

“Of course I love you. I love you more than anything in this world, but you shouldn’t have to not care, Steve,” You argue, shaking your head, “That’s what I’m trying to say. You should be with someone who understands without explanation. I just wanted to give that to you - didn’t know that this would happen.”

“I should be with someone who loves me,” He argues back, “If you love me, that’s all that matters. My past be damned.”

“But your past is you!” You try to pull away from Steve, but he anchors you there. You’re dizzy from being so close to him after this long, but also because of how many different twists this situation has taken. You can barely keep up with how bad your communication with Steve has become - barely keep up with how you need to fix it, or how to fix it. “Your past is you,” You repeat when you realize that Steve isn’t going to let you go. “And you shouldn’t have to give that up so that someone will love you.”

“But you love me,” He says desperately, ducking his head so that he’s nearly nose to nose with you, “You love me, right?”

“More than anything,” You say, closing your eyes and relishing in the feeling of being so close to Steve, “I love you more than I’ve ever loved anyone. I don’t care about what anyone else thinks, or anyone else. I’ll even stop goin’ to class if you want me to - Steve, I just can’t do this anymore. Can’t do this thing where you don’t talk to me about what’s botherin’ you.” You’re choking up, barely whispering, but you know he hears you. YOu can feel his warm breath on your face, “Nearly fuckin’ killed me.”

“I thought it was goin’ to be easier,” He breathes, nose bumping yours, “When you eventually decided to leave me for him. Thought I was savin’ myself some trouble.” You can practically taste his tears as they fall again, “Buck and Nat tried to tell me that you weren’t - that you wouldn’t - but I just couldn’t believe them.”

When you open your eyes, his are closed. This close to him you can see the soft freckles that are blooming over his eyelids, his soft eyelashes kissing his cheekbones. You can feel him breathing, feel him nearly pressed against you in a way that feels hauntingly nostalgic and terrifyingly fleeting; like you’ll be able to feel his warmth for years to come, but he’s about to disappear. “That’s okay,” You finally whisper, “It’s okay that you didn’t believe them. That you thought what you thought. It’s okay.” He shakes his head against yours, opening his mouth to protest, but you refuse to let him feel guilty about feeling this way - you have plenty of time to sit him down and talk to him candidly about the way he acted because of these feelings, anyway. “If I would have been in your place I’m not sure I would have believed them.”

“I treated you so badly…” He shifts and wraps his arms around you. It’s almost immediate - you relax into his arms and wind yours around his waist, keeping him pulled against you as he presses his face into your neck and you press your cheek against his chest. “So awfully.”

“We’ll talk about that, okay? But later. Right now you just need to know that I love you, Steve. I love you more than I can tell you - more than I can express.” You want to kiss him, but you can’t. Can’t kiss him, you need to wait for him to kiss you, for him to close that gap and show you that he still loves you like you love him. “We’ll have to have a talk, a long and hard conversation about this, Stevie, but for now… For now, I’m just content to be with you, okay? MIssed you so much.”

He sighs, nose pressing against yours again. “Missed you too, dovie. Missed you more than I can even say,” His voice breaks as his lips brush yours. Your relationship is not without its flaws and problems - Steve’s actions when he thought you were cheating on him are proof of that and, well, the fact that you didn’t realize what was happening, why it was happening, or a large part of your boyfriend’s psychological makeup having an impact on your relationship while it went unknown by you… There is a lot of work for the two of you to do, a lot of work to do, a lot of communication to be done… But you’d do it all for Steve, over and over again.

When he presses forward and presses his lips gently to yours, you know that he’ll do it all for you, over and over again, too.

[dragon-kazansky]

Yes, sir! | Niki Lauda

Professor Lauda AU! 👨‍🏫

Gender neutral reader

Dedicated to @lieutenantn and @scuttle-buttle

I'm using the first names of people I know in real life for the friends, so I apologise if you share the same name 😅

And thank you @scuttle-buttle for letting me make references to your fic 'The interpretation of dreams'

Some of my German translations may be wrong, I'm still learning 🥺

[Next chapter]

Part 1

You sat outside on campus. Your classes didn't start until tomorrow, but your friends started today. You agreed to meet them for lunch. You hadn't been sat outside for too long when they came out. Upon seeing you, they rush over, smiling.

"Lucky you with your extra day off," Katie says, grinning. She was studying music. This girl and her guitar were a force to be reckoned with, that's for sure.

"It's only one day," you laugh.

"One day more than we got," Michael added. When it came to computers, you knew no one better.

"Still, must be exciting not that you've started your classes. I'm not scheduled until tomorrow."

"Speaking of, what did you even pick? You never actually told us," Michael asks, sitting down next to you.

"Literature and languages."

"Ooo, look at you with your 2 subjects," Katie laughs.

"Just wait until I can tell you fuck off in other languages, then we'll see who's laughing," you grin.

"Funny. Can we go eat now?"

You nod and the lot of you go to the nearest cafe for lunch. The Red Wing is a nice little place to meet with friends and catch up, and it was really close to the university.

You grab a table near the window while Michael goes to order for everyone.

"Do you want to know who your Professors are going to be?" Katie asks, pulling out her phone.

"You know?"

"You can see the teachers on the website, I can check for you," she says, already signing into the website.

You say nothing and try to peek at the screen as she searches for the right page.

Michael returns and takes a seat.

"Uh oh," Katie says, looking at her phone strangely.

"Uh oh? Why uh oh?"

She looks at you with a bitter expression.

"Your language professor... you have Professor Lauda," she tells you.

"Professor Lauda? Why is that uh oh?"

Michael and Katie share a look.

"He's, uh... he's a bit of a perfectionist. Kind of strict. He has thrown students out of his class if they haven't kept up with assignments or he thinks they're just wasting time," Michael tells you.

"Oh, I see. I'm sure it will be fine. I'm taking languages because I want to."

Katie shrugs, "well, your funeral."

You narrow your eyes at her. They were making it out as if he was some demon teacher who worked here. You were sure it would be fine.

"What about my other professor?"

"Professor Barnes? He's alright. Cute. People like him," Katie sighs.

"There we go then. I'll be fine!"

Michael and Katie share a look again. You roll your eyes and ignore them as your food arrives.

You're back at your apartment early, in time for an early night so you can be refreshed for your classes tomorrow.

You weren't worried about what your friends had said. You were sure you could handle what ever this Professor Lauda would throw at you.

You arrive to your literature class early. Professor Barnes is friendly and welcomes you into his class. You take a seat near the front and wait for the other students to arrive.

When everyone has settled, the class starts.

Barnes introduces himself, introduces you the schedule for the term, and spends a bit of time getting to know his class. He makes a joke here and there. He's definitely going to be a favourite yours, you just knew you would enjoy his classes.

He dismisses you all with a gentle smile.

You have some time before your languages class. For some reason a lite bit of dread settles in. You really wanted to do well here, but what if you didn't? Would he actually kick you off the course?

Michael was able to meet up with you as you made your way to your next class. He had just left his class cor the day when he saw you on the way to yours.

"Hey!"

You stop and let him catch up with you.

"On your way to Lauda's class?"

"Yes."

"I think it's very brave of you to take this risk," he says, placing his hand on your shoulder.

You roll your eyes.

"You're over exaggerating! He's just a Professor!"

"Y/N, there are only two professors in this university that scare me, and Lauda is one of them."

"Who's the other?"

"Professor Kreizler, but you're not taking his class, so you don't have to worry about him."

You chuckle softly.

"I'll be fine. I have to go! See you later."

Michael watches you go.

You arrive to the class just in time. The class isn't as full as the other class. Just a few students scattered about. Absolutely no one was sitting on the front row. The professor has his back to the class as he organised papers on his desk.

You headed to the front and sat down, taking out the things you would need.

The professor turned around.

Never has anyone made such an impact on you before just from their presence. Your mind ceases functioning as you get a good look at your Professor.

Soft brown curly hair, dark brown eyes, not too tall, not too short, toned, but not buff. Gosh, did he look good in that turtleneck sweater.

His eyes scan the students. The room was only about half full, not that he cared much. He knew he had a reputation in the university. People couldn't deal with him, but it didn't matter because he wouldn't be able to deal with them either.

His eyes land on the only student brave enough to sit up front. He would be able to see you working from there, but that wasn't what made him stop to look at you. No, it was the fact you were probably the best looking person to ever walk into his classroom.

He flickered his gaze away before it could be read into too much by anyone.

You hadn't seemed to notice he was staring.

Still, he was a professional and he would remain so. Nothing wrong with having good looking students in a class.

"Hallo, willkommen. I am Professor Lauda, your languages teacher. This class is for German. Please, if you had no intention of being here, leave now."

No one shifts.

"Very well then. I have written the schedule for the term on the board, copy it down if you must, I will not be repeating it after today."

You note it down, using all your will power not to just look at your Professor.

"I must ask, does anyone here have any basic knowledge of German?" He asks, eyes scanning the class.

A few hands go up. Better than his last class where barely anyone had any former knowledge. Your hand is up too.

"Gut. You," he nods at you, "introduce yourself auf Deutsch."

You hesitate for a second, not expecting he would pick you. Though, you are sat up front. You're an easy target.

"Hallo, ich bin Y/N."

Y/N. Wunderbar. He had your name. He moves onto the next student who put their hand up, and then the next. You were none the wiser to his little trick of just wanting to know who you were.

"Now, listen here," he says, gaining everyone's attention after introductions, "if you so as waste my time, you are off this course. I only want students who mean to learn. If you fail my tests, you can walk tight out. If you fail to hand in an essay, you can leave."

He scans the faces of his students.

"Am I clear?"

"Yes, sir!" The class all spoke together.

"Gut. Now, pay attention."

He begins the introduction for the course. Though you are paying attention, you're slightly distracted by his voice. English or German, you could listen to him talk all day.

You write down notes as he speaks, not wanting to miss anything. You almost miss some details because you just wanted to sit and listen to him talk.

Class is over before you know it. Time had passed far too quickly for your liking.

"Dismissed. Don't be late."

Everyone gathers their things before they go. You close your notebook and glances up at your professor. He once again has his back to the class.

"Danke, herr Lauda."

Lauda glances over his shoulder to see you standing there. He looks you up and down quickly with his dark eyes. He turns back around without saying anything.

You leave, feeling a little awkward.

Michael is waiting outside for you.

"How was class?" He asks, falling into step with you.

"Not that bad. Professor Lauda isn't that bad!"

"You're lying! He's so intimidating!" Michael exclaims.

"He's fine. Maybe I should I meet this Professor Kreizler for reference."

"He's intimidating too."

"Do you actually like any Professors here?" You ask.

"....not really!"

You chuckle softly and keep on walking. Michael has to jog a little as you pick up the pace.

"I dare you! Though he might be OK if his assistant is there."

"His assistant?" You look at him curiously.

"Yeah, pretty sure they're together."

"Hmm. Cute."

"If you say so, Y/N. Right, I have to leave, there's a computer with my name on it," he grins.

"Yeah, whatever. See you!" You laugh as he walks away.

You head back to your apartment, done for the day. You would go over your notes and have some dinner before turning in for the night.

Tomorrow was another day, and you were eager to return to your languages class.

@lieutenantn @scuttle-buttle @rumblelibrary @zemosimp05 @hb8301 @celtic-witch-bitch @somethingthatsaysbubbles @lorna-d-m @anteroom-of-death @belle82devart @vverliebt @alltimebandsexual666 @charistory @mischief-siriusly-managed @thatoneartgalsstuff @mssennimatilda

[breitzbachbea]

for the essay ask thing: 5, 10, 14!

I've finally got time for this, after I've been stuck at my uni library for the past two weeks for my presentation 😭 That's actually a thing - Because most professors over here in Germany, unless you are studying something like Amerikanistik or something with a more British/American focus, don't really do essays. My coursework so far has rather been little exercises to get the grasp of working scientifically as a Historian, doing presentations or diving deeper into the themes of a lecture. (Latter ones might count as essays, honestly). So what I am going to talk about are my term papers :)

Essay Ask Game

5. What is an essay topic that’s been floating around in your head for a long time?

God, I feel like I've been factory reset over the summer with how bad my depression was. I know I used to have lots and lots of ideas for essays, but I can't remember any. Except one, and I might as well talk about it, because I think I will probably write my BA Thesis in Medieval or Ancient Studies. A year or two ago, I got into a really heated discussion with a friend of mine about the whole 'Was Beethoven black?' thing. It was mostly me being mad at how un-scientifically such claims argue and how many layers there are to understanding the past. It did however birth the idea for a Thesis. Because I did think it would be interesting to look at how people describe other people in that time period, and thusly contextualize how they understood the world and one another. This then morphed into going through letters or other "Selbstzeugnisse" (Historical sources that are explicitly autobiographical and highly subjective by genre, like letters, diaries, autobiographies, etc.) by people who in some way, shape or form lived a queer* experience. And then look at another genre or genres of historical texts, like maybe legislation or pamphlets or philosophical texts, that also deal with 'deviant' gender or sexual behavior. Take a look at how people talked about themselves, how these things differ, how these things influence each other - Basically, looking for 'tropes' and 'stereotypes' of queer identity, asking where do they come from and maybe even find that some persist to this day.

*I do want to stress that I know that sexuality and gender is a highly different thing in each time, place and culture. So I'd have to first work out how sexuality & gender would work in the timeframe, place and culture I've chosen and then define what I'd treat as different from the norm. Moreover, I of course wouldn't try to assign anybody any modern terms of gender or sexuality, but, yknow, that people have loved people and have felt different about who they should be is a constant throughout time.

10. Has an essay of a classmate ever inspired you?

We don't write man essays and I never read anyone else's term paper, sadly. However, there have been some very good presentations in my classes recently that really got me thinking about the topics. One on Depictions of Violence in Ancient Art was great with how important and highly culturally specific the immediate interpretation of a picture is. Plus, I've been having Historical AU brainrot about Roman Masculinity and how it is entangled with violence ever since I've read the paper by Felix Pirson that the classmate picked as mandatory reading. Actually, add to the list of "Essays/Thesis I would love to write": Do we have any good surviving sources that could tell us about Gender in the Celtic World? (More specifically one part of the Celtic world, I'd love to go for Britain or Ireland, but Gaul or parts of Germany would also be super interesting

14. What essay are you most proud of yourself?

I'm proud of all of my term papers! And I do love the one I did about Curse Tablets at Acquae Sulis and how religious syncretism is one of the cogs of two-way Romanization that stabilized the Imperial reign in the Provinces. But I guess the one I am the proudest of, especially because it wasn't rushed (thanks to getting 2 extra months to Corona, sadly), is my medieval one. I took two excerpts from the Villani Brothers' Nuova Cronica and had to translate the Matteo one by myself, armed with nothing but basic Italian, a ton of Online ressources and context clues from secondary literature. The paper was essentially about how the Italy politics of the House of Luxembourg was represented in the Villani chronicles. I compared Henry VII. and Charles IV., with a focus on the latter because he was the class' topic. I'm just so proud of that one, I think it's really good and it reflects both how the political times had changed in less than 50 years and how differently both Grandfather and Grandchild (Henry and Charles) and Brother & Brother (Giovanni and Matteo Villani) approached it. The two primary sources I used talked about their coronation with the Iron Crown in Milan and their stay in the city - With Giovanni talking about Henry, you can feel this reverence for aristocrazy he still has and this hope for a more orderly Italy. With Matteo talking about Charles, you can feel HOW FUCKING MUCH MATTEO HATED THE VISCONTI. Twas fun! Definitely my most coherent work.