#it's my first time writing for any of the bats in ahem ~more adult situations~ which is so damn odd given how much i love dick and jay esp.

[notepadsandtealeaves]

literally me rn so prepare your bodies ig lmao...

[deviant3lover]

OOOOOOOO! You writing for other charaters now? Cuz, here are some bois I'd like to see your take on! Pick and choose who you'd please: Zombieman, Child Emperor, Tatsumkai, Sonic, Flashy Flash, Mumen Rider, King and, (one I'd really like to see) Sweet Mask. Thanks, and happy early birthday!

Thank you~! And lmao, my birthday was like, a month ago now;; I swear my attention span is hella weak- I see a shiny thing and I 

Z I P 

Outta my work and go over to look at it for the next 3 days.

And anon… dear anon…

I will do ALL OF THEM.

MUMEN RIDER:

If I’m being honest? I honestly hated him when he was first introduced.

He cycled as fast as he could to confront the Paradisers, had a moment where he parked his bike, (a bit awkward, but I faintly enjoyed the sight) pulled off a show of confidence that implied that he knew the gravity of the situation and has a way of dealing with it effectively (the common subversive tactic: weak looking character has tremendous strength) and then got DECKED ON with one hit, showing that it was just shallow hot air he couldn’t back up.

And then he got credit for the work that Saitama did. (Albeit unintentionally.)

Not… the greatest first impression. I thought he was an overconfident guy who was playing hero, uncomprehending of the danger that he puts himself in for the sake of living in an idealised fantasy that since he’s the protagonist, since he’s the one with determination and a heart of gold, it’ll all work out. Him cycling towards the Sea King at full throttle, with him apparently not taking the hint from the Paradisers, drove that belief home to me even more.

(Wow, I sound like Garou here. :o…)

And then he launched into his spiel.

How he felt like he wasn’t good enough to take the promotion, how he knows, better than anyone, that he’s weak. That yes, he might not win- might even get killed for his fruitless efforts for it, but what matters is that he tries. Not because he feels like he can pull it off eventually, or that the monsters will submit to how ~brave~ he is, but because it’s just important to try in the face of overwhelming odds, if it means that others have a slightly better chance of surviving because of it. Willing to die just so others won’t, even when you’re dismissed as a weakling both in the present and after death.

And that made me doubt about what I thought of him.

It wasn’t until I saw him trying to convince TTM to leave Garou alone, trying to intervene when Garou attacked him, and getting his face smashed repeatedly into the concrete sidewalk for his efforts by the same man he tried to defend, that I was utterly convinced that Mumen was genuinely heroic.

This may be a little dark, but I have a feeling that Mumen’s sense of justice doesn’t entirely stem from his selfless nature, but also from feelings of worthlessness. That he goes above and beyond to be a hardworking hero because he feels he has no worth if he dares do otherwise. The Christmas extra chapter in the manga sort of sparked this belief for me. If Mumen’s sense of justice was purely selfless, he’d mention other options (e.g. Friends inviting him out, new bistro downtown, setting up a mini Christmas tree and treating himself to a nice present) and maybe consider injecting some time for himself for them, if not on Christmas day, then the day before or after. Instead, he says with a smile, that he’ll be patrolling the streets for danger with no allusion to his personal life. And that lingering suspicion still sticks to me to this day.

CHILD EMPEROR:

First impression? I didn’t think too much of him, because I didn’t have much reason to. Very little screen time in the early manga/anime didn’t get me to form much of an attachment or investment in his character.

But later on? I like him! A kid prodigy, but it’s made clear time and time again that he still has room to improve, and I’ve always been a big fan of personal growth and developing self-reflection/awareness in stories. The fact that he wasn’t a stuck-up brat who thought he knew everything, and (taking into account that he’s literally 10 years old) still had a great deal of growth ahead of him in terms of the technological and the personal…

Yeah. I’m definitely holding out my hope for seeing a side story dedicated to him.

If I had the luck to choose the idea for the plot, I would love to see what sparked his love for technology, his mishaps and successes and so-so’s when it came to developing his skills and his gadgets. I want to be able to see the people around him reacting with awe and confusion over this kid hurriedly drawing up complex diagrams on a chalkboard board for different ideas before they leave his mind, which gadgets he’s put the most work in, the most time on, and is proud of, and finally; if he had a snobby phase and is ashamed of it. Bonus points if he took a break from his work to read up on how to be more like a mature adult so that older people will take him more seriously outside of being an inventor.

SONIC:

I, uh… honestly don’t think too much of him? He never really stuck with me.

Conversely… I do, however, like the few times we get the spotlight shined on him. He’s a badass to watch, and I laughed and cringed when the infamous ‘accidental punch’ scene came up on my screen. Considering the fact that I watched the anime first before the manga, I wasn’t anticipating it at all.

Which makes me glad in this case! The animated scene feels way more impactful and memorable than the manga version. I felt the build up and the rapidly increasing dread rise in me as I saw Saitama’s fist slowly punch Sonic’s unmentionables. Animating the- ahem- impact of his punch done me in and seared that scene into my mind.

Hmm… I feel like Sonic’s a more rebellious version of Flash, whilst also having been influenced by him. The both of them enjoy taking care of themselves in more luxurious ways, with their glossy hair and refusal to be filthy or rough in any way (e.g. Flash taking good care of his hair in the shower, Sonic opting to cook the monster cells and serve them tastefully before eating them) but I feel like Sonic likes rebelling more outwardly towards how he’s been trained and conditioned as a ninja compared to Flash. He just gives off that vibe~

Expanding on that, I feel like he’s more self-reflective and subtle in his thoughts. Flash is sort of absorbed in his own business and narrow range of experiences (not that I’m blaming him: he’s a busy man) while Sonic is more rooted to reality, and is a little more mellowed out to show for it. In the audio CDs, he gains a new understanding of what Saitama is forced to go through and respects him more as a person than just a milestone to beat, and he overcomes his trauma of Saitama ‘punching him’ by accepting what happened and simply keeping the possibility of it happening again in mind; not to torture himself or blame himself for being ‘weak,’ but to acknowledge what he’s fearful of and accepting it, allowing him to move on.

FLASHY FLASH:

I was gunning hard for him to be a cold-blooded woman assassin who wants to look elegant and deadly at the same time. Femme fatale, minus the seduction.

I was a little disappointed when he turned out to be a guy, and more so when he riled up Metal Bat with his insults while telling them to cut it out (counter intuitive, but it wouldn’t have been so bad if I wanted to see that. But I didn’t want to see it so lmao-) so, apart from his cool character design, I was a little turned off in my investment in him.

I was hoping that they kept the name ‘Lightspeed Flash’ instead of Flashy Flash. Yes, I know that they’re pretty much the same in terms of meaning, but the former just sounds more dignified. Considering he’s a man who takes himself seriously in both his work and appearance, I feel like it’s more in character for him to suggest a hero name that sounds more impressive, but still shows that sort of silliness underneath when you look closely.

He gained back some of my respect for him when he directly told Tatsumaki off for stealing his kill and talking down on him. That takes mad guts and I was wondering which of the heroes are willing to risk a serious fight with her to prove that they’re not one to be trifled with.

(Metal Bat was a little different in that regard: at the time, I just saw him as another affectionate parody of the delinquent trope. Nice contrast to the rest of the older, calmer heroes, but a little generic.)

Flashy Flash… yeah. I feel like he’s willfully disconnected himself from the world both emotionally and socially. Not because he’s afraid, but because he thinks it’s useless. He’s already seen the worst of it thanks to his upbringing, so there’s no point in putting in effort to go out and explore just to discover what else is wrong with the world.

I also think that, like Tatsumaki, he feels more than competent on his own and believes doesn’t need any outside help or interference. Hence, anyone who doesn’t meet his personal standards immediately has their opinions and suggestions of him dismissed or not truly considered with respect. He thinks he knows what’s best, even when there’s opinions screaming that he’s not, because he doesn’t respect others that way.

KING:

OOF- Okay, I was actually pretty ambivalent about him.

I thought he was cool when he intimidated the Tongue monster into submission, then thought he was an egotistical, vain hero when confronted by the G4 monster, then thought he was a pitiful, cowardly man forced to flee out of necessity, and then thought he was an endearing puppy when he realized just who Saitama is to him.

And. Hm.

King is… a very genuine man. I like him. Like Mumen Rider, he’s willing to put himself on the line to protect others. What makes me a little conflicted is if he’s more, the same, or less heroic than Mumen.

More: He has absolutely nothing to defend himself with in terms of physical skills or strength. His luck is his only maxed out stat in the hero game he’s obliged to play, and he’d rather be left alone, but he still puts his life on the line to help others, even when he’s scared witless.

Less: He does have his awe inspiring, fear inducing reputation that can neutralise the monster threats more often than not, and is aware of this, using it to his advantage. So maybe he’s a little less courageous since he knows it will work in his favour more often than not.

My take on him…  King strikes me as a good man. In a normal, monsterless world, he won’t be the kind who’ll fearlessly charge into battle against terrorists, or pull off any awe inspiring feats by himself by passing life saving legislations; this man isn’t interested in grand scale heroics and would rather support those who are interested and are good at it.

No, King strikes me as a man who wants to keep to himself and offer his sincere help to those who manages to become good friends with this shy man. He may be quaking in his boots at imminent danger, but he’ll still try to stand up for what’s right when someone else is being taken advantage of, even if he’s not entirely sure of what he’s doing.

AMAI MASK:

(RECENT WEBCOMIC SPOILERS!!)

I never cared much for Amai until now.

I can’t imagine anything more devastating than working yourself down to the bone to protect and give people hope, to cultivate others into what it means to be a true hero, only to realize the people you worked so hard for was just as hideous as you used to be. This man worked so hard, and him protecting the people he cared about wasn’t enough to deter them from reacting with horror and disgust. It wasn’t even five minutes until the first of his ungrateful ‘fans’ tried stoning him.

Thank God Saitama intervened… the look on his face after he was called a cool guy was both ugly cute and heart wrenching. He may have been called dreamy or inspirational by the adoring masses, but being broken down to the very thing that you’ve been ashamed and fearful of your entire life, and still having someone who sees you as someone worthwhile must’ve meant the world to Amai. He’s a monster, yes, but he kept a vice grip on his morals and never let them go, even when his grip on them was weakening with every breath he took.

I also liked the way that ONE written his rise to fame. The build-up and anticipation surrounding how he looked behind the mask, Amai himself being bitter over the vanity of the public, learning to accept it, and gradually became obsessed with embodying the symbol of justice- this time, where everyone can see it. But it wasn’t on his own terms, no; instead of being seen as the ugly but virtuous man before, he has to present himself as a handsome idol, instead of being loved and revered for who he truly is; ugly and all. That it’s not a defect.

And I felt pity for him when I realized that’s what happened.

My opinion and takes (interpretations) of him? He’s interesting, to put it lightly.

If I think more on it, I feel like he’s losing himself to his delusions. It’s ironic: someone focusing on saving the hearts of others, yet all they can see is themselves.

True to the series, Amai reminds me of Genos. Of what Genos would’ve turned out to be if he was kept alone with no one he can truly connect with. No one who can remind him of the sweeter things in life that don’t matter. No one you have a personal, deep connection with to return home to.

Amai strikes me as a man who’s so focused on eliminating evil that he sees it everywhere, no matter how small or large it is, or if it even exists. If someone doesn’t live up to his standards or sees what he sees, he immediately has this sort of insurmountable, unseen distance from them that can’t be easily crossed.

In all honesty, I’m intrigued and worried for him. Part of my indulgent ideas for him is that he’s slowly starting to hallucinate and had started monsterize from the inside for a long, long while, and it’s only by the Association’s dependence on him and his adoring fans that keeps preserving the man that he used to be when he was purely heroic, but hideous. And even then, it’s not enough.

I feel like he’s painted himself in a corner where he feels it’s too late to try and get help for his condition, instead desperately searching for someone who can take his place. He knows how important a symbol is, and if he had the choice, would keep it up as long as he lives, but his passion for it isn’t enough to drive off what he’s becoming.

And he was right.

ZOMBIEMAN:

I may have done Zombieman already, but I also realise that I’ve missed out on some things that I wanted to include~

In contrast to Amai, Zombieman strikes me as the type of guy who’s a sort of ‘Frankenstein’s Monster’ character. Unlike the book character, Zombieman is in a society that accepts, reveres, and adores him for all he does despite his questionable history and to what degree he is ‘human.’ He doesn’t seem to believe that what he is makes up for who he is, and anyone who thinks otherwise will earn his ire; but again, like Frankenstein’s monster, he knows it’s a part of him, and that it’s still a source of discomfort for him. He needs to get that skeleton out of his closet for him to truly enjoy life.

TATSUMAKI:

Honestly, I didn’t notice too much of her character until much, much later in the manga. Prior to that, I admired her ability to take care of the worst threats by herself. Soloist heroes and protagonists were always a soft spot of mine: learning to handle the worst of what life had to throw at you and being good at it, but not necessarily good at taking care of your emotional and mental wellbeing, confiding in others about that, and showing that it’s okay to be vulnerable or lost or flawed, and endeavoring to fix that?

Yesss. Good trope. One of my favorites.

So, what finally caught my attention from her?

Her fight with Psykos.

I was sort of seething with the way Psykos was chilling smugly in her underground lair. Her plan was smart, but the way she was so self-assured and the way she thinks she’s above others; human and monster alike, sipping wine all the while?

That irritated me a lot.

So, to see Tatsumaki rip her from her cozy room and into the fray of the battle, coercing her into spilling intel by twisting her limbs and body each and every way to force it out, and striking fear into her heart with that sadistic, predatory smile of hers?

I loved it. Whoo!

As for takes… I’m not sure if I have any on her to be honest! At least, not one that isn’t already canon. She believes that you shouldn’t rely on others to become strong, or to save you, and has lived up to that idea by herself. She can back up her words and I admire that.

I do feel a little sorry for her, considering what she’s gone through. As much as I agree with her, sometimes she can take it too far.

I was a little irked by her showing little to no concern for shielding her team mates from getting crushed underneath the rubble of a building, with Darkshine stepping in to protect them, but I suppose she had a point; you have to take care of yourself on the battlefield.

Still; her total lack of concern left me a little perturbed.

This was curbed a bit by her refusing to uproot the association until she knew Tareo was safe; I feel like that added more character to her in the manga, as opposed to the webcomic.

In conclusion: All of these characters are good. UoU! Murata and One are great writers, and they made them feel fleshed out and distinct from each other in almost every way possible whilst keeping them believable. And I love them for it. :3

[c-is-for-circinate]

Another lengthy list of Persona 5 thoughts and bullet points, before tomorrow’s inevitable ten-hour marathon of play.

(Spoilers through late June and the third boss dungeon)

Makoto is my favorite character, full stop.  If you have read my epic capslock, you may have already figured this.  She is so fierce and so badass and yet also, the whole judging her self-worth based on her utility thing resonates so hard with me, and I love her and if she weren’t seventeen and also fictional I might propose, but probably I’d just stand back in awe and crush forever.  My new game goal is to max out her social link.  Given that starting it requires significantly more knowledge than I currently have, I forsee a lot of studying in my future...

Current social links I do have: Fool, Magician, Emperor, Hierophant, Lovers, Chariot, Strength, Justice, Death, Moon, Sun.  I am waiting on either stats or trigger events for Makoto (Priestess), Iwai the fence (maybe Tower, I’m guessing now? because who the fuck knows???), the fortune teller in Shinjuku (I am assuming Fortune...), my homeroom teacher who I have been told is an SL (maybe Temperance?  IDK, she seems very ‘sigh why me I just can’t’, which isn’t quite Hanged Man, but whooooo knows), and the two party members I know I’m getting but don’t have yet.  (I’m going to randomly guess Empress and Hermit just based on their character art and the fact that a hacker navi seems Hermit-y to me.)  That counts up to 17 out of 22.  Judgement and World/Universe always auto-level, so I’m still missing three--Devil, Star, and Hanged Man if all of my probably-terrible guesses are right.  Really hoping Sae Nijima is one of them.  Besides that--the reporter lady who gave me Kaneshiro’s name, and maybe that rival model of Ann’s who is such a bitch?  Maybe?  WE SHALL SEE.

Pretty sure I need to do Mishima’s damn Maidwatch thing to start an SL, damnit.  I know I’m not going to max everything (I will max Makoto if she is the only thing I do so help me), but I refuse to deliberately not start something.  Sigh sigh sigh.

Speaking of social links, I’m actually loving Strength most of all right now???  Mostly because of the twins talking about that mysterious list.  I want Margaret or Elizabeth to have written that list for vague arcane reasons more than I can possibly explain.  I am so curious about how these twins and their relationship with the protag is going to develop.  So curious.  That said, the whole ‘how did whoever wrote this list know our next guest would have  Wild Card’ thing???  Who ever goes to the Velvet Room without a wild card?  How is the Velvet Room even remotely useful to anybody without a wild card?

Also speaking of social links and also previous game references, WHO ELSE NOTICED TAKEMI CALLING UEHARA-SAN AT THE HOSPITAL AND MADE HIGH-PITCHED NOISES BECAUSE I SURE AS FUCK DID.  Jesus those two need to be drinking buddies.  I need one million words of Sayoko and Takemi going out to bars together.  Maybe they go out in Shinjuku and run into the reporter-lady.  GIVE ME SOMETHING.

Ahem.  Moving on, can I just say some extremely enthusiastic words about dungeon design in this game?  (Fun fact: it is possible to do the full exploration of Kaneshiro’s dungeon in one day in-game.  Stock up on HP and SP restoration items first, but I have done it and I feel very proud of myself for it.)  It’s so puzzle-y and labyrinth-y!  There was definitely a while where I felt like I was being deeply frustrated by one of those point-and-click escape games I always find myself playing, which I enjoyed immensely.  Everything is so cool and so full of stuff.

So far, we’ve robbed a castle, a museum, and a bank.  We know we’re going to climax with a casino heist.  What else do people classically rob?  Thinking about Leverage is not super-helpful here; they took on a bunch of super high-security office buildings, but I’m not sure they have Sterenkos in the Metaverse, and beyond that it was either new and unusual locations or a lot of museums.  Maybe some kind of ancient tomb/pyramid thing, with lots of traps, very Indiana Jones/Lara Croft?  Possibly a temple to some dude who thinks he’s a god.

I have been theorizing that, as we go through bosses and dungeons, we’re going through the seven deadly sins--seven is a solid number for total dungeons in a Persona game (matches the number in P4), and I feel like we’ve been on par so far.  Kamoshida’s lust, Madarame was specifically called out as ‘vanity’ (which is a subset of pride), Kaneshiro I would’ve expected to be greed but was explicitly called ‘gluttony’, which certainly makes sense with all the pig imagery.  Which means we still need envy, greed, sloth, and wrath.  I could see greed as a ‘greed for power’ final boss dungeon, but I can only imagine what sloth looks like in a P5 boss.  Curious to find out if I’m right!

There have not been a lot of plot developments for me to mull over since last I did a big long one of these.  Not a ton of other things to say on that!

I keep batting ships around in my head, thinking about what-if’s and maybes.

It’s cold and October when the protagonist invites Ann back to his room, just Ann.  They both know what it means.  He kicks Morgana out for the evening and makes coffee and doesn’t meet Sojiro’s eyes, but upstairs it’s... It’s strange, like their lives are strange, this big empty attic-room, this weird outside-of-the-world world where this boy lives like a kid and like an adult and like a thief, making lock picks and training his HP, watching DVDs on rickety chairs with his cat.  And it’s strange because these two people...they lost everything months ago and rebuilt themselves anew.  Panther and Joker are rough and scarred and ferocious, furious, determined.  Panther and Joker don’t do this.  They kill, shadows and now humans because this thing they started once keeps getting bigger and bigger than both of them and sweeping them along with it and they are young gods with magic at their fingertips, and-- here in this room, right now, they’re not the Joker and the Panther, they are.  Children.  They’ve never done this before, because the boy who is now the Joker (most of the time, even when he’s not wearing the mask--how will this train me to be a better thief, how can I use this person, what choices do I make?) well he was quiet and nobody and some core chunk of him still is, under so many masks that he doesn’t know himself any more.  Ann’s never touched anyone like this, not really.  And they are soft to each other, lying on their sides face to face under the covers on his bed, soft and a little wondering and he touches her, shoulder, waist, skin, and she touches him, chest, hip, face.  Very few people have been soft to either of them in a long, long time.

Akechi joins the Phantom Thieves (we all know Akechi already has a persona by this point, right?  Akechi who can understand Morgana from the very beginning, when the game makes such a damn obvious point of Makoto not just a few days later?) and Akechi runs with them and Akechi sells them out, because look if it’s not a fake-out then it’s more interesting that way. Akechi sells them out and the protagonist knows right away that it must have been him, because there are ways and ways they play this game.  They are not soft to each other and they are not done yet.  And however he escapes that jail cell--it is escape, not release, with cops and hounds at his heels, and the help of his team, probably, but our Joker is clever and he manages to twist the facts or appearance of the situation to make it very very clear that Akechi helped in that escape, maybe even masterminded it (even though he probably did no such thing.) That’s it, then, you’re stuck as one of us, boy, one way or another.  The protag meets up with the rest of the team just long enough to make sure everybody’s alive and then they scatter, because he was in there too long and talked too much, and the people watching on that camera have every single name they need.  Everyone in Tokyo is after them.  They need to get out of the city and they need to split up and lie low.  Protag calls his social links, sends party members in ones and twos--get to Shinjuku, the fortune teller will put you up.  If you can slide through Yongen-Jaya without attracting attention, don’t go to Sojiro they’ll look there, go through Takemi’s back door.  Drags Akechi with himself, no questions asked, and they end up in the secret basement Iwai so clearly has for the illegal crap he so clearly sells. Why didn’t you tell them? Akechi says, and the real answer is because that’s not the game, and that’s part of it, but also... We need you now.  You need us.  We’re stronger together.  And also, also, because the team is everything and everyone is at risk now, game or no game, if you do anything like that again I’ll kill you myself, and he will if he has to.  Maybe.  If he actually can. But they spend thirty-seven hours trapped down there in the dark and the dust and the cobwebs, and it’s not the first time they’ve had sex, but every single time previous it was some how much does he know that I know masque of intent and suspicion, and this time, they know.  They know everything.  They’re still enemies.  They’re still closer than the best of friends.  That’s how a good enemy should be.

So look, I don’t know if Morgana ever stops being a cat or not, but if he does, there is going to be Morgana/protag bedsharing fic and I am going to write it.  I don’t even necessarily ship it but that needs to exist.  What’s more in your space than a cat that insists on curling up in your bed, at the small of your back, on top of your face, right next to you night after night?  What’s more ingrained into our protag’s life than the cat in his bag voice in his ear?  What happens if and when that suddenly goes away?  (Sex.  Sex happens.  I am just saying.)

I am weirdly into Makoto/Ryuji right now?  Because okay, look.  Everybody assumes when they get paired together for divide-and-conquer team activities, it’s so Makoto can keep Ryuji out of trouble--impetuous, chariot, loud and somewhat reckless Ryuji.  And it is, but it’s also so Ryuji can keep Makoto out of trouble--because everybody looks at the girl with the grades and the brain and the planning skills, and lets themselves forget the girl who marched into Junya Kaneshiro’s nightclub with absolutely none of that on her side.  Her inner soul is a motorcycle made of light and she’s every bit as much a rebel as any of them, full throttle, no holding back. And so I see Makoto and Ryuji tasked with doing something together, casing out the next target, exploring some bit of a dungeon, and she’s getting a little bossy and he’s getting a little snappish back until, “Come on, Skull, we both know I’m here to keep an eye on you” and he shoots back with, “Nuh-uh, I’m here to keep an eye on you.”  And they face off in annoyance until they discover that no, their leader literally told each one of them separately to keep the other on their best behavior.  And look, it’s an effective personnel management technique.  They respect that.  But also, goddamnit. It makes them both want to do something reckless, just to prove the team wrong.  Nothing to jeopardize the mission, that’s the opposite of effective, but.  But hmm. So maybe they show up to the next meeting both of them on the back of Makoto’s real-life motorcycle, the one she’s said she has a license for, Ryuji squished up against her back with his arms around her waist in a borrowed helmet, and act like nothing’s changed at all while people gape.  Maybe they go a little wild together.  It’s good for both of them. (And they have conversations, the stop-start time that runs into awkward walls but then finds a way around, about their missing fathers, the female relatives they want to do right by and just keep disappointing, their self-worth, their dreams.  Ryuji keeps up with her.  She wasn’t expecting that from him.  He doesn’t take over and he doesn’t try to, but he matches her.  So okay, yeah.  Sure.  Yeah.  This will work.)

They have to flee in the end, every one of them, the whole eight-person-one-cat team--out of Tokyo, and let’s leave all of Japan, and let’s leave the Pacific, leave Asia, get half a world away and regroup.  They’ve got a hacker and they’ve got skills and they end up in Paris because that feels inevitable, in some grand loft apartment or a converted warehouse that looks like the hideout from Inception.  They’re not real adults yet but they’re going to have to act like it, because every adult in their lives is long left behind.  They were the teens and the children rebelling against the shitty grown-ups, but they have to figure out how to be the grown-ups now.  Good luck not being shitty about it They steal because they need to get by and because they’re good at it, and to keep themselves from turning into just exactly the same sort of assholes profiting off the weak they target the biggest assholes they can spot.  Not just in Paris--that’s too close to home, that was part of the problem, wasn’t it?  They spend a week and a half in Belgium, the better part of a month in Germany, a very long weekend in London wrecking things from the base of a couple of hotel rooms, and then they go back to their beautiful huge empty warehouse loft with the tall high windows pouring in sunlight that traces beams through the dust hanging still in the air, and they figure out how to live next. They’re all on top of each other, every one of them, and the boundaries rub away from friction and proximity until they sleep on top of each other in strange piles, until touch comes easy--a hand on a shoulder, a back, a neck, a face.  They pretend to date each other for cons and cover in a dozen different combinations until nobody remembers who’s supposed to be dating who any more, until it doesn’t matter.  They fuck in pairs behind the screens they set up for something like privacy, and there’s no real privacy to it, so instead they start fucking in threes and fours and maybe that’s better. There’s no real rules here except the ones they make for themselves.  They make those unanimously--well.  Let them make this one, then.  The team is the only family, the only life they’ve got.  Let it be everything.