#on a narrative level let's see where this is going

[il3x]

basically every reaction I had to the latest hand jumper chapter got immediately overwritten by my reaction to the next part and that's how you know it's good💯👍

[s0fter-sin]

“maybe if i, an 8yr old, managed to talk sense into my groomed and deeply traumatised 13yr old brother, maybe he wouldn’t have accidentally almost killed himself and become a villain” and no one in that room disagreed with him??

[silverislander]

have discovered a new enemy while doing research for the honours essay. why are you pretending to understand psychology and BLATANTLY misinterpreting actual terms and concepts in order to tear down a movie aimed at teenage girls, my good bitch. i'm going to start biting

[thydungeongal]

GMing doesn't have to be a chore and can in fact be extremely fun and rewarding but there are certain learned behaviors and attitudes that make things harder on the GM. Here are just a few tips on how to make the job easier on the GM which also may have the side effect of making the game more fun for everyone:

Everyone should make an effort to learn the rules. The rules are not there to make the game unfun and they are not a necessary evil, they are there to help carry the game so the group doesn't have to do all the work. And everyone taking part in learning the rules means the GM doesn't always have to be the one to remember how a rule works.

To that end, drop the "GM is the final word on the rules" attitude. This places the GM on a pedestal and can actually run counter to the idea of players learning the rules. If the GM has carte blanche to run over the rules it disincentivices players learning the rules because they can't actually rely on the text, and now you're right back to the GM having to carry the whole game. It is entirely okay for players to remind the GM how the rules should work and the group should agree on a method for dealing with rules disputes, and spot rulings should not rely on the GM making a unilateral decision but should rely on some kind of consensus.

Communicate your desires to the group and be willing to compromise; respect each other's prep. You may want a game that focuses on a long-form narrative but the GM wants to run an episodic series of largely unrelated singleton adventures. The GM is the one who is bringing the game, so ultimately be willing to compromise on your vision of the game and respect their prep. Ultimately, if the GM does not want to run the exact type of game you want and you can't see yourself having fun in the type of game they want to run, you will be doing everyone a favor by recusing yourself from the game.

Related to the above, communicating your desires should be an ongoing process. End each session by talking about what you want to do next and where you think the game should go. This will also make it easier for the GM to prep ahead.

This relates to learning the rules: pick a game that actually supports the type of game you want to run. Trust me, whatever time you think you will save by sticking to a game you already know you will make back by not having to fight the rules all the time and actually letting the rules take an active part in carrying the game.

You can literally just use prewritten adventures. Not every campaign or adventure needs to be custom-tailored for your specific group. Using prewritten adventures means that someone's already done a lot of the prep for you.

And finally, don't prep any more than you need to: there is this persistent myth that GMs need to have the entire campaign and world planned from the word go to begin with. While there is nothing wrong with expansive worldbuilding as such, you don't need to prep anything beyond what is strictly necessary. If you're running a wide open sandbox you can get by with a rough sketch of the world and only write things in as they become relevant. If you're running a megadungeon your players don't have to know that you've only prepared the first level for the first session, as long as you have a cohesive broad strokes plan that is perfectly fine. If you're running an episodic campaign, well, you don't need to have anything beyond the next episode prepped at a time, but of course having a rough plan can help.

Of course a lot of this is very opinionated and game specific: some games actively resist authoritative GM prep and want to involve each player equally in setting up the situation, and that's actually great, and in those types of games you should remember that the game is explicitly telling everyone to be involved in the prep. And once again, listen to what the rules have to say: they're there to tell you what the game wants you to do.

[luveline]

Hii! I'm in love with your Hotch adult daughter fics. Could we get one where she is getting bullied in college or where she works and then Hotch finds out somehow and helps her? Please please :)

thanks so much for requesting! fem, 1.2k

He decides to surprise you. He’s at risk of embarrassing himself greatly, and he’s okay with that risk. 

Hotch stands outside of the George Washington University and winces in the hot weather. The sun beats down on the back of his neck. He’s more aware of how little sun protection he uses as the time stretches on, waiting for you, but he doesn’t mind it. He’s worn full suits in the Nevada desert. 

You emerge from the main building where your last class for the day takes place. He dropped you off here last week, got to watch you walk in and say hi to the custodian. It was a nice insight of who you are, someone he’s proud to be the father of though he had little hand in what you’ve become. 

Behind you are two female classmates. 

Hotch pauses under the tree he’d taken refuge by. 

He can’t hear what they’re saying, but he can see the rigidity of your shoulders, your hackles rising as they talk. The brunette gets a nasty look on her face, to which you respond, and the blonde’s volume begins to rise. 

The brunette looks like she might reach for you. “Don’t touch me,” you warn. 

Hotch steps in. 

“Hey, excuse me,” he says, loudly and firmly, the Unit Chief tone in play. He’s gotten very good at raising his voice without shouting. “What’s going on here?”

The two women who were talking to you falter, but the brunette stays fiery. “We’re just talking.” 

“About what?” 

“It’s none of your business.” 

“If you’re going to lay your hands on her, it becomes my business,” he says. 

There’s a guilt to the blonde’s expression that proves you’d been thinking correctly and that she was going to touch you, even if it were only to grab your wrist, but she bristles and denies. “We weren’t.” 

“Then you have no reason to stay.” 

You frown deeply. “No, they can finish. Clearly they think it’s important–”

“But do you think it’s important?” Hotch asks you. 

Your frown, your anger beginning to ebb. You take a breath. “I suppose not.” 

Hotch levels the women with a look. Just a look, not interrogative or heated, but prompting —it’s the kind of look he gives people when he wants them to realise they’ve missed their cue to leave. 

“See you next week, then,” the brunette says, a threat he abhors. 

“I’m sure she will,” he says, hoping anything unsaid is felt. He has no idea who they are or what you’ve apparently done to make them angry, but you won’t be intimidated. 

“Do I need to talk with Dean Langley?” he asks, turning to you as the women walk out of hearing range. 

“Aaron.” You look at him, look like him, not in appearance but the pinch to your brow as you rub the bridge of your nose. “I’m sorry you had to deal with that.” 

“What?” 

“They do it to me every time I’m here.” 

“They do?” 

You sound like it’s a chore. “They think I’m sleeping with our professor.” 

“Why would they think that?” 

“Because ever since I stopped working, my grades are much better, n’ they think I cheated my way there.” 

Oh, of course. Hotch tries to do something good by you —he’s started giving you a little chunk of money every week so you don’t have to work anymore, nothing obsequious but enough to cover everything you need, rent and food and transportation, clothes, textbooks, and he made it clear you can ask for more— and it makes things worse for you instead. Still, “Your grades are improving?” 

“I’m doing pretty well,” you confess shyly. 

He holds your shoulder. “I’m sorry they’re jealous, and I’m sorry they’re inventing a narrative to cope. I really can speak with Dean Langley if you need me to.” 

You smile and let yourself lean into his touch. “Inventing a narrative to cope,” you repeat. “That’s a good one. I’ll use that one.” 

You have more fight in you, it seems. “If it gets too much, just let me know. You don’t have to entertain their delusion.” 

“I’ll use that one, too.” 

He laughs, hand sliding behind your back to hug you from the side, his nose briefly pressing to your temple before he gives you space again. “I was hoping I’d catch you on your way out, are you busy? Let me take you to dinner, celebrate your performance.” 

“You realise I wouldn’t have improved without your help?” you ask. 

“I think any parent in my position should provide for their kid,” he says easily. “It’s not help. Not everyone can support their children through college, but I can, and I wish I had been from the start.” 

“You don’t owe me anything,” you say. 

He nudges you into a walk toward his car. “I owe you more than you realise.” 

He takes you to an early dinner, and celebrates your improving grades with the dessert of your choosing. Conversation with you can sometimes feel strange. It’s hard to think you were a kid once and he’d never met you, but then he realises how young twenty two really is, how you’re still willing, longing for him to be a father to you. You’re smug that he’d go to the dean to for you. You like that he stepped in. And you love being doted on, being encouraged. He can see that easily. 

“When can I come back to see Jack?” you ask eventually. 

He wishes he could say whenever you like, but he has a hard time following Haley’s movements. “I’ll ask. Soon, I promise.”

“He took great care of me.” 

The last time you’d stayed over, Jack acted like you were the best thing since sliced bread (which you are, in Hotch’s eyes). 

“You know, he had a little trouble with bullies last year.” 

“They aren’t bullies,” you say, taking a bashful bite of your ice cream. 

“No, of course not. But he’ll understand, if you want to tell him about it.”

“Aaron, he’s five.” 

“He’s six,” he corrects. 

“Oh, sorry. But still, I don’t think Jack wants to deal with that. I couldn’t unload on him, he’s my… you know, he’s my little brother.” 

“Then tell me about it, at least.” 

“You saw the most of it.” 

He sighs. Wishes you’d call him dad, understands why you don’t, and can’t think of what to do. It was easier when Jack had trouble, because little kids bully each other almost on accident. They don’t know what they’re doing is wrong, having learned the behaviour from their parents. It’s almost never personal. 

Your situation is not the same. 

“I’ll talk to the dean,” he suggests again. 

“Don’t bother. It’s alright. And if it gets worse, I’ll tell you.” 

He smiles, reaching over plates to squeeze your hand briefly. “Thank you.” 

You look down at your food. Some shyness to you still at being cared about. “Thank you,” you mumble. 

[inpayneland]

I'm so fucking tired of the narrative that I keep seeing in the fandom and in fanfics of “Edwin does all the detective work and Charles is only there to beat/fight whatever makes Edwin in danger.”

Not only is this super disrespectful to Charles, but it's also so far from the truth. In the show, we see Edwin and Charles solving cases TOGETHER!

Like, with the case of the Dandelion Sprites, who was the one who got the idea to trap them in the enchanted jar Tragic Mick gave them? Yeah, Charles.

Who was the one to find out it was a Forest elemental from another dimension that was infesting the forest in episode 6? Yeah, Charles.

Also, the fact that he was able to navigate Hell so easily (yes, with the help of Edwin's book, but that still shows a great level of analysis and understanding) proves that he's not just there to fight.

In episode one, we see them making a plan to help Crystal together. They investigate and plan the whole thing TOGETHER. It's not just Edwin on his own. And it's like that for all their cases.

There's more proof but I can't list them all together here, that would be too long.

Also, Edwin isn't the only magic user in their duo. Charles also uses magic. His cricket bat is magic, as stated in episode 6, his bag is also magic (and only him knows how to navigate it). And he's also the one who makes their magic costume.

Yes, Edwin is intelligent, he reads a lot of books, can read and understand many languages. But intelligence is so much more than that. As a taekwon-do black belt myself, I do know that fighting/sparing requires a lot of quick thinking and being able to make strategies on the go. Academic intelligence isn't the only type of intelligence and we need to let go of this mentality.

And I don't understand where this whole idea of Charles being academically stupid came from. I know it's more of a headcanon, and I usually never shit on people's headcanon, because we are all entitled to our own headcanons, but the fact that Charles isn't white and people have the headcanon that he wasn't good at school doesn't sit right with me.

In fact, I think it was the opposite, considering he was at a boarding school. It at least indicates that he at least had decent grades in order to being able to be and stay at that school at all.

Yeah, he reads less than Edwin, but that doesn't mean he isn't academically intelligent.

So please stop with this narrative. I know that, they call themselves the "Brain and the Brawn", but it's so much more nuanced than that and it for sure doesn't mean that Charles isn't intelligent and is only there to fight.

[stevie-petey]

episode eight: the battle of starcourt

He fights with it, tries desperately not to let it fall, all while his resume hangs from his mouth. “Shit! Oh, Fast Times! Ever heard of it? Top three for me, Keith.” Robin laughs and Steve turns the cardboard cutout to you, wiggling his eyebrows. “Own any red bikinis?” You flick his forehead, though you laugh as well. “In your dreams.” “I can sleep right now and find out–” “I will flick you again.” “A kiss is preferred, but whatever.”

Summary: jonathan becomes a certified surgeon, hopper returns and is oddly sentimental (wonder what that could mean !), you and dustin show off your musical theater talents, the mind flayer becomes a track star, fireworks become weapons, and really a lot just happens so suddenly it gives you whiplash. dont worry though, the rest of your summer involves painful goodbyes and the scary realization that youre growing up. absolutely disgusting. but at least steve gets to kiss you whenever now, so hooray for that ! side note: you keep making promises to people, surely there wont be narrative foreshadowing as a result !

Rating: general, violence and swearing

Warnings: blood, swearing, major character death, graphic depictions of violence, fem!reader, use of y/n

Words: 21.2k (ouch)

Before you swing in: this was my magnum opus. truly. so so so much happens in this chapter, this episode is INSANE. it took me a while, the scenes were hard and complex, but im happy with the final results :) ive been waiting a long time to write this ending, to set up the strings for later in season 4 <3 i sincerely hope this chapter is all yall have wanted. if theres any glaring typos, pls ignore because its 21.2k words and im weak from rereading it. anyways, i have a sneaky lil link right here that will make sense at the end of the chapter (spoiler alert: it's a mixtape jonathan makes for bug). enjoy !

-

El’s screams tear out of her body. She writhes in pain, sobs claw out of her throat. It’s unbearable to watch, the sight of her in immeasurable pain. It breaks your heart. 

No one knows what to do. 

Mike thrashes in your arms still. He tries to escape your hold so that he can cover his body with El’s. Take away her pain somehow. But you won’t let him. You know that it hurts him to see her this way, but his panic will only drive El’s panic further.

“What is that?” Disgust litters Erica’s face as she stares at the moving creature within El’s leg. Gently you push the girl away, not wanting to crowd El too much. She needs space to breathe. 

“There’s something in her leg,” Mike sneers into your face as he fights against you again. He’s furious, he’s overwhelmed, he just wants to help. “Let go!”

Your arms tighten around the boy. He isn’t in the right state of mind. Frantic, you look to your left and start forming a plan. “Jonathan, my switchblade is in my left back pocket. Grab it.” He stares at you, unsure what to do, and you raise your voice into a yell. “Grab it.”

Jonathan jumps at the command and his hand disappears behind you. You feel him find the weapon and pull it out. He holds it in front of you, offering it, but you don’t accept it. “Go and disinfect it. There’s a gas stove where you found us. Heat up the blades so that we can–” you swallow as nausea fills you. “We–we have to cut it out of her leg.”

The moment Jonathan is gone, you turn your attention to Mike and Steve. You try to keep your voice leveled, try to contain the blinding panic that screams in your head. El needs you right now. Swallowing again, you start to speak to them. “I need you guys to talk to El. Keep her awake.”

“Right, okay.” Mike nods, and you finally release him. He hovers over El, his voice is gentle as he tries to calm her. “Hey, stay awake, okay?”

You tug Steve towards El’s legs so that he can help you move her into a better position. “Get her onto her side. Mike, put her head in your lap.”

Both boys do as they’re told. Everyone watches, and Robin tries to make light of the situation. She rambles about a girl from her soccer team who once broke her leg. How the bone had ripped clean through her skin. The story makes you shiver, and Steve sees the discomfort. “Robin, hey. You’re not helping.”

“I’m sorry.”

Jonathan returns, out of breath. “Okay. Alright, El?” He looks down at the girl. Tries to steady his breathing. “This is gonna hurt like hell, okay?”

El whimpers out that she understands, and you take hold of her hand. “Sweetheart, you need to brace yourself. I promise it will be over soon.”

“I’ll be fast, but I need you to stay real still. Here,” Jonathan hands a wooden spoon to Mike. “You’re gonna want to bite down on this, okay?”

Teeth bared, El clenches her teeth around the spoon. Her body braces for what’s about to come. Kneeling next to her, you angle your body over hers and pin her arms down with your hands. You look at Mike, ordering him to do the same. “Hold her shoulders. Don’t let her go, no matter what.”

He pales, but swallows deeply and nods. When Mike is in position, you signal to Jonathan to start cutting. “Do it.”

“Okay,” Jonathan inhales. The knife you’ve given him shakes as he holds it over El’s wound. He’s fucking terrified, but he knows it’s the only way. Exhaling, he cuts into her flesh. Blood pours from the wound and El’s screams tear from her chest. 

Everyone makes a sound of disgust and horror. Your own stomach lurches at the sight of Jonathan cutting into the leg. The image, the way El’s body convulses, the screams she releases, it’s all too much. You don’t feel yourself shaking until Steve guides your head into the nook of his shoulder, shielding you. 

“Thank you,” your breathing is shaky. You aren’t even sure if he’s heard you, but Steve nods and his hand rubs up and down your back. He’s doing whatever he can to help, being the solid surface you need to lean upon. Lending you the strength you need to hold El down and save her. 

You hear your knife glance against the ground, followed by El’s scream becoming deafening. Unable to stop yourself, you pull away from Steve to look at what’s happening. When you do, you almost gag. Jonathan’s fingers are now in El’s leg, digging underneath the flesh and muscle to find whatever the hell is in there. A horrible squelching sound fills the air. Faintly you think you can hear Will crying behind you. 

Jonathan struggles, digs deeper into the leg, but it only seems to be making everything worse. El twists and contorts beneath you, in agonizing pain. Her screams only intensify. A tear from your eye lands on her shirt, and you force yourself to hold her down despite how desperately you want to end it.

“Goddamn it!” Jonathan can’t find it. He can’t find whatever the hell is in El’s leg. It keeps moving the moment he thinks he has it. Everything is slick from blood. 

“No!” El spits out the wooden spoon, her voice raw from screaming. “Stop it!” 

You can’t stomach her pain any longer. The moment she pleads for it to stop, you move off of El and push Jonathan away from her. Nancy helps, touches his shoulder to alert him as well. The moment she has the room to, El sits herself up. “I can do it.

“Do what, El?” You ask, though you think you know anyways.

She breathes heavily. Tears flow freely down her face. She’s sitting down, one of her knees is pressed against her chest. The injured leg remains flat on the ground, her hand outstretched above it. Static, the one you always feel when El uses her powers, surrounds you. There’s a low hum, she grunts and screams, and yet her hand remains steady. You rub her back, offering her all the strength you can give her, in awe despite the poor timing of it. 

To have the strength to expel a foreign object from your body. You can’t imagine it. 

El releases one final long, harrowing scream. The lights flicker, the windows behind you rattle violently. You only just barely manage to cover Dustin and the kids from the shards of glass before they explode. At the same time, a small, writhing creature shoots from El’s leg. It stalls in the air, hovering in front of her face as she continues to scream. The creature is no bigger than the size Dart had been when Dustin first found him. The idea that it had been buried in El’s leg makes you feel ill. 

With the last of her energy, El flings the creature across the room. It lands with a sickening thud on the floor, before it starts to move. You watch in horror as it scurries away, releasing its own screech, until Hopper’s boot crashes down upon it, killing it. 

You’ve never been happier to see that cranky son of a bitch. 

Joyce stands behind him and you whimper pathetically when you see her. You miss your own mother. It’s been days since you’ve last seen her. You’re more homesick than you’ve ever been before. 

Alongside Joyce and Hopper is a man you’ve never seen before. He has glasses and a beard. As you study him, Jonathan makes a surprised sound. “Murray?”

“You know him?” 

Jonathan nods at you. “He’s the detective Nance and I visited last year.” 

“He’s insane.” Nancy says, though there’s a nostalgic smile on her face. 

Hopper steps forward, investigating the scene. Glass crunches beneath his boots. He stops in front of you and El. He looks down at you. “Always at the scene of the crime, huh?”

“Yeah,” you blow hair out of your face. “Can’t seem to ever stop myself.” Then, finally noticing his aggressively bright and floral shirt that he’s wearing, you tilt your head to the side. “Nice shirt, by the way. I like the color on you. You’ve been direly needing some color in your life.”

Dustin snorts and El manages a tired smile. Hopper rolls his eyes at you, though you can tell it’s more from fondness rather than annoyance like it usually is. You watch as his eyes drift towards Joyce, uncharacteristically shy. “Thanks, kid.”

“Anytime, old man.” 

– 

“The Mind Flayer, it built this monster in Hawkins, to stop El, to kill her and pave a way into our world.” 

You sit on the fountain’s edge. Dustin is next to you, Steve leans against you on the other side. Mike’s words surround you. 

He explains what he and the others have been dealing with while you’ve been gone. Innocent people have been getting possessed and turned into chemicalized substances. Their bodies melting together, conjoining to create a monster meant to kill El. With every detail Mike remembers, your stomach twists uncomfortably. It doesn’t sound real. It sounds like a thing from nightmares.

And somehow Billy has become the face of it. 

The last time you saw him, he had been a shell of who he used to be. He had been in pain. Obvious pain. Sweat had run down his flushed skin and his eyes had a frost in them unlike anything you had ever seen before. Instead of helping him, instead of telling anyone about this, you had abandoned Billy. 

“How big is this thing?” Hopper asks, shifting so that El can rest more comfortably against him. 

Jonathan sighs. “It’s… It’s big. Real big. Thirty feet, at least.”

“You’ve seen it?” Your eyes draw to the bruise on his forehead. The pained noise he made when you hugged him still rings in your ears. 

“We’ve had a rough night.” Nancy whispers, eyes downcast. 

“It sorta destroyed Hopper’s cabin.” Lucas looks up at the chief, a poorly feigned apologetic smile on his face. “Sorry.”

Steve interjects now. He asks questions, tries to make sure he understands. As he speaks with the group, your head falls onto his shoulder. Your head spins. Only hours ago you were dealing with Russians and national emergencies. Now, you and Steve try to wrap your heads around the idea of a giant human goo creature wreaking havoc on Hawkins.  

Which, according to Max, is still very much alive. 

But that doesn’t stop Will from trying to help. “But if we close the gate again–” 

“We cut the brain off from the body.”

“And kill it.” Lucas finishes for Max. “Theoretically.”

It sounds so simple, but you’ve been here before.

You’ve heard this conversation already; you were standing in the Byers’ dining room. Steve had been next to you, just like he is now, and Jonathan had been on your other side. The people surrounding you were the same, only now Robin and Will join. That November, the conversation had terrified you. Closing the gate. Killing the Mind Flayer and destroying its army. 

It had been the exact same conversation. And it terrifies you still, now. Only this time the fear is accompanied by an emptiness.

You’ve been here before. It hadn’t been enough. 

“How many more times are we going to kill it?” Your head remains pressed against Steve. Your eyes don’t lift from the ground. Exhaustion sags your body. “We thought we already killed the Mind Flayer. We went through hell and back to close the gate, only for it to be opened again not even a year later. By another country. I mean,” laughter crawls out of your throat. “Who’s to say that they won’t just open the gate again? They’ve already done it once–”

“Loverboy over here,” The bearded man from earlier, Murray, suddenly appears and slaps the back of Jonathan’s head. The man has a mad smile on his face, the kind that tells you he’s an insane genius. After Jonathan shoves him away, Murray stops in front of you. He looks down, a curious glint in his eyes. “He told me you were a ray of sunshine. Gotta be honest. I’m not really getting a real sunshine vibe from you.”

Steve subtly shifts your body so that he’s in front of you. His eyes are narrowed, body tense. “What’s that in your hands?”

Murray seems to now remember what he interrupted the group for. He clutches the pieces of paper in his hands, waves them in the air. “Ah. These, my perfectly coiffed haired friend, are blueprints.” 

“That’s just a poorly done drawing of squares and lines.” You squint at the papers. They’re no better than the map Mike had scribbled to navigate the tunnels last year.

“Seriously,” Murray turns back to Jonathan again. “I thought she was supposed to be the nice one.”

You open your mouth to argue, not at all liking whatever this random man is insinuating, but Hopper steps forward first. “Just start talking.”

He sighs, but agrees. Motioning everyone to follow, Murray guides the group to a nearby table so that he can lay his drawings out for everyone to see. “Okay, this is what Alexei called ‘the hub’.” Murray points to the center of the first drawing. “Now, the hub takes us to the vault room.”

“Okay, where’s the gate?” Hopper hovers over him, attentive. 

“Right here.” Murray now points to a random box, far from where you know the gate actually is. You bite your lip, unsure if you should speak up just yet. “I don’t know the scale on this, but I think it’s fairly close to the vault room. Maybe fifty feet or so.”

You snort obnoxiously loud, getting everyone’s attention. “You’re so wrong that it physically pains me.”

“I’m sorry?” Murray gives you an odd look. When Jonathan and Nancy showed up on his doorstep last year, the two of them had nothing but great things to say about you. Jonathan had waxed poetry about you while Nancy had sat at the dinner table, resentful. Now, meeting you, Murray is really struggling to understand where that all came from. 

“It’s more like five hundred feet.” Erica says. When she sees Murray’s exasperated expression, she can’t help but laugh at the old man. “What, you’re just gonna waltz in there like it’s commie Disneyland or something?” 

“And who are you?” 

“Erica Sinclair. And who are you?”

“Murray… Bauman.”

“Listen, Mr. Bunman.” You have to stifle a laugh into Steve’s shoulder. You love Erica, you really do. “I’m not trying to tell you how to do things, but I’ve been down in that shithole for twenty-four hours. And with all due respect, you do what this man tells you, you’re all gonna die.”

“I’m sorry, why is this four year old speaking to me?”

You slide off the fountain’s edge and stand. Whoever this guy is, you don’t like his snippy attitude. “She’s ten, actually, and she’s right.”

“Yeah, you bald bastard!” Lucas reprimands her, but she doubles down. “Just the facts!”

While you enjoy her quips, you gently grab Erica’s shoulders and place her behind you. There isn’t time for her to make a grown man cry. “We went through hell down there. It won’t be as easy as walking fifty feet. The place is huge.”

“They’re right.” Dustin speaks up. “You’re all gonna die, but you don’t have to. Excuse me, may I?” Even before Murray has consented, your brother is already grabbing the blueprints. He sits down and starts explaining. “See this room here? This is a storage facility. There’s a hatch in here that feeds into their underground ventilation system.”

“It’s how we accidentally got in.” You add, figuring any extra information could help.

“Wait, you accidentally broke into a secret Russian lair?” Mike tries to hide it, but you can see that he’s impressed. You know that once this is all over, he’ll grill you for details later.

“No, we thought it’d be fun to get tortured by commies on the fourth of July.” Steve points to his swollen eye. “Yes, Wheeler. It was an accident.”

“Guys!” Dustin shouts. When he has everyone’s attention again, he sighs. “Jesus. Anyways, these vents will lead you to the base of the weapon. It’s a bit of a maze down there, but between me, Y/N, and Erica, we can show you the way.” 

Hopper stares down at the three of you, unamused. “You can show us the way?”

Dustin is about to agree, but you cover his mouth with your hand. “Yes, I can show you the way. The kids can stay here, but I remember everything from when we were down there. If you want all the hero glory, then fine. Fight some Russians. But I can be your navigator.”

“No.” Hopper, Steve, Dustin, and Jonathan say at the same time. 

You roll your eyes at all of them. “Okay, I was only talking to Hopper. The rest of you,” you glare at your brother and the two teens next to him. “Aren’t a part of this conversation.”

“There isn’t a conversation to be had, kid.” Hopper scoffs at you. He doesn’t want to hear whatever you’re about to say. He won’t let you back down there again. From the state Steve is in, Hopper doesn’t even want Joyce coming with him. “You’re not going. End of discussion.”

“You don’t seriously expect me to let you walk into a death trap, right? I mean, I know we argue a lot, but you can’t be that dumb.” Hopper has started to walk away now, trying to put an end to the conversation, but you follow him anyways. “Listen to me!” He ignores you, doesn’t turn around. Instead, Hopper starts gathering bullets as he picks up a shotgun from one of the guards on the ground. Groaning, you continue to chase him. 

You don’t care how annoying you’re being. You’ll nag him until your last dying breath. If he doesn’t want you getting hurt, then he has to understand that you don’t want him getting hurt either. “Hopper, I’m serious. El…” You look at the girl, who is far behind the two of you now as she rests near the fountain. Your voice grows thick. A wave of emotions rush over you, seeing her. She’s so small. She’s still just a kid, despite the power that lies within her. “She needs you. You–you can’t get hurt.”

“And I won’t.” 

“You don’t know that,” you grab the man’s shirt, but he tries to walk anyways. You plant your feet on the ground and grit your teeth. He’s frustratingly strong. “Please, just–you’re her father. You–you can’t leave her–” You stumble over your words, try to think of how to convince him. There has to be a way, a middle ground. Isn’t he the one who taught El what compromise means? 

In your nagging midst, you overhear Dustin and the party all catch up. Talk about how they missed one another. It’s a sweet reunion, seeing them come together again after being separated for so long; your boys are together again. It feels like a lifetime ago where they were all together on Weathertop hill. Seeing them together again, it hits you. 

The walkies. Cerebro.

“What if I could still communicate with you from above?” You shout, frantic. Hopper stops walking. He still doesn’t look at you, but he indicates that you have his attention. Taking a deep breath, you don’t waste any time. “We have walkies. Dustin, all the kids. It’s how they communicate with one another. Always have. What if… what if I give you directions using them? That way, you’ll fulfill your annoying need to be a hero while I fulfill my annoying need to protect everyone.”

Your words come rushing out, messy and jumbled, but Hopper seems to understand. He’s quiet, mulls what you’ve said over and over again in his head. He inhales, closes his eyes, and then exhales agonizingly slow. When he opens his eyes to look at you, he’s resolved. “You’re really annoying, you know that?”

A relieved smile graces your face. Knowing you’ve gotten through to Hopper, you finally release his shirt. You straighten it back out, wipe some dirt off of it. It really is a good shirt, one you know was almost definitely purchased for a woman named Joyce Byers. “It adds to my charm.”

Hopper chuckles, shakes his head, before walking over to where your brother stands with the others. He fishes a walkie from his back pocket, tosses a spare one to Dustin. “Hey, heads up. Your sister came up with a shockingly genius compromise. You guys can navigate, just from someplace safe.”

Dustin sighs. “It’s not that simple.”

“The signal won’t reach.” Erica clarifies for him. 

You motion at them to explain faster. “But…”

“But,” Dustin quickly explains your idea. “We’d need something with a high enough frequency band to relay with the Russians’ radio tower. But for that to work, you need someone who has both seen their comms room and has access to a super-powered handcrafted radio–”

“Dustin,” you hit his shoulder, urging him to get to the point already. “Just tell him about Cerebro.”

“I was getting there! Look, we have one already situated at the highest point in Hawkins.” Your brother shakes his head. “If you need us to navigate, we got you. But we need a head start… and a car.”

“Hey, chief.” You stand beside Hopper now, grinning ear to ear. “Don’t you have a car?”

He stares past you, and the rage in his eyes amuses you immensely. It’s taking everything within him not to start yelling, which only causes your shit eating grin to grow. You extend your arm, hold your hand out palm-facing upwards. This is the best day of your life. “Come on, give me the car keys, Hopper.” 

Sucking his teeth, Hopper drops the car keys into your hand. “I hate you.”

Hopper stands in front of you, annoyance and irritability in his eyes as he stares at you, but you don’t care. A surge of warmth cascades through you instead. He listened. It means more to you than the man could ever know. Your arms find their way around him, surprising both you and Hopper, as you pull him into a hug. “Thank you for listening to me.”

“Yeah, well. Don’t make me regret it.” Hopper says, his voice rough. He clears his throat, allows his hand to pat your shoulder. He may not know what you’ve gone through, but he thinks he can understand the weight the history has left you. It’s the same weight that he carries every day. The guilt, the anger that follows it. He clears his throat again and pulls you off of him, keeping you at arm’s length. “Do me a favor, will you? Make sure El and the others are safe.”

You sniff, wipe away tears. You’re not sure why you’re crying. “I will, I promise. Good luck, old man.”

“Good luck, kid.” He hesitates, still holding your shoulders. His breath hitches and his eyes don’t leave yours. There’s something in them, almost a certain kindness that once reflected in your father’s eyes when you were younger. The gaze burns you at first, but you stare back at Hopper through it. After he seems to find what he’s looking for, Hopper swallows. He says what Joyce has always said about you; from his conversation with the woman back at Melvald’s. “You’re the best of them.”

More tears well in your eyes, but you wipe them away before he can tease you. Hopper releases you, shoves you in a playful manner, and you can’t help but laugh. It’s a warm moment. His words simmer on your skin. You’ve heard them before, you know what people say about you, but the words are different coming from Hopper. 

Praise doesn’t come naturally to him. Words have always plagued him; the ones he has just told you hold a weight that’s even heavier than the guilt the two of you carry within yourselves. You’ve known Jim Hopper for three years now, but as you watch him walk over to El, soft smile still on his face from his conversation with you, you finally understand him. 

–

Steve is waiting for you at the fountain, whispering quietly with Robin. The two of them stand off to the side, away from the others. He’s nervous, uncomfortable. He stands with his back away from Jonathan and Nancy, who are a few feet away talking to Murray. His arms are crossed over his chest and his fingers tap together in an anxious tick you’ve become familiar with. 

The moment he sees you approaching, all the tension in Steve’s body melts away. 

He grabs your hand the second you’re within reach. Pulling you into his chest, he kisses the top of your head. “Any updates, angel?”

You hum against him, allowing yourself a moment to bask in his warmth. It’s been a long day. It’ll be an even longer night. “You know Weathertop hill?”

“Yeah, why?”

“Good.” You place Hopper’s keys into Steve’s hand. “You’re driving us, then.”

Robin points at Jonathan, who sneaks glances at the three of you. “Define ‘us’. Because, no offense, he seems nice and all, but he keeps looking over at you like a lost puppy and it’s making me uncomfortable.”

“Be nice, he’s still my best friend.” Flicking her forehead, you silently scold Robin. “And it’s just going to be the three of us with Dustin and Erica. Jonathan and Nancy are taking the rest of the kids to Murray’s bunker. He’s just… He’s worried. Probably wants to make sure he says goodbye to me before we leave.”

Robin makes a confused face, reminding you that she’s new to all of this. That she hasn’t had to say goodbye to her loved ones every year with the fear of them not returning. You sigh. “It’s… Kinda a tradition, at this point. A final goodbye before all hell breaks loose.”

“How many times do you guys almost die on a weekly basis?”

Steve snorts. “Depends on the month. November seems to be our worst one, though.”

“Astounding…”

You leave Steve to deal with Robin’s amazement on his own, though you laugh as you walk away. Ever since the events of Will’s disappearance, you’ve done everything you can to not think about what you’ve all been through. However, seeing the bewildered amazement on Robin’s face the more you reveal to her, you can’t help but laugh. 

Jonathan sees you approaching him and Nancy and steps aside to make room for you. They’re still talking to Murray, although the man is more lecturing them than anything. He holds up a bunch of keys, explaining in great detail which one goes into specific locks. It’s dizzying trying to keep track of it all. 

Secretly, you’re grateful that you’re going with Steve and the others. Easier key instructions. 

“This one is for the second to last bottom lock–”

“Murray, can I cut in real quick?” You try to be polite about it, but truly you don’t care whether or not you have the man’s permission. 

He glares at you. “Aren’t you already?”

“Good point!” You grab Nancy’s and Jonathan’s arms and pull them away with a wicked smile on your face. When you’ve dragged them far enough away from Murray, you wrap your arms around them both. Jonathan sinks into the unexpected embrace. Nancy stiffens. You try to ignore it. “Get to that old man’s bunker safely, please?”

“Of course, bug.” Jonathan has wrapped an arm around you. He closes his eyes, his fingers span across your back. “Stay at Weathertop, get to safety. Maybe even get some rest while you can.”

“I’ll try, bee.” Your laugh is wet. This will never get any easier. 

Nancy shifts in your embrace, and for a moment you’re afraid she’ll pull away entirely, but instead she surprises you by wrapping an arm around you as well. Her chin is tucked against your neck, she still hasn’t melted into the embrace like Jonathan has, but she’s trying. Lips close to your ear, she whispers, “I’ll keep him safe.”

You suck in a breath. You hadn’t known how desperately you needed to hear Nancy’s reassurance, to hear her silent apology. Pulling away from them, you look at Jonathan and Nancy. “I love you. I love you both.”

Jonathan smiles, the same way he did the night you met him on the Wheeler’s porch. Nancy ducks her head down shyly, the same way she did the night she opened the door to let you into her home. 

You squeeze their hands one last time before leaving to say goodbye to the others. 

Lucas wishes you luck, Will hugs you as tight as ever, and El offers you a partial smile. She’s still recovering from whatever the monster did to her leg, so you brush some hair out of her face and kiss her head.

“Sucks you were down in hell this whole time. Could really go for a brownie right now.” Mike says, a light in his eyes as El’s head rests in his lap.

You stick your tongue out at him. “Sorry, couldn’t find a way to bake while getting chased by Russians with guns.”

“Lame.”

“Goodbye, Wheeler.”

Then you turn to Max, who has been silent this entire time. She hugs you tightly when she sees you. “He’ll be okay, right?”

Your body goes stiff. Somehow, in the midst of Hopper and the others, you had forgotten about Billy. How he’s infected. Flayed. It hasn’t escaped your notice that no one seems to want to bring the matter up, either. When it had been Will, everyone had wanted to make sure he wouldn’t die if the gate closed. 

But no one has asked the same question for Billy. 

Swallowing, you slowly reciprocate Max’s embrace. “We’ll… We’ll find a way. We always do.”

Though the words aren’t meant to be a lie, you can’t help but feel that you’re breaking an oath when you say them. 

– 

Steve hadn’t noticed what brand of car the keys belonged to at first. However, the moment his brain recognizes the iconic Cadillac logo on its keychain, he practically starts to drool. A fucking Cadillac.

It doesn’t take him long to round everyone up and drag you outside.

“I was saying goodbye to Joyce,” you grumble, struggling to keep up with Steve’s quick footsteps.

“It’s a Cadillac, Y/N!” Steve can almost feel the foam pooling around his mouth. His footsteps increase even more, his body vibrating at the knowledge that he gets to drive his dream car. His dad hadn’t wanted to buy him one, said that the BMW was more practical. Reliable. When Steve pushes the mall’s front door open and sees the beautiful, timeless car parked perfectly in front of him, he almost collapses. “Oh, man, now this…This is what I’m talkin’ about!”

“‘Toddfather’?” Robin points out the license plate and its horrible name.

You make a face, but Steve doesn’t let her ruin his moment. He’s ecstatic. This is arguably the best thing that has happened to him all day (besides maybe kissing you). For fuck’s sake, it’s a goddamn Cadillac. “Oh, screw Todd! Steve’s her daddy now.”

Steve hops into the car’s front seat like a little kid with a toy car. Meanwhile you, Robin, Dustin, and Erica retract your heads in disgust at what he’s just said. Robin looks at you, repulsed. “Did he just talk about himself in the third person?”

Erica follows up with her own creeped out question. “Did he just call himself daddy?” 

“I’m choosing to ignore him right now.” You say to both of the girls, pressing a hand to your forehead as you walk to the car. There’s so much you don’t want to unpack with what Steve has said. 

“You can’t ignore me, Y/N.” Steve leans over the center counsel and opens the passenger door for you. “We already established that I’m really annoying.” 

“Just take us to Weathertop, please.” You buckle yourself in and make sure the kids have their seatbelts on as well. When you see that Robin has found herself in the middle seat, you snicker at her. She’s squished between Dustin and Erica, her knees are pressed uncomfortably to her chest.

“Why did I get stuck in the middle?” She complains.

Steve fixes one of the mirrors before revving the engine. As he pulls out of the mall’s parking lot, he offhandedly responds, “Passenger seat is reserved for girls I’m dating.”

Everyone in the backseat gags, and you blush furiously. You and Steve haven’t had the time to talk about your relationship. Or if there even is a relationship. But he’s just referred to you as the girl he’s dating. He kissed you yesterday, or was it today?

Time has blurred together, but Steve’s hand rests on your thigh as he drives and you’re his girl. 

There will be time to talk about all of it later. You’ll make sure of it this time. 

Steve’s foot presses on the gas, speeding through Hawkins. Neither of you were given an exact time frame from Hopper, but he presses down harder on the pedal and sends the car flying. There’s music on the radio, doing its best to distract everyone, but your hands are still antsy. You’re nervous, there’s still so much left unspecified within the plan. Steve notices your fidgeting fingers and removes his hand from your thigh to play with them; he’s trying to soothe you. 

You intertwine your fingers through his and smile at him. Steve winks back at you, and you admire how lovely he looks as he drives. The moment is broken when Robin shoves her head between the two of you. “What the hell is a Cerebro?”

“It’s basically a radio tower that Dustin built for his girlfriend, Suzie.” You explain to her, voice raised to be heard over the music and wind. “She lives in Utah.”

Robin raises an eyebrow, intrigued. She leans back in her seat and pokes Dustin’s shoulder. “Suzie must be really special, huh? I mean, if you built this thing and lugged it all the way to the middle of nowhere just to talk to her.” 

Your brother preens at this, pleased someone has recognized his romantic efforts. “I mean, nobody’s scientifically perfect, but Suzie’s about as close to being perfect as any human could possibly be.”

“She sounds made up to me.” Erica snarks from the backseat. She looks over at Steve, tries to get his opinion. “She sound made up to you?”

Steve hesitates for just a fraction of a second too long, and you sigh. Dustin notices it, too. “Why are you hesitating, Steve?”

“I–I’m not!” He looks to you for help, but you only shake your head at him. All he had to do was respond promptly. This is his own fault. “I’m not hesitating! I–I think she sounds real. You know, totally, absolutely real.”

“Not really loving your uncertain tone, Steve.” You say, and Dustin nods in agreement. “Suzie is real. I mean, I’m almost positive that she is.”

Dustin does a double take at your use of the word “almost”. He’s about to say something, demand to know why you’re not certain Suzie is real, before he notices that Steve is about to miss the Weathertop turn. “Left, turn left!”

“There’s not a road here?” Steve argues, squinting his eyes in the dark to see whatever the hell the kid is seeing.

Dustin screams at him again to turn, and you only have a second to brace yourself before Steve jerks the wheel. The car’s tires screech on the asphalt as your body gets thrown forward. You scream, getting war flashbacks to when you’d been in the back of Billy’s car as Max had very recklessly driven you and Steve to the tunnels. Somehow, this is so much worse. 

The car breaks through a fence and your screaming only intensifies. “What the fuck?”

“Hendersons, where are we going?” Steve screams to you and your brother. He’s desperately trying to keep hold of the steering wheel as the car struggles against the hillside’s grass. 

“Up!” You and Dustin exclaim. One hand clutches the door, the other clutches the seat. The entire car is practically at a ninety degree angle as Steve continues to drive up the hill. It’s bumpy, your head hits the back of the seat more times than you would like, and your heart races. 

The car makes a concerning amount of strange noises the further up the hill you drive. Robin clutches her stomach. “We’re not going to make it!” 

“Yes we are!” Steve does everything he can. His foot never leaves the gas. “C’mon, baby. C’mon!” 

“Sweet talking the car won’t help!” You shriek after a particularly rough bump leaves you nauseous. The poor car strains against the giant hill. The tires, not at all made for off-roading, get caught in the grass. 

Steve hits the wheel and curses. “C’mon! Please!” He presses harder on the gas, but the car comes to a stop. The tires move uselessly against the slick mud underneath.

Ill and desperately wanting to get out of the car, you unbuckle your seatbelt. “We can walk the rest of the way, Steve.” He gives you a despaired look, pleading with you to let him continue playing with his new car, but you roll your eyes at him. You’re five seconds away from vomiting, he can deal with abandoning the car. “The Toddfather is dead. We can mourn her later.”

Steve groans but turns the car off as everyone gets out, preparing for the walk ahead. The hill is just as steep as it had been earlier this week when you were with the party. While you’re annoyed you have to walk it again, at least this time it’s night and the heat isn’t as suffocating. 

When you reach the crest of the hill, Dustin immediately runs to Cerebro. He crouches next to the radio and turns it on. “Bald Eagle, do you copy? Bald Eagle, I repeat, this is Scoops Troop, do you copy?”

Bald Eagle had been your idea. 

“Scoops Troop?” You ask your brother.

He nods, proud. “Thought of it myself.”

“Not bad, buddy.”

Murray’s voice crackles over the walkie. “Yes, I copy.”

Everyone lets out a breath of relief when you hear him. So far, the first phase of the plan seems to be working. Cerebro can reach all the way down to the lair; you can communicate with Hopper and Joyce. So far, so good.

Dustin starts to give Murray the directions he’ll need for the vents. You and Steve roam the perimeter of the hill, weary and needing something to do. While you’re far from the Russians below you, you still don’t necessarily feel like you’re out of harm’s reach. Robin stays with the kids, figuring it’s best to give the two of you some time alone. 

You stare out into the view of Hawkins from so high above. Weathertop has always been your favorite spot in the small town. Your first summer in Hawkins, Jonathan had introduced you to the hill; you used to spend all your time up here with him. You’d spend hours running up and down the length of it, giggling and sunkissed. If you stand still enough, you can still hear the laughter in the breeze. You miss Jonathan and being kids with him. 

“I haven’t been up here in years.” Steve stands next to you, voice soft. He stares out into the field as well, admires its beauty the way you are, though really he just wants the excuse to look at you. “Forgot how peaceful it was.”

“I love it here,” you tell him. “Late in the summer, dandelions appear. They scatter the entire hilltop. I like running through them.”

“Well, when they start to bloom,” Steve wraps his arms around your waist, pulls you back into his chest. He presses a soft kiss to your cheek, lingers. He hasn’t held you in so long, his body aches with the weight of yours against it. “We can run through them together.”

You smile into the embrace, lean into the kiss, tremble into the words. He will always make you weak. It’s an exhilarating feeling, knowing someone can dismantle every bone in your body with less than six words. “I think I’d like that–”

From the corner of your eye, you see lights flickering in the distance. They catch your attention, standing out against the black backdrop of the night sky. You shrug Steve off, feeling a tug in your chest to walk closer to the hill’s edge. You need to figure out what you’re seeing. With every step you take, the more your vision focuses in on the lights, the more dread fills your body.

It’s the mall. The lights are coming from the mall. 

You freeze. 

The lights are going haywire, flickering wildly. It’s supposed to be deserted. Jonathan and the others were supposed to have left already, but still your stomach sinks. Something isn’t right. 

Steve stumbles after you, confused as to why you pulled away, but when he sees the mall as well, he stills. “What the…?”

“They left. They said they would be gone by now.” You try to calm yourself down, try to focus on the reasoning. The mall is empty. It’s supposed to be empty. Jonathan promised you he would make it to Murray’s safely. He wouldn’t lie, he would never lie to you. 

Robin, Dustin, and Erica come up behind you and Steve. You all stand there at the crest. No one moves, transfixed by what they see. The lights continue to flicker, miles below, impossibly too far away from help.

Someone has to help.

Your feet move, twisting your body to run back to the radio. You need answers. You need to know what the hell is going on, if everyone is safe, and Dustin is right behind you. He falls to the grass in front of the radio and frantically brings it to his lips. “Griswold Family, this is Scoops Troop. Do you copy? Over!”

He repeats the call over and over, but no one responds. With each passing moment of silence, your panic turns into blind fear. “I repeat, do you copy–” A sudden, horrifyingly familiar screech, one that has haunted your nightmares for years now, rips through the radio’s speaker. It’s loud and gruesome and sends ice into your body. Your brother’s concern rivals your own. “Griswold Family, please confirm your safety. Are you enroute to Bald Eagle’s nest?”

Dustin is screaming into the radio at this point, demanding answers, but there’s only snarling on the other side. Your breathing quickens, the edges of your vision blur. Sweat trickles down your neck. You can’t breathe. Jonathan is still at the mall. Mike and Will. Nancy, Max and Lucas. 

El.

The Mind Flayer has them. 

Steve tries to grab your hand, but you’re blind to it all. In raw desperation, you tear the radio out of Dustin’s hands and bring it to your own lips. “Jonathan! Nancy! Mike, anyone.”

Your pleads fill the void of a response in the night air. Steve sits next to you, all he can do is watch as your pleading turns into begging. Your voice cracks, the words scratch your throat. Seeing your white-knuckled grip on the radio, Steve can’t take it anymore. 

“C’mon,” he takes your hand and pulls you up. Numb with fear, your body is limp. You try to fight him, you don’t know why he’s pulling you away from the radio when your friends need help, but Steve has made up his mind. He takes the device out of your hands and makes you look at him. “They need our help.”

“That’s what I’m trying to do!”

“Y/N, look at me.” Steve motions to the car, and finally you understand. “We’re going.”

Relief threatens to make your knees weak. Too wired from the debilitating combination of fear and helplessness, all you can do is nod at Steve and allow him to guide you down the hill. Dustin and Erica see that you’re leaving and try to stop you. “Where are you going?”

“To get them the hell outta there!” Steve calls over his shoulder, fumbling through his pocket to retrieve the keys. “Stay here, contact the others!”

Dustin calls out your name, anxious. He doesn’t want you to leave, and you hate that you have to leave him. But right now, he and Erica are as far from danger as physically possible. Weathertop hill is miles away from Starcourt. Right now, Jonathan needs you, and so do the others. Breaking out of Steve’s grasp, you run back to your brother and kiss his forehead. “I’ll be back, I promise.”

You run back to the car where Steve awaits, and Robin is quick to follow. She runs after the two of you and catches the walkie that Dustin tosses her. “Stay in touch,” he orders the three of you, still entirely against the whole thing. 

“We will!” You shout back at him, already crawling into the car. “Stay safe, don’t do anything stupid, and stay here.”

The backdoor closes, Robin’s seatbelt clicks into place, then the Cadillac’s engine roars to life.

–

Your hands won't stop shaking as Steve drives. Nothing he says can reassure you. The car hasn’t gone below seventy miles an hour despite the narrow road, and still it doesn’t feel like it will be enough. 

“I’m sure they’re okay.” Steve tries again to sound convincing, like his hands also don’t shake as he grips the steering wheel. “I mean, they have El. She’s a superhero.”

“Total superhero.” Robin unhelpfully chimes in. Her own nervousness is on display as she twists her fingers together. 

You draw your knees into your chest, trying desperately to make yourself smaller. You’re terrified for your friends, you should’ve never split up. The party always does better when it’s together. Forcing air into your lungs, you stare out the windshield. “How much farther?”

“A minute, maybe even less.” Steve promises, pressing down even harder on the gas pedal. The engine’s roar deafens your ears, and you welcome the distraction. 

In the distance you see Starcourt’s blinding neon lights. They grow bigger and bigger with every passing second, and you release the breath you had been holding when you see that you’re close. The moment of relief is short lived, however, when you hear gunshots pierce through the night. The sound rings in your eyes and the sight of Nancy firing the gun chokes you. 

“There!” You point towards where she stands and Steve changes the direction of the car. The tires screech and your body thuds against the door but you don’t care. All you can focus on is Nancy standing in front of Jonathan’s car, unmoving as she fires bullet after bullet. Something seems to be wrong with his car, you can hear the engine fail each time he turns the key.

You squint your eyes. At first, you can’t see what Nancy is firing at, but within seconds you see the third car barreling straight towards her at a terrifying speed. In the driver’s seat is Billy. “Steve!”

“I see him!” He floors it. 

The impact knocks all the air out of your body. It all happens so fast. Glass shatters. Metal hits metal. Your body gets thrown, your head roughly hits Steve’s shoulder as the car spins out. Your eyes squeeze shut at the momentum. You can’t remember if you scream. 

“Are you guys okay?” Steve asks, panting, as soon as he car comes to a stop. His head is spinning yet the first thing he does is look to see if you’re hurt. There’s some glass in your hair, but for the most part there isn’t a scratch on you, which he’s thankful for. 

“Ask me tomorrow?” Robin stares blankly ahead, still trying to process what’s just happened. 

It takes a few moments for you to come to. Your ears are ringing. Your neck aches from being thrown so suddenly to the left. “Let’s never do that again.”

“Agreed…” Robin swallows, but quickly her mouth goes dry. “Oh, shit.”

You follow her line of sight and nearly throw up. The Mind Flayer crawls over the mall and releases a thundering screech, and the size of it alone makes you want to cry. It’s huge, bigger than anything you’ve ever seen before. 

A car honks behind you, breaking you from your terror. Your head whips around, finding Nancy in the passenger seat of Jonathan’s car. “Get in!”

Quickly the three of you scramble out of the wrecked car. There isn’t room in any of the passenger seats, so you yank the trunk door open and scream at Robin and Steve to crawl in. It’s a tight fit, you have to press your back against Steve’s chest, but it’ll have to do. 

As soon as the trunk is closed, Jonathan steps on the gas. You’re thrown further into Steve’s chest and Robin, who sits in front of you, lets out a quiet yelp when she sees the Mind Flayer chasing after the car, not far behind. Seeing this as well, Jonathan takes a rough turn and everyone in the car tries to brace for the rest of the ride. 

“Are you okay, bug?” Jonathan shouts over his shoulder, eyes still on the road.

“Fine and dandy,” you pick a piece of glass out of your hair. Steve helps, carefully combing through your hair as well. The Mind Flayer screams, tries to lunge at the car, and your heart skips a beat. You try to distract yourself. “I crash cars every day. How about you guys, what brought y’all out here tonight?”

“Billy.” Everyone in the car says in unison.

You wince. “It’s always him, isn’t it?”

No one answers. Your quips don’t land. Robin hasn’t looked away from the Mind Flayer yet, Steve doesn’t want to look at it. Jonathan stares at the road ahead of him and Nancy flinches every time the Mind Flayer’s body thuds against the earth. The rest of the kids are silent, the echoes of its footfalls pounding against their eardrums. 

It’s grim in the car. Really fucking grim. 

“Dusty-bun, you copy?” A girl’s voice comes through over the radio. It’s not a voice you recognize; never in your life have you heard anyone besides your own mother refer to your brother as Dusty-bun.

Steve’s bewildered expression matches your own. Then Dustin’s voice crackles through the radio, and your bewilderment turns into relief. At least your brother is far away from whatever the hell is chasing you right now. “I copy, Suzie-poo. It sounds much better now, thanks.” 

“Suzie,” Steve and Robin breathe out at the same time. You smile at them, smug. They had their doubts, but you were almost certain she had been real. Serves them right. 

The nickname Dustin has for his girlfriend, however, is awful. “‘Suzie-poo’? That’s the best nickname he could’ve come up with?”

“I like bee, better.” Jonathan agrees.

Steve scoffs. “Honey has a nicer ring to it.”

“Both of you shut up!” You don’t have time for their weird ‘my horse is bigger than yours’ competition. Dustin’s started speaking over the radio again and you’re trying to listen in case it’s important. He’s asking Suzie whether she knows what Planck’s constant is, and you have no idea how any of this is relevant to the situation at hand. 

“Okay, so I know it starts with two sixes, and then a…” Dustin’s voice trails off. Apparently this Planck thing is a number, one he can’t seem to remember. “W-What is it?”

“Okay, let me just be clear on this.” The tone of Suzie’s voice makes you pity your brother. It’s an angry tone, annoyed and fed up. Whatever she’s about to say, it won’t be pretty. “I haven’t heard from you in a week, and now you want a mathematical equation that you should know so you can… save the world?”

You whistle, commending the girl’s sense of self worth. “She’s got a point.” 

Dustin pleads with her, promising that he’ll make it up to Suzie as soon as he can. You feel a bit bad for him, honestly. He really had been trying to contact her ever since he got home from camp. How was he supposed to know his week would end up being dominated by Russians?

“You can make it up to me now.” Suzie’s voice lowers a frightening octave. You have no idea what she’s about to say, and a large part of you wants to throw the radio out the window before you’re forced to find out. 

“What?” Dustin sounds frightened as well, which doesn’t make you feel any better. 

“I want to hear it.”

Horror fills you. It’s worse. So much worse than you ever could’ve imagined. You know exactly what Suzie wants from Dustin. “Oh, no… He told her.”

“Told her what?” Steve asks you, confused by this entire ordeal. Dustin and Suzie argue in the background. She’s insistent and your brother tries his best to convince her otherwise. 

Jonathan’s eyes meet Steve’s in the rearview mirror, mischief in them. “Theater camp.”

“Jonathan Byers, I will hurt you!” You hiss at him, utterly mortified. Sometimes you despise the fact that he’s your closest friend. He knows far too much about you. 

Steve has so many questions, but he forgets all of them when Dustin starts to sing. “Turn around, look at what you see.”

His voice is clear and beautiful, a testament to the countless hours the two of you were forced to endure in vocal lessons. When you were younger and still living in Virginia, your mother made you and your brother attend a musical theater camp every summer. She loved having you guys perform little shows for her around the house. Said your voices were like angels to listen to. 

The day you and Dustin moved to Hawkins, you both swore to never tell anyone about the camp. The secret would die with you. 

Jonathan only knows about it because your mom had him video tape Christmas carols a few years ago (like the traitor that he is). It had taken several batches of cookies, numerous pleas, and a handful of threats to ensure he wouldn’t tell anyone what he saw. 

“In her face, the mirror of your dreams.” Dustin’s melodic voice floats through the car. The song had been one the two of you sang frequently at camp, its verses simple yet fun to sing together. 

Steve and Robin share a look of disbelief. They’ve completely forgotten about the Mind Flayer still chasing after the car. Suzie, a surprisingly good singer as well, now joins Dustin. They sing together, in a sweet, childish way. You can’t help but sing along, harmonizing with them. 

Everyone in the car looks at you as if you’re insane, but you’re too tired and exhausted to care. You’ve had the weirdest two days of your goddamn life. Sue you for singing along. It’s a good song. 

That, or maybe you’re just delirious from dehydration.

After a minute or so, the song comes to a close, and you’re almost saddened by that. You’ve missed singing with your brother. You make a mental note to bug him about it later. “Planck’s constant is 6.62607004.”

Dustin laughs into the radio, happy that Suzie finally revealed the number. “You just saved the world!”

“Gosh, I miss you, Dusty-bun.”

The two continue to go back and forth with their baby talk, which you cringe at. It’s disgusting to overhear, although you guess you understand now why Dustin hates being around you and Steve. You’ll apologize to him later. 

Dustin’s voice cuts off unexpectedly, which you assume is Erica’s doing. You’ll also thank her later. The car goes quiet again. No one knows what to follow Dustin’s impromptu performance with. 

“So, theater camp, huh?” Steve finally breaks the silence, squeezing you gently in his arms as he teases. 

“Tell anyone and I swear I’ll–” The Mind Flayer suddenly turns around, catching your attention. It runs away, back towards the mall. It doesn’t make any sense. Everyone is here, in the car. It only wants El. Unease twists your stomach. You lean forward and look at who is in the car. When you see Will and Lucas in the seat in front of you, you panic. “Where are the others?”

You’re practically crawling over the seat to try and get to Jonathan and Nancy. “Where’s Max and El? Where the hell is Mike?”

Nancy tries to distance herself from your anger. “We got separated, but they’re–they’re fine. We had to guide the Mind Flayer away from the mall–”

“So you left them?”

“We didn’t really have much of a choice, Y/N!” Nancy screams back at you now, insulted that you truly believe she would ever leave her brother behind willingly. She wouldn’t do that. She knows that you know this. 

“It’s going back for them! It fucking turned around, can’t you see that? We need to follow it, now!” 

“Y/N–”

“Turn. Around.”

“Steve, sit Y/N back down!” Jonathan’s yell cuts in between you and Nancy. You’re about to start spewing curses at him, but Steve’s arms are strong and force you back into his lap. You’re livid. “Hold on!” 

Jonathan knows you’re right. He tightens his hold on the steering wheel and stomps on the brakes. The car spins, he twists the wheel, controls it as best as he can, before he steadies the vehicle and accelerates back towards the mall. 

– 

When you get to the mall, Lucas announces that he has a plan. 

“Fireworks have an insane amount of gunpowder in them.” He explains to the group, waving around a handful of fireworks he left in the trunk. You’re all carrying some as you run through the mall’s parking lot. “If we tie them together, we can mimic the damage of dynamite.”

“Think it’ll be enough to kill the Mind Flayer?” Nancy asks, hesitant.

“If we throw them from above, yeah!”

You kiss Lucas’ cheek, only barely managing not to trip over your feet as you run. “I think you’re a genius, Sinclair.”

Inside the mall, everyone quickly sets the fireworks up. Faintly you can hear the Mind Flayer lurking somewhere, its roars echoing throughout the building, but it hasn’t found you guys yet. Lighters get passed around, fireworks get messily taped together, groups are divided in an attempt to cover the most ground. Jonathan with Nancy. Will with Lucas. You and Steve with Robin.

You’re taping together the last of your fireworks when you look down over the railing. You almost drop the fireworks in your hand when you see Billy hovering over El. He’s so much bigger than she is. She’s hardly even visible beneath him. Your stomach churns. “He’s here.”

Thuds shake the ground. The Mind Flayer descends from the rooftop and crawls over to where Billy has placed El. Its mouth opens, preparing for the kill, and Lucas throws the first firework. “Flay this, you ugly piece of shit!”

Bursts of light collide into the monster. It hisses, turns to face the direction the firework was thrown, and Lucas throws another into its mouth. 

Smoke begins to fill the air. The whistle of the rockets sting your ears. The light blinds you. It’s loud and messy and fireworks rain down upon the monster. Everyone throws the bundles they have, and yet still you hesitate. Billy’s eyes flash through your mind. How the red in them overtook the icy blue. The sweat that poured from his face. The cruelty that seeped through his skin. 

It’s horrible what’s happened to him. He didn’t deserve to become a pawn in this maddening game. 

But someone has to end it. You breathe in, relax your body, and bring your lighter to the first firework. Its heat licks at your skin as you release it into the air. You hit the side of its body, sending the Mind Flayer stumbling back. 

“Hey, asshole. Over here!” Steve throws a firework and its blasts almost scorches the two of you. It’s dangerous, stray fireworks threaten to crash into everyone, but the plan seems to be working. WIth every hit the Mind Flayer takes, the more he weakens. 

Your thumb burns as you light fireworks over and over again. The motion is repetitive, just enough to keep the fear in you at bay. It’s deafening within the mall. It’s exhilarating. It’s dizzying. Reds, blues, yellows, greens all light up the sky. 

Distantly, through the haze of smoke, you watch as the fireworks affect Billy as well. He cowers each time the Mind Flayer gets hit, but it also seems to enrage him as well. He grabs El’s wounded leg and drags her closer to the monster.

Helplessly you wish you were down there with El, helping her. However, all you can do is continue throwing fireworks in a crazed attempt to save the ones you love. You scream with every throw, exerting all your strength to throw them as far as you physically can. But you’re quickly running out of ammunition. 

“Dustin, we’re out of time!” Steve screams into the walkie, breath heaving with soot on his face. 

Your brother screams back, pleading with Hopper to close the gate. No one answers him, and you hold back exhausted sobs as you throw the remaining fireworks. They won’t be enough. Someone has to close the gate, sever any connection the Upside Down has to your world. It’s the only way any of you are making it out alive. 

Yet it remains open, and Billy has now crawled back on top of El. 

She seems to be saying something to him, but in the cloud of smoke and explosions you can’t be sure. Robin helps you light the last firework, Steve aims it, and you’re numb to it all. He throws it, it explodes into a shower of purple. Its ashes scatter around Billy, singes his back, and you see now that he’s stopped moving. 

“That was the last one!” Robin shouts over the screams of the fireworks. Steve runs a hand through hair and curses. There isn’t anything else the three of you can do.

You run to the railing and look around, feverish to find any way to help. Jonathan catches your eye from across the plaza. He looks just as distraught as you are. Your palm hits against the metal of the railing in frustration. There has to be something. Then you see Max and Mike below, standing on the outskirts of where Billy and El are, all alone. 

“I’m going down!” You scream to Robin and Steve. You have to get down there. Someone has to be with them. They’re too close to the fire and explosions and monsters. 

“Y/N, wait–” Steve tries to stop you, but you plead with him. 

“Steve, I need you to trust me.” There’s a raw, overwhelming feeling within you that something bad is about to happen. You can’t shake it, the feeling of loss being inevitable frightens you. For three years now you’ve saved everyone, done everything right. For three years, you’ve gotten lucky. You don’t know how to explain all of this to Steve, the fear that has followed you ever since you first intercepted the Russian code. “Please.”

Maybe it’s the way you say it. Maybe it’s the tears that stream down your face as you look at him. Whatever the reason may be, Steve reluctantly lets go of you. Endlessly thankful for him, your hands cradle his face as you kiss him. He makes a cute, surprised noise, and you wish more than anything that you can bask in the warmth of his lips, but you can’t. 

You force yourself to pull away. “I’ll be back, take care of the others.”

And then you’re gone. 

Footsteps echoing against the walls of the mall, you run down the stairs and straight towards Max and Mike. They hear you approach and suddenly they’re both in your arms. They hold onto you tightly, none of you can tear your eyes away from the scene in front of you. Billy slowly stands up and away from El. His movements are labored as he walks in front of the Mind Flayer, blocking its path to her. 

They stand, face to face, unmoving. Predator against prey. Your heart pounds in your throat as you watch, too scared to move. In an almost imperceptible velocity, the Mind Flayer extends its claws. 

Billy raises his arms, stopping the monster from piercing through El, protecting her. “No!” A guttural, animalistic scream tears apart his vocal chords. He screams, over and over again, as the Mind Flayer struggles against him. 

Max freezes in your arms, you feel her choke on her gasp. 

Everything happens slowly after that. 

The first claw that penetrates Billy’s side. 

The second one that cuts through his other side. 

Then the third one, the fourth and the fifth and the sixth. They pierce through his skin, sink into the flesh. His body goes limp as he’s suspended into the air. The Mind Flayer hisses down at him, its teeth bared, and Billy, who has never been afraid, screams in the face of death as the monster fatally punctures his chest. 

Everything stops.

“Billy!” You will never forget the pain in Max’s scream. It will become yet another sound that haunts your nightmares. 

As you stand there with a paralyzed Max in your arms, the Mind Flayer drops Billy’s body onto the ground. He lands with a sickening thud. The Mind Flayer’s body crashes into the walls, it convulses, spasms, leaving destruction in its wake. Then, all together, it stills and falls to the ground.

The gate has been closed. 

Mike tears himself from your arms and runs over to El. He pulls her into a hug and she begins to sob. You and Max walk numbly over to them, neither of your eyes leave Billy’s bleeding body. He shudders weakly where he lays, a pool of blood encasing his body. 

“Billy?” Max knees next to him. She’s crying, she doesn’t know what to do. There’s so much blood. “Billy, get up. Please, Billy. Get up, please.”

You kneel next to her, at her side through it all. 

Blood pours from Billy’s mouth. He coughs and the wet sound only makes Max cry harder. He looks up at you, his eyes are finally blue again. “Talking to you… sweetheart.”

But if you need anyone to talk to, about anything, come find me, okay?

Those had been your last words to him. 

“Billy…” He had tried to find you. He had been lost and scared and alone. He didn’t know what had been happening to him, why his anger became venom. A sob is wrenched from your mouth. He had been all alone, and he had tried to find you.

Billy coughs again, more blood leaks from his wounds. With the last of his strength, he turns his head to Max. “I’m sorry…” His chest heaves in pain, he labors two final breaths, before his chest falls entirely. It doesn’t rise again. 

Max shakes his shoulders, uncaring for the wounds there. She shakes him, begs and pleads with him to wake up, but his body remains lifeless. She lets out one final, anguished sob. “Billy.” 

She buries her face in your chest and sobs. You hold her, El joins. The girl tries to soothe Max, she tries to keep you together, but you break as well. 

You cry for the boy Billy had once been. Max had told you stories from before. How he would drive her to the skate park, scare off any older boy who tried to taunt her. She told you about how he used to love surfing in California, before his mom had left them and his dad became violent. 

Max told you about how kind Billy had once been, she knows he used to be kind. How she could see it in him still, hiding the bruises from his father to not scare her. To make her feel safe in their own home even if he intimidated her as well; it was the violence in him that was created by a monster far more vile than the Mind Flayer. 

You cry for Max, too young to lose such a complicated loved one. You know the pain better than anyone else. How it hurts to grieve them, how it makes you feel pathetic to miss someone who has only hurt you, but the tenderness of knowing them tethers you to it all. Billy had been her brother. There is no greater tether than that. 

You cry because you loved and have lost. You will blame yourself for having not said anything about Billy’s off behavior. You had seen the first signs of what the Mind Flayer did to him. He had been stranded on the side of the road, bloodied and bruised, blue eyes darker than normal, and you had done nothing except tell him to come find you. 

And then you had left him. 

Billy Hargrove died alone.

You and Max will share the burden of this guilt. 

– 

Jonathan finds you first, then Steve. You’re on the floor, kneeling with Max in your arms, two broken pieces finding solace in the other. Billy’s body lies next to you, neither you nor Max can bear to look at it. 

“I’m sorry, I’m sorry, I’m sorry,” they’re the only words you can say to the girl. 

Max clutches your arms around her and her tears soak your shirt. El and Steve try to coax her out of your arms, but she doesn’t move. She refuses to let go of you, though she allows Jonathan to drape his arms over you and hold you as your own sobs echo within the mall. 

Nancy and the others join. They leave a wide berth around the dead body before them. Nancy sees that you’re in no condition to guide, so she takes over for you. She instructs Steve and Lucas to take Max from your arms so that they can stand the two of you up. The fire from the wreckage is quickly spreading and you’ll need to evacuate soon.

“It’s okay, bug. You’re okay.” Jonathan whispers in your ear, one hand delicate on your arm. Steve’s hands rest upon your other arm, and together the two of them are able to get you onto your feet. 

Your body shakes, grief sits heavily upon your chest. Steve’s eyes never leave your weak frame. 

It’s all a blur after that. 

Firefighters break through the mall and evacuate the building. Nancy and Jonathan do all the talking. Someone, you think it’s Steve, carefully guides you through the maze of burning rubble and bodies. It’s raining outside and the soft thunder almost drowns out the drone of the helicopters that swarm the building. 

There are ambulances amongst the military trucks and you’re shoved into one by a concerned medic. The woman explains to you that you’re in shock, that your body is in a state of perpetual flight. She allows Steve to sit and stay with you only after she’s finished patching up his split lip and bruised eye. 

“It’s going to take some time to heal,” the medic explains to you. She’s soft spoken, maternal, and in your numb state she reminds you of your mother. “You kids went through a lot tonight.”

Time. 

It always goes back to time. 

Steve rubs your back and kisses the top of your head every few minutes. You rest your head against his shoulder, body pressed against his, a blanket draped around both of your shoulders’. Neither of you say anything. His hand on your back is warm, it unthaws the ice that the shock has left behind. His touch grounds you, keeps you afloat. 

A car pulls up in the distance and its doors slam. Your eyes drift up, finding Joyce’s as she stumbles through the crowd of armed soldiers and firefighters. She stumbles around, lost in some haze that clouds her once shining face. Joyce looks around in concern, trying to find her sons, and somehow you know, even before her face crumbles when she sees you, that something terrible has happened.

Her eyes meet yours. 

Hopper isn’t with her.

Will rushes towards his mother and almost knocks her down with how hard he hugs her. Joyce clings onto him and breaks into heartwrenching, bone crushing, sobs. You can hear her from where you sit with Steve, you can feel the weight of her loss like thickened water in your lungs. 

In the other ambulance next to you, El, who had been resting in Mike’s lap, stands up when she sees Joyce. She walks towards the woman as she embraces her son. Though El faces away from you, standing alone in the middle of the parking lot, the way her shoulders shake as she begins to fall apart indicates the remnants of her childhood have died tonight.

“Hopper’s dead.” They’re the first words you’ve spoken all night. Your voice is hoarse from disuse and the words echo, taunting you. 

Steve doesn’t say anything, only a heavy sigh leaves his body. 

There were three deaths tonight. Billy, Hopper, and El’s childhood. One for every year you got lucky. The fear that had been creeping through the back of your mind finally presents itself to you. It manifests in the humid July air and it laughs at you. Saving Will, closing the gate, destroying the Mind Flayer. They were debts needed to be fulfilled, and they were paid for tonight.

You see Max and Robin sitting on a stretcher across from you. Max also hasn’t said anything all night, lost in her own grief and remorse. Joyce still sobs in Will’s arms. El grieves alone, mourning the closest thing she’s ever had to a father. 

You see Jonathan and Nancy whispering quietly to one another in another ambulance. They share a blanket like you do with Steve, but Nancy’s eyes are sunken in and Jonathan’s face is pale. Lucas and Mike sit together, too exhausted to say anything. 

You’re all bleeding or burned or bruised and you’re tired. 

“Sometimes…” Your voice cracks, tears threaten to silence you, and you force yourself to breathe in. Force yourself to focus, to get the words out. They’re important, somehow, even if you don’t know why. “Sometimes it feels like I’ve used up all my luck.”

Steve draws small circles into your ribcage. His fingers catch on the raised skin, the scar from when you saved his life last year. “Luck?”

“When Will went missing… It was pure luck that I found him. Brought him back home.” You weren’t supposed to have been with the kids when they found El. You were lucky that night, it was luck that threw you into the middle of it all. “It was luck that saved Will last year, too. Those tunnels…” Your body shivers at the memory. It had been so cold down there, the smell of the damp earth is a scent you will never forget. “And now I–”

Your words catch in your throat. Steve’s body presses against yours, he waits for you, patient. When your voice returns, you try again. “And now I… I’m not sure how I feel.”

“Why’s that, angel?” Steve listens, he tries to understand. “I mean, the Mind Flayer is gone. We won.”

You saved Hawkins. You saved El. You know this, and it should be enough, but it isn’t. “All the deaths that took place tonight stain everything.”

El’s father is dead. Joyce had come so close to loving again. Max no longer has someone to call a brother. Billy, who endured so much hurt when he was a child, never got the chance to experience kindness when he grew up. 

Billy never got the chance to become good, not like you did. You were lucky to have even become kind again in the first place. It had taken years to turn the hurt from your childhood into empathy. You had a mother who called you her sweet girl even when you screamed horrible insults at her. You had a brother who held your hand through the anger that your father left behind. You had a best friend who taught you that not everyone leaves. There had been people who loved you, who were gentle, who showed you that anger can be turned into something soft. 

But all Billy ever knew in his life was violence and cruelty. It isn’t fair. 

“My entire life I’ve been lucky,” your chest constricts as you confess everything to Steve. All your fear, the doubt, the insecurity. “Now it–it feels like I’ve used up all my luck.” Your fingers find Steve’s, a mind of their own as your body seeks the solace only he can bring. He doesn’t know that he’s the reason you believe you’ve had more luck than anyone else in their life. “I… I was lucky to have met you, to become your friend, someone you trust. How could I possibly have any luck left over after everything we’ve been through together?”

Everything burns in Steve. He understands what you’re trying to say, he does, but he doesn’t agree. Steve hooks the pad of his fingertip underneath your chin and coaxes your head up, he wants you to look at him as he speaks. He needs you to hear him. To understand. “Well, that’s where you’re wrong.”

You wipe your eyes, uncomfortable under Steve’s open and earnest gaze. “I’m wrong?”

He hums, strokes a finger from the dip of your cheek up to the crest of your brow. He admires you, memorizes the skin beneath his. “You’ve taught me a lot of things, but you’re wrong about that luck theory of yours. See, I have my own theory that you can never run out of luck if you love, and you taught me that to love and be loved is the luckiest thing a person can give and receive.”

Steve remembers the first day he ever saw you. He’d been thirteen, you had been twelve. He remembers how small you looked to him, yet lovely nonetheless, even back then. You had always been so lovely to Steve, kind, delicate, admirable. 

Your eyes stare into Steve’s and he remembers the first day he spoke to you. The squeal of your bike tires as you almost crashed into his car. The way the setting sun cast you in a golden glow in the ditch you landed in as Steve offered you his hand. How, the moment you laughed at what he said, he felt breathless. 

You smile at Steve now, the same smile all those years ago, the smile he saw when he was thirteen and believed in knights and dragons. Now, at eighteen, you smile at Steve and he believes in fates that attach people to one another and mold them into one being. 

“And I’m lucky enough to be able to love you, angel.” 

Steve’s words cut through you. They’re the good that remind you of the light of the sun that follows the dark of the night. It’s almost like an awakening, a slow remembering, how can someone run out of luck if they love with everything within them?

You see Mike now consoling El. She’s in pain, but Mike bears the hurt with her. You see Jonathan and Nancy sleep soundly against each other, safe in the other’s arms. Lucas holds Max’s hand as Robin cracks a joke that gets the young girl to laugh. Will strokes his fingers through his mother’s hair, offering her love that only a son can. 

Even while there is so much grief and pain within this world, the love that follows overwhelms it.

Steve stares down at you, eyes soft with contentedness. There isn’t a pressure behind them, he doesn’t need you to say anything to him. He’s simply happy to have you in his arms, to have you with him now, to remind him of how lucky he is, and you’re so full of love for him. 

“I’m lucky enough to be able to love you, too, sweet honey.”

Steve Harrington smiles the boyish smile that you fell for long before you knew what love even was, and he kisses you. He breathes you in, he has you right where he wants you. 

You finally, finally, have come home. 

– 

Time passes slowly afterwards; you take it one day at a time. 

After the mall burns down, your job is practically all but saved. It’s a small, bittersweet thing. Mrs. Waters had told you the news with her own bittersweet smile, mourning her dear friend Mrs. Driscoll who died in the fire. She will never know the truth, that the woman had become part of an army created by a monster. 

“But at least Doris would be happy that I still have my store,” the woman said as she stacked books with you at the counter. It had only taken you two days before finding yourself falling back into old habits. Your mother had wanted you to stay home for the rest of the summer, but Bookstrordinary has always been a second home to you, and you couldn’t bear the silence in the house. Mrs. Waters sighed sadly, looking down. “I miss her.”

“I’m sorry, Mrs. Waters.” You squeezed her hand, mourned with her.

Hopper’s funeral took place a week after Starcourt burned down. The entire town showed up, something that you know the old man would’ve hated, and he was crowned Hawkins’ hero. You spent the ceremony in the very back, holding El’s hand, so that the two of you wouldn’t be seen.

Billy’s funeral was a few days after Hopper’s. Max sat alone at the front of the church, Billy’s father had been too drunk to attend and her mother couldn’t get the time off of work. After the ceremony, the girl silently followed you into your car and spent the rest of the day at Bookstrordinary with you. She hadn’t wanted to go home to an empty house, and you understood the feeling. 

Max spends most of her summer with you at the store after that. Some days she helps restock the shelves, singing along to your set of tapes, bright and cheery. But some days she’s quiet, sits in a corner and pretends to read whatever you hand her. El stops by the store sometimes, too. You read comics to her, bake her the oatmeal raisin cookies she loves so much, and gossip about Mike and Lucas if Max is having one of her good days. 

During the first week you bake Joyce’s favorite muffins, the second week you bake her brownies. You offer her a shoulder to cry on every time you stop by the Byers home, you reminisce over Hopper and his disdain for you; she appreciates everything you do. 

Steve spends every single day with you, it doesn’t matter where you are. Without a job, he follows you everywhere. Whether you’re at work, at home, even at Jonathan’s or Nancy’s, he’s always able to find you with Robin right behind him. Nancy thinks the newfound trio is bizarre, but Jonathan can’t help but laugh whenever he sees Robin talking your ear off while Steve follows you around like a moth to a flame.

Together, you all try to heal.

Two weeks pass and you’re woken up by the ringing of your phone. 

“Hello?” Annoyance seeps through your greeting. You’ve only just managed to fall asleep, the nightmares at bay for once. 

“Come outside, angel.”

His voice wakes you up, the annoyance now replaced with confusion. “Steve?”

“Wear something warm, okay?”

“What–?” He hangs up, the line disconnects, and you’re completely taken aback by the phone call. You didn’t make any plans with Steve tonight, at least not any that you can recall. He had spent the day with you at work, ate dinner with you and your family, before watching a movie with Dustin and going home. 

You’re not entirely sure why he’s called you at nearly two in the morning to come outside, but you listen anyways. On your desk chair lays the cardigan Steve bought you for Christmas, his initials stitched into the sleeve. Sliding it over your shoulders, you quickly put it on before climbing through your window.

Steve’s car is parked two houses from yours, headlights off. There’s music faintly playing that can be heard through the window, and a familiar melody has you running to get inside. “The Beatles?”

They were the band that you and your dad used to listen to. His fingers would strum their songs on his guitar as the two of you sat side by side on the front porch of your childhood home. He would hum the words to you. Told you that you should know about real music. 

When your dad left, he took the music with him.

Jonathan had tried to get you into his favorite artists. The Smiths, David Bowie, the Clash. He would sit you down in his room and play their songs over his record player and watch your reactions. While the music was good, and you’ve come to love them because the artists reminded you of Jonathan, it was never the same as listening to the Beatles with your dad during early July mornings. 

Then one night, when you and Steve had been driving around Hawkins, a Beatles song began to play over the radio. Unknowing of your history with the band, Steve started to hum along the same way your dad would do, and it was finally then that music was brought back into your life.

“What, I don’t get a hello?” Steve is smiling ear to ear, seeing the flushed joy on your face and the cardigan you wear. 

You throw your body over the center console and hug him. “Hi, honey.”

As he drives, Steve is unusually quiet. His initial smug greeting upon your arrival is quickly overshadowed by a shy demeanor. Steve’s fingers fidget on the steering wheel, his foot taps against the car’s floor. The Beatles play softly within the car and somewhere along the route you find that the wooded scenery starts to look familiar.

He’s driving you to Lover’s Lake.

“Why are we heading towards the lake?” You ask Steve, but he pretends not to hear you. Instead, he turns the radio up and sings along to Paul McCartney. Your eyes wander to the backseat and notice a small box nestled against the leather. 

A few minutes later Steve parks the car and wordlessly the two of you get out. It’s dark, the moon reflects off the lake’s water. Crickets sing in the air and the waves lap at the shore. It’s a beautiful night, the July heat is masked by the night’s breeze; your cardigan keeps you warm. 

Lost in admiring the view, you don’t notice that Steve has left your side until he returns with a picnic basket. The box you saw earlier is tucked underneath his arm. You tilt your head at him, quizzically. “What are you planning, Harrington?”

Steve grabs your hand. “You’ll see.”

He leads you down to the lake’s edge where the water meets the sand. There’s a trail that Steve once found when he was nine. It had been during the last fishing trip he had ever taken with his dad. The man commanded him to hook the worm and Steve cried. Embarrassed and ashamed, Steve had run towards where the sand met the woods and found a meadow hidden within it. 

There are flowers in full bloom within the meadow, and you gasp when you see their vibrant pinks and blues. The flowers are delicate yet their stems are long. Steve sets the picnic basket down and pulls a blanket out from it. He sets it onto the grass and lays down, motioning you to join him. 

The stars are clear tonight, shining bright above the two of you. They almost seem to wink at you as you lay side by side with Steve. His hand is in yours, as it always is these days, and with only the stars as his witness, Steve whispers into your ear, “Thank you for staying.”

His breath warms your neck, and you know, without having to ask, what he’s thanking you for. Your promise to him last year, that you’d wait for him. He hadn’t been ready. The timing of it all wouldn’t have been right, but you knew, even back then, that you’d wait forever for Steve Harrington if it meant you’d receive even half of his love. 

Take your time, I’ll be here. 

“It was the easiest thing I’ve ever done.” The words come easily to you, raw with truth and vulnerability. 

A soft sigh escapes Steve. He turns his head to you, eyes finding yours, and you’ve never seen such tenderness within him. He opens his mouth, sighs out the words you’ve longed to hear again since that night at Starcourt. “I love you.”

“I love you, too.” You don’t think you’ll ever tire of saying those three words to him. There’s so much love within you, so much you’ve ached to give out ever since you were a little girl, and now you finally can. 

Steve kisses you with a softness that releases a sigh from your own lips, and you know he’s wholly, truly, yours now. With a swift motion, Steve places himself on top of you as you kiss. His weight presses down on you, one hand cups your cheek and the other steadies him. His hair tickles your face, his cologne clouds your brain, and the sweet taste of July honey coats your tongue. 

Minutes, maybe even hours, pass as you kiss Steve. It’s lazy, no sense of urgency as your lips move against his. It’s warm, it’s soft. Eventually he manages to pull himself away from you, he’s brought you here for other reasons tonight. 

“Hold on, I got you something.” Steve fixes his hair, clears his throat, and pulls out a container from the basket. He reveals a freshly baked loaf of banana bread on a beautiful glass plate. There’s a small, lopsided candle on top of it.

“You came prepared tonight,” you tease him, still breathless from the kisses and love.

“My mom did, actually. She’s the one who made this.” You sit up and look at Steve, wide eyed. He laughs at you, finding your stunned reaction endearing. “Relax, angel. She really wanted to bake you something, and I had to make up for allowing Russians to ruin your seventeenth birthday, didn’t I?” 

Words escape you. Steve’s mom made you banana bread, a woman you have still yet to meet, though you’ve only heard fond stories about. She had insisted on doing this kind thing for you. 

Steve lights the candle and holds the plate up for you. “C’mon, make a wish, Y/N.”

You close your eyes, smiling, and the wish comes easily to you.

For time to stay like this, forever.

You blow the candle out, Steve cuts the banana bread, and you take turns feeding it to one another. The dessert is delicious, freshly baked and still warm. It’s sweet and nostalgic and everything you could ever ask for. 

When you’ve finished eating, Steve claps his hands. “Alright, now onto the real event of the night!” 

You raise an eyebrow. “What, the kissing wasn’t enough?” Steve makes a panicked noise and you laugh at him. “I was teasing, honey.”

“You terrify me,” he huffs, before revealing a box from behind him, the very same one you’ve been curious about all night. 

“I aspire to be terrifying,” you stick your tongue out at Steve before turning the box over in your hands. It’s light, lighter than you expected. “Is this my gift you’ve been bragging about?” For months leading up to your birthday, Steve had been boasting about this amazing gift he had thought of, how he had convinced the party to help him. 

“Open it and find out.” There’s a glint in Steve’s eyes, yet you also see the shyness return as well. He’s nervous to see your reaction, he wants more than anything to have gotten this right. 

You roll your eyes at him but open the box. It isn’t wrapped like your other gifts from Steve have been. Instead the box is made of a dark oak, and its lid opens with a soft click. The silver catches your attention first. It’s a small chain with two silver ovals on opposite sides. In between the two ovals is a collection of charms. 

“Is this…?” The charms are all roughly the same size, but each vastly different from the other. 

Steve nods at you, rubs the back of his neck. “It’s a charm bracelet.” 

Moonlight reflects off of one of the charms, revealing it to be a frog, another one to be a cookie, and slowly you piece it together. There’s six charms, one for each member of the party. “Steve.”

“Have you figured it out–oomph!” He lands with a thud on his back as you attack him with a hug. Slightly out of breath, he laughs and wraps his arms around you. “I’ll take that as a yes, then.”

“How did you get the kids to do this?” You lay on top of him, blinking back tears as you hold the  bracelet delicately in your hands to admire it. 

Steve sighs in exasperation. “Money and a lot of begging. They were all for picking out charms for you, I just had to pay them to spend more than five minutes with me at the jewelry store.”

You laugh, that sounds exactly like them, and you love those kids with everything within you. Holding up the frog pendant, you know which kid picked it out for you. “Mike?”

“Yup. Said something about Kermit the frog?”

“He’s such a little shit,” you say with fondness. Last year, when Billy had nearly choked you to death, your voice had been lost and Mike wouldn’t stop referring to you as Kermit. Your fingers skim over the pendant next to it, a simple blue one, and you smile. “Dustin?”

“He told me about your code blues.” Steve rubs your back, content to have you resting against him. You hum, touched that your brother trusted Steve enough to confide this to. No one else knows about your code blues, it’d been a special thing just between the two of you. 

With your ear pressed against his chest, listening to his heartbeat, Steve explains the rest of the charms to you. His voice is lazy, slow, lilting with fondness, and his hand a firm weight against your back. Max chose a knife charm to remind you of how badass you are. Will chose a bee, because he’ll always be your little bee. Lucas was able to find a small, white flower that resembles a dogwood, knowing that it’s your favorite. As for El, she chose a cookie based solely on her love for the ones you bake for her. 

“What about the ovals?” You ask Steve after he’s done explaining what the kids chose for you. The ovals are slightly larger than the charms, almost serving as a divider between them. The metal is smooth underneath your fingers. 

He brushes hair out of your face and winks. “Turn them over.”

With slight confusion, you do, and discover that they’re engraved. Etched onto the back of one oval is honey, and, on the other, angel is written. They’re your names for one another, nestled between charms from the kids you love so dearly in your life; this is a gift made from pure, unadulterated love. 

“Oh my god,” it’s perfect, absolutely perfect. Your lips are all over Steve’s face before he even has time to blink. You scatter millions of kisses upon his face, drown him in them, With every kiss that you press upon his pretty skin, you shower him with praise. “Thank you, thank you, thank you!” 

Steve laughs and tries to move his face away, but really he leans into the onslaught of love. His cheeks burn from smiling so hard and from the heat you always make him feel. He grabs your waist and enjoys the skin he holds. “You like it?”

“I love it, Steve!” 

“Does this make up for the whole Russian fiasco?” He asks, only joking a little bit. He still feels awful for dragging you into everything, but with time he’s learning to forgive himself. Before he overthinks it, Steve adds, “Am I now the best boyfriend in the world?”

His words make you blush, and you don’t think you’ll ever get used to Steve being yours. You’ve waited so long to be his, to hold him and kiss him like you do now. You cherish the feeling, the sensation of knowing a boy loves you the way that Steve does. “You’ve definitely redeemed yourself for getting me trapped in a Russian lair on my birthday. And you’re definitely the best boyfriend in the world.”

Steve, despite being underneath you, does a victory dance and whoops into the night. He’s elated, his face shines when you look down at him, and you’ve never been so in love before. You once thought you knew what love was, what the burn of it could feel like. But now, with Steve lying beneath you as his arms keep you from falling, you know that love is airless, light, cool to the touch and warm on the skin. Love isn’t supposed to hurt, it’s supposed to feel like coming home after a long day of being out in the cold. 

After Steve helps you put on the charm bracelet, you lay together in the meadow. The lake’s waves can be heard in the distance. Crickets chirp their greeting, the stars wink hello above you. Their noises serve as a lullaby to you, soothing you to an almost sleep-like state. You nestle your head into the crook of Steve’s neck and let out a sleepy exhale. 

Feeling this, Steve strokes the back of your hair. “You fallin’ asleep on me, Henderson?”

“I’m resting my eyes.” 

“Very convincing,” he chuckles, tightening his embrace to try and stave off the cold that creeps in. He lets out his own tired sigh, your weight upon him has always put him at ease. He inhales, smells your perfume, and he can’t believe that he’s here right now with you. After everything he’s been through, he can’t believe that somehow he’s come out of it with you next to him. Last year he thought he had lost you forever. This year he can see forever with you. “I think I like this July a whole lot better than the last one.”

It’s meant to be a joke, a gentle tease. More of a reflection of how far the two of you have come in such a short amount of time, but still Steve’s words remind you of something. You’ve never told him the real reason why you left last summer. Why you ran away from him. 

“I was scared, last summer.” 

Steve tilts his head at you. “Scared of what?”

“I was scared of falling in love with you,” the confession lifts from your chest. It hangs over you both, the weight of it tangible. Steve’s eyes soften, he lets out a soft oh, and you duck your head shyly. “Last July, you were… Everything. You were everything to me, and it terrified me. I was still figuring my feelings out for Jonathan back then, you had Nancy, but you were so lovely and I just–I couldn’t do it. It wouldn’t have been fair, not to anyone, but I’m sorry.”

“Y/N…” Steve hadn’t known. All this time, he thought he had done something wrong. But really you had been trying to protect yourself, protect him, and he understands now why you had to leave him for a while. He sees the distress on your face and he shushes you, kisses your forehead. “Don’t apologize, okay? I honestly would’ve run away too, if I were you. I’m just… You came back to me, in the end. That’s all I care about.”

He’s too good for you. “I still hurt you.”

“You’re human,” Steve brushes more hair out of your face. “We all make mistakes. You ditched me for a few months and I almost got you killed by crazy Russians. I think we’re pretty even now.”

Despite the guilt in your throat, Steve manages to draw a smile from you. It’s what he’s always done best. Even on the day Will had gone missing, he had been the one to ease the loss by pretending not to have known your name. He had made you laugh when you thought you could never laugh again. Steve would do anything to get you to smile, and you cannot imagine where you’d be without him. “We always even our debts, huh?”

“It’s tradition at this point.”

And you laugh, full-bellied and loud and recklessly. It echoes into the night, Steve’s reverberates into your ears, and you’re happy. 

– 

A month passes, and in the mid-August heat, Jonathan knocks on your window late one night. 

His knuckles rap against the glass and it’s a sound reminiscent of before, when you were little kids who didn’t know how yet to hurt each other. You crawl out of your bed, curious, though happy nonetheless to let him in. 

You go to open your curtain, ready to tell the boy all about what Dustin had done today, unaware that when you open the curtain, everything will change. 

Jonathan is crying. 

“Bee, oh my God.” You quickly open the window and he manages to crawl through, though sobs wrack his body. He’s shaking, and for a terrifying moment you think that something has happened to Will. “Is everything okay?”

He stands before you, chest heaving and eyes red, and with two words your world comes crashing down. “We’re moving.”

Time stands still. You’re seventeen and your childhood is coming to a close.

Somehow you’re holding onto Jonathan as he explains everything through his tears. He’s moving in early September, going all the way to California. He and his family are leaving Hawkins, leaving you. 

Your legs give out, or maybe it’s Jonathan’s, but you hold each other on the floor, intertwined, mourning the loss of growing up together. Your tears mix with his, his breathing becomes yours. The two of you cling onto each other, scared that one day soon you’ll never be able to do this again. 

“We need to–” Your breathing is shaky, your eyes sting. You feel a desperate franticness claw out of you, you grasp at what little sanity you have left. “We need to promise each other that–that we’ll see each other every day before you leave, in some capacity. It–it doesn’t matter how but–”

“I’ve already talked to Nancy about it, bug.” Jonathan wipes your tears, lets his own fall freely. He knew you’d say this, and he loves you all the more for it. “It’s been agreed.”

You nod, relieved. It isn’t much, it still doesn’t change the fact that Jonathan will leave you in the end, but at least you’ll make every last second with him count. You’ll move into the Byers home if you have to, they’re your family. He’s your person. He’s embedded into your skin, he’s nestled between your bones. 

Last year you and Jonathan promised you would never let go of each other. 

The year prior to that you promised each other that nothing would change between you two. 

Now, holding onto each other as the world you’ve been building together for five years comes crumbling down, you have to believe that the promises will be enough.

–

Steve and Robin rope you into helping them find a new job.

You innocently pointed out that Family Video was hiring, figuring it was an easy enough place to work at, and suddenly the two of them had shoved you into Steve’s car with resumes in their hands. Honestly, you should’ve seen it coming. 

“You put your mom down as a reference?” Robin questions Steve as you all get out of the car. She had agreed to proofread it after you politely declined, stating that if you proofread anything Steve wrote, it might ruin your relationship. 

“Yeah, why not?” Steve slams his door, straightens his shirt, and grabs your hand as you walk inside. “She’s like, super well respected.”

You share a look with Robin. “Rich kids,” you both groan at the same time. As much as you love Steve, you’ll neve quite get over how well connected he is. It’s bizarre and slightly terrifying how much the Harrington name can get you in this town.

“Whatever, call me a rich kid, but it’s my car you guys get free rides in.”

Robin rolls her eyes. “You’re such a dingus.”

“I didn’t ask to be here,” you remind Steve, though you thank him when he holds the store’s door open for you and Robin. “I think this could count as kidnapping.”

Robin bumps her hips against yours. “Not technically. Besides, I thought we agreed to leave our kidnapping days behind us after Erica?”

You shove the teen and follow her into the store. You look around at all the movies, slightly impressed. You’ve never really visited Family Video before, only really stopping by if you were picking up Dustin from the arcade next door. The store is nice, albeit small, but you can see Steve and Robin enjoying themselves. There’s good music, few customers, and the uniformed vest is less mortifying than Scoop’s small shorts and sailor hats. “It’s not so bad in here.”

“Why thank you, pretty lady.” A greasy looking man at the register smiles at you, leaning over it in a very unappealing manner. His name tag informs you that his name is Keith.

Steve immediately steps in front of you and stares the guy down. “She doesn’t need you thanking her, buddy.”

You can tell that he wants to say more, but you see the “general manager” on Keith’s name tag and quickly try to deescalate the situation. If your idiot boyfriend wants the job, he can’t piss off the guy hiring. “Steve, why don’t we take a look around while Robin does all the talking?”

“What–” He doesn’t have a chance to argue, you’re already pulling him down a random aisle, throwing a quick “good luck!” to Robin as you leave. 

She talks with Keith, and it seems to be going well. She shows him their resumes, smiles at him kindly. before she shouts across the store to Steve. “Dingus, what are your three favorite movies?”

Steve nearly drops the movie he had been looking at. “Uh, Animal House?” You can practically hear Robin’s disappointed sigh from where you stand, and Keith looks unimpressed. Panicked, Steve whispers to you, “What are my favorite movies?”

“I don’t know!” You hiss, frantically trying to get this poor man a job. “Just, name two other movies. Animal House can’t be too bad, right?”

“Star Wars,” Steve manages to get out, now walking back to the register. You stand next to him, looking nervously at Robin, who makes a pained noise at his responses. 

The manager stares blankly at him. “A New Hope?”

“A new what now?”

You drop your head into your hands and sigh. He’s hopeless. Already knowing it’s a lost cause, you mumble to him, “It’s a Star Wars movie, Steve.”

He snaps his fingers. “Right! Yeah, it’s the one with the teddy bears, isn’t it?” Steve makes what you think is supposed to be an Ewok sound, which only makes you sigh again. Sensing he’s fucked up, Steve tries to backtrack. “No? Uh… Oh! The one that just came out, the movie. The one with DeLorean and Alex P. Keaton and he’s trying to bang his mom.”

“Oh, dear.” It’s a trainwreck, one you can’t look away from, and Robin can only shake her head at you. “Steve?”

“Yeah?” 

“Stop talking.”

“Uh, yeah.” Steve clears his throat, he knows he’s rambling. Had he known he would have a goddamn pop quiz about movies, he wouldn’t have dragged you here for the interview. “Those are my top three. Classics.”

Keith looks between you, Steve, and Robin. He points to Robin first, “You start Monday.” He points to Steve, “You start never.” And then he points to you, “You can start whenever.”

“Okay, I get why you’re telling me no,” Steve waves a hand in front of you, “but she didn’t even apply!” 

You’re also confused by how this day is turning out, and you look at Robin, wide eyed and pleading. She’s good with people, Keith seems to like her. When she sees you silently begging her to fix this, Robin sighs and steps in front of Steve. “Will you just, um… Will you guys give us a minute?” 

“Why?” Steve doesn’t move, and you want to throw a shoe at him. 

“Let’s go, pretty boy.” You grab the back of his shirt and yank him back to the aisle of movies. He doesn’t fight you, he simply accepts his fate and allows you to drag him away. Before turning the corner, you nod at Keith. “Thanks for the job offer, but you should really give it to the guy I’m currently dragging.”

Robin snickers at Steve’s offended huff as the two of you leave, before she starts trying to convince the manager to let Steve work there. From where you stand, it seems like a heated discussion. You try to lean closer, nosey, and while you’re distracted, Steve runs into a life-sized cardboard cutout of Phoebe Cates wearing a red bikini. 

He fights with it, tries desperately not to let it fall, all while his resume hangs from his mouth. “Shit! Oh, Fast Times! Ever heard of it? Top three for me, Keith.” Robin laughs and Steve turns the cardboard cutout to you, wiggling his eyebrows. “Own any red bikinis?”

You flick his forehead, though you laugh as well. “In your dreams.”

“I can sleep right now and find out–”

“I will flick you again.”

“A kiss is preferred, but whatever.”

– 

When the Byers move, you spend the entire day fighting back tears as you help them pack. 

You spent the night in Jonathan’s room, both of you dreading the morning to come. Neither of you had slept, instead spending the entire night taking turns sharing your favorite memories together. The day you met. The time a dog chased you. When Jonathan mistook your sweater for his and wore it to school. Late night drives. Movie nights with your brothers. You relive it all that night. 

As the morning sunlight began to stream into Jonathan’s room, the warmth the memories brought started to fade away. Slowly, as the sun rose, you and Jonathan packed his room. You helped him organize his vinyls, sort through his mixtapes. When he isn’t looking, you steal a few t-shirts and flannels from his closet. He won’t notice they’re gone until he’s halfway to California. 

When it gets too much, seeing all of Jonathan’s life dwindling down to only a few boxes, you wander into the living room and help Joyce pack as well. She sees the tears in your eyes and gives you things to do, but eventually you can’t take it anymore. You go into Will’s room, and it’s the same. You cry, he cries with you, and it’s bittersweet. The rooms empty, the boxes grow.

El’s room is the hardest to pack, she has so few items to call her own, and you’re both silent as you move through the room together. 

With each box that you tape full of things you grew up with, you feel a piece of your childhood being packed away as well. The plates you used to eat off of, the books you used to bring from your job, the toys you passed down to Will. It’s all there, pieces of you frozen in time.

As you tape a box labeled “games” in Jonathan’s messy handwriting, you hear Max and Lucas singing in the living room. The sound makes you smile. It’s one of Max’s better days, she’s teasing Dustin for singing with Suzie, and she’s in a good mood. The rest of the party keeps her occupied. The kids all arrived as early as Joyce allowed them to, Nancy and Mike were the first to knock on the door. 

You place the box next to the others and walk towards Jonathan’s room. He’s leaning against its door frame with Nancy beside him, and you join them. You stare at the empty room, the one you’ve called your second home ever since you were twelve. It hurts, seeing it stripped of everything. 

All of Jonathan’s boxes are in the living room, filled with the things that make him who he is. There’s a drawer in your room of things Jonathan has left over the years, and you’re never giving them back. They’re all you have left of him. 

You and Jonathan take in his barren room, and you sigh against the door frame. “It’s so… empty.”

Nancy crosses her arms. “Is that everything?”

“I guess so,” Jonathan stuffs his hands in his pockets. His room feels cold somehow, its emptiness devoids it of the warmth it once had. He can still hear your laughs echoing in the floorboards, he can still smell your perfume that clings onto the walls. There’s scuff on the closet door from the time the two of you thought it’d be a good idea to play blind-folded baseball in the small room. 

Jonathan steps into his room, taking it all one last time. The sunlight from his window illuminates his silhouette, making him appear even smaller within the room. “Seventeen years of my life… packed up in one day.”

His voice is melancholic, his body is sad. You nudge Nancy, nod your head in Jonathan’s direction, urging her to go after him. She nods, understands that you’re telling her to say goodbye, giving them the space to do so. She smiles at you appreciatively.

You do it because they love each other, but selfishly a part of you leaves because you can’t say goodbye just yet. 

“Thank you,” she whispers, following after Jonathan. 

You find El as she’s leaving Joyce’s room. She’s holding a piece of paper, clutched closely to her chest. There are tears in her eyes, though you know better than to ask why. It’s a sad day for everyone, you’ll let her grieve on her own. However, that doesn’t stop you from pulling the girl into a fierce hug. 

“I’ll miss you so much, sweetheart.” You mumble, kissing the top of her head. “I don’t know who’s going to paint my nails now.”

El laughs through her tears and holds you tight. “I can ask Mike to.”

You kiss her head again, close your eyes, and pray to whoever is above that this girl will stay who she is forever. That she will never change. Her kindness is genuine, her joy is admirable. All her life she only knew cruelty, and yet she still came out of it so full of love. “I’d love to hear how that goes.”

“I will write you,” El promises, and you nod eagerly at her. She pulls you in for one last hug before finally releasing you to go see Joyce. 

The woman greets you with a tired smile when you walk into her room. She’s kneeling on the floor, folding clothes. They’re baggier than what she normally wears, darker, and you finally realize that they’re Hopper’s. 

A lump forms in your throat. She shouldn’t be doing this alone, packing away the remnants of his life. “Here, let me help.”

Joyce accepts, and together you sit in comfortable silence as you go through the clothes Hopper left behind. They still smell like him, old cigarettes and whiskey. It’s a nostalgic scene, a part of you wishes you could keep one of his shirts. He had been dear to you, regardless of the constant bickering you faced with him. 

“I don’t blame you, you know.” Joyce speaks softly next to you, catching your attention. “At all.”

You look up at her, sucking in a breath. “I don’t… I don’t know what you mean, Mrs. Byers.”

“The guilt, honey.” She places a hand on your arm, gentle as she always is with you. “I know you blame yourself for what happened to Will, but you shouldn’t. You have to let go of it. I want…” Joyce pauses, looks into your eyes the way a mother does to her daughter. “I want you to promise me that you’ll live the life that you deserve, because you’ve spent half of your life making sure my boys lived the lives that they deserved. Can you do that for me?”

“I…” You’re crying, you don’t know what to say. For years you’ve carried the guilt of Will’s disappearance, and for even longer you’ve done everything you could to ensure that he was loved. That Jonathan was loved. Never once had it felt like a burden to you, but Joyce’s words undoes something in you. “I promise.”

Joyce pulls you into her arms and hugs you, tears in her own eyes. She strokes your hair, hugs you as she’s always done since you were a little girl. She echoes the final words that Hopper told you. “You’re the best of them.”

You’re not sure how long you cry in Joyce’s arms, but when she soothes you and wipes your tears away, she tells you to go find Will. They’re leaving soon, he’ll want to see you, and you wish the woman one final goodbye before going to find her son. 

Will ends up being in the hallway, you find him just after he’s said goodbye to Mike. You note the longing in his eyes, the uncertainty in his posture as his friend leaves. There’s a wistful look on his face, one that you once had on your own when Jonathan was around. Even if Will may not know yet, you do. 

“Hey, little bee.”

He turns around, the softness in his eyes when he sees you makes you homesick. “Y/N!”

Will buries his face in your chest, and you hug him just as tightly back. He’s grown so much since you first met him. He’s no longer the shy little boy who had been afraid of his own shadow, and you can’t believe you won’t get to finish watching him grow up. “I swear, you’re going to be taller than me next time I see you. Won’t be able to call you little bee anymore.”

“I’ll always be your little bee,” Will squeezes you tighter, afraid to let go of you. 

“Good,” you ruffle his hair, making him to laugh. “I’ll miss you, but I’m sure you already know that.”

“I’ll miss you, too.” Will’s voice is wet, more tears come. He pulls away from you, he looks as if he wants to say something, but he stops himself. As if he’s afraid of something.

You frown. “Hey, what is it?”

“I’m scared,” The words rush from his mouth. “What if… What if I don’t make any friends?” He lowers his voice, looks around nervously, before trusting to say the words out loud to you. “I–I’m different, Y/N.”

Will’s fear hurts you to see, you wish you could do more, promise him that it will all be okay, but you can’t. Instead, all you can do is kiss his cheek and hope he can feel all the love you have for him within it. All you can do is remind him that you will love him through it all. “You’re the bravest kid I know. I have no doubt that you’ll be fine. I mean, you’ll have Jonathan and El with you, but if you ever need me, I’m just a phone call away. I love you, and that will never change.”

You stroke the boy’s cheek with your finger, and he leans into the gentle touch. “I’m rooting for you, always.”

Will squeezes you tight when he hugs you for the last time. He thanks you, his body relaxes into yours, and you know that in the end he’ll be okay. He’s a brilliant kid, he’s been through more than anyone else his age ever has. He’s resilient, his kindness is his strength, you just hope that he can recognize that himself one day. 

As you pull away from the hug, Will’s eyes catch on someone, you turn around. It’s Jonathan, standing by the front door, waiting for you. 

It’s time to say goodbye. 

Taking a deep breath, you walk towards him, and Jonathan takes your hand and guides you to the porch outside. Everyone else is still inside, packing. You sit side by side in silence, absorbing the final remaining moments alone with each other. Saying goodbye to your childhood best friend leaves a bitter taste in your mouth. 

A ladybug crawls on a leaf next to you, a bee flies past you and lands on a sunflower nearby, and a bird chirps in the blue sky above. You rest your head on Jonathan’s shoulder, he presses a kiss to your temple. Your fingers interlock and the cool September air surrounds you.

“I made you something,” Jonathan breathes out, clears his throat. He reaches into his back pocket and pulls out a mixtape, its front covered with a piece of paper listing all the songs on it. “I, uh, used the money I won from the betting pool to make it. Dustin was pretty annoyed with me for winning.”

You snort at the image of your brother berating your friend for winning a betting pool about how long it’d take Steve to ask you out. Taking the mixtape from Jonathan, you read the songs. There’s eight songs on it, the first one being a Beatles song from your childhood; you don’t know how Jonathan knew that. Though most of them are familiar, the writing on the paper is old, faded with age. “How long have you been making this, bee?”

Jonathan looks away from you and swallows. “A while, I guess. Listen to it after I leave, okay? That way, if you hate it, I’ll never have to know.” His demeanor is odd, there’s something he’s not telling you, but it’s your last day with him. You leave it alone for now, not wanting to ruin it. 

“You’re not allowed to find a new best friend.” You tell him instead, the silence becoming too much to bear. It’s a joke, though truthfully you don’t want Jonathan to find another best friend. He’s supposed to be yours, only yours, and you’re supposed to be his. 

“I wouldn’t dream of it.” Jonathan lets out a soft laugh, and you’re going to miss feeling the way his body moves as he does so. He sucks in a breath, releases it slowly, and shakes his head. “I mean, we were kids together, bug.”

You start to cry, and he does as well. You’ve never had to say goodbye to each other before. Not like this. The two of you sit on the porch of Jonathan’s childhood home and cry. You cry into his neck, he buries his face into your hair, and it’s all so unfair. 

Jonathan touches his forehead to yours. You look into his eyes and know that your childhood will always live within him, and his within you. Jonathan brings his finger up to your bee necklace, his ladybug ring knocks against the pendant. The jewelry glistens in the sunlight. 

“Bee, we were more than just kids together.”

And it’s true. You were everything together. Now, you have to figure out how to be everything while apart. 

– 

The last of the boxes are placed in the moving van. Everyone is crying, you’re all gathered around one another, hugging and saying goodbye. 

You hold El tight and whisper good luck to her. You remind Will that everything will be okay, knowing how scared he’s been of high school and remorseful that he has to do it all alone. The kids all cry as they share the final hugs, Jonathan and Nancy cry as they hold one another. Everyone says goodbye, and you watch them with tears in your eyes. You turn to Joyce to kiss her cheek, but she grabs your arm instead. 

“Remember what you promised me, okay?” She catches your eye, makes sure you hear what she’s telling you. “Live the life that you deserve.”

“I will,” you exhale, and she seems content with that. Joyce hugs you, kisses your cheek, and you tell her to drive safe as she gets into the van. 

Jonathan stands by his car, waiting for you, and you pull the boy into your arms. He crashes against you, clutches you to his chest, and you breathe him in one final time. “I’ll always love you the most, bee.”

“And I’ll always love you the most, bug.” 

Joyce drives away first, El in the van with her, before Jonathan and Will follow. The car pulls out of its driveway one final time, and you hold Nancy’s hand as you both cry. Slowly, their cars fade into the distance, and one by one the kids hop on their bikes and pedal away. No one wants to stay, the empty house feels too permanent, solemn. Eventually Nancy gets into her own car, wishing you a quiet goodbye, until it’s just you and your brother standing in front of the house. 

Dustin stays beside you, as he always does, and you take a deep breath. Nothing will ever be the same again. 

You take one last look at the Byers home, the house you grew up in and discovered pure love and joy and naivety in, and inhale the final scent of your childhood. Dandelions are in bloom, its yellow surrounds the home, soon they will wilt and its seeds will litter the sky

Joyce’s words ring in your head.

It’s time to live the life that you deserve. You’re on your own now, though you know that really you aren’t. Dustin is next to you, Steve and Robin are waiting at your house with movies stolen from work because they knew how hard today would be. Your mother has your favorite cookies ready and waiting for you. Mike and the others have already planned their first letter to Will. 

The charm bracelet from the party and Steve is cool against your wrist. 

You’re no longer the scared, angry twelve year old you had been when you first moved to Hawkins. You’re loved, you have so many incredible people in your life who now get to watch you grow up into someone new. 

Slowly, you exhale your childhood, with a single promise of keeping it within you forever. To live the life that Joyce has told you that you deserve.

And you believe her. 

[END OF SEASON THREE]

-

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[cavegirlpoems]

I see we're talking about XP!

@thydungeongal and @imsobadatnicknames2 have interesting posts up, and now it's my turn to throw my thoughts out there. SO. I think of XP as the game itself offering you a little bribe. Do the things the game wantss you to be doing, and the game gives you an XP to say thank you. Get enough XP, and you're reward is greater a permanent bump in power, meaning greater ability to exert your will over the world and therefore greater agency. (Systems like Fate Points, Willpower, Inspiration etc work the same, except the increased agency is a temporary one-time thing, not permanent, so at times I'll lump them in).

So. Let's talk about a few different systems and how they handle this.

Let's start at the very begining (a very good place to begin). In the very early editions of D&D - back when Elf was a class - you got XP for treasure. Every gold coin you got out of a dungeon (or equivallent value of other treasure) was 1 XP. This worked well; the game wanted you to go into a dungeon and explore it for treasure, while trying not to die. If you succeeded, you got XP, which made you better at doing that so you could do it again in a more dangerous dungeon. And because treasure is XP, and treasure weighs you down, getting it out is a meaningful activity. Hell, many of these games measure weight and encumbrance on a scale of 'how many coins' to drive this home. It was a good loop. Early D&D has many faults (like the weird racism in the MM) but the xp system is something it absolutely nailed.

Next up, let's look at classic vampire the masquerade. At the end of each session, you get 1 xp just for being there, and then another if your character learned something, if you portrayed your character well, and if your character was 'heroic'. So, what's classic VtM rewarding? Ultimately, it rewards the player for being the kind of player the game wants. If you get into character, engage with the game world, and act like an interesting protagonist, you get rewarded for it. It's a bit fuzzy, and at the GM's discretion, but its very up-front with what it wants to incentivise. It was the 90s, they were still working out how to be a narrative-driven game, but you can see where they were going with it.

OK, now lets look at something a bit weirder; monsterhearts. The main source of XP here will be Moves. Rather than a bolted-on rewards mechanic, each game mechanic you engage with might grant you xp. You can use your strings on another PC to bribe them with XP when you want them to do something. Lots of abilities just give you an XP for doing a thing, such as a Ghost ability that gives you XP for spying on somebody, or aa Fae ability that gives other players XP when they promise you things. Here, XP is baked into the game, but its very up front about being a bribe. Act the way the game wants, or go along with other players' machinations, and you get rewarded for it. And, critically, XP is just one part of a wider game-economy of incentives and metacurrencies; it links in with strings and harm and +1forward in interesting and intricate ways that push the game forward. Monsterhearts is a well designed game, and you should study it.

Finally, let's look at how D&D 5e does it, as a What Not To Do! We have two different options. The first is XP for combat. When you use violence to defeat something, you get XP for it. Under this option, the only way to mechanically improve your character is by killing things. So, we can conclude that D&D is a game that wants you to engage in constant violence. The other option is 'milestone XP'. IE: you level up at the GM's whim, when they feel like it. What does this reward? Fucking nothing. Or, at best, you're rewarded for following the railroad and reaching pre-planned plot moments in a pre-scripted story. You either have no agency in the matter, or are rewarded for subsuming your agency to the will of the GM. (This pattern continues with inspiration rewards, which are given 'when the GM is entertained by you'. Fucking dire.) "Oh!" the 5e fandom says "But a good GM can write a list of achievements that will trigger milestone XP". And yes, they can, but that's not how the text of the game presents it. That's a house rule. That's the GM doing game design to add a new, better, mechanic to the game to fix its failings. Is it any wonder, then, that the 5e fandom puts so mucn weight on the GM's shoulders, and has such a weird semi-antagonistic relationship between GM and player? Is it any wonder that absolutely brutal railroading (and the resulting backlash of disruptive play) is so rife over there? Look at how the incentive structures are built? It's either killing forever or GM-as-god-king! Anyway, yeah. Consider what you reward with XP, because that will become what your game wants. And if you're hacking a game, one of the most efficient hacks is to change what you get XP for and suddenly the game will pivot to something very different.

[bloodbenderz]

there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad

[iamthedukeofurl]

One interesting thing that can happen in long running media is that the general cultural background can shift under the work, recontextualizing it as it is being written. I'm specifically thinking of the Order of the Stick, a Dungeons and Dragons themed webcomic that started in 2003 with the titular party of adventurers going through a dungeon.

From left to right, we have Belkar Bitterleaf the halfling ranger, Vaarsuvius the Elf Wizard, Elan the Human Bard, Haley Starshine the Human Rogue, Durkon Thundershield the Dwarf Cleric, and Roy Greenhilt the Human Fighter. The comic takes place in a fantasy setting that knowingly runs off the rules of Dungeons and Dragons third edition. Characters talk about rolls and bonuses and intentionally take levels in various classes. At the start, the comic was a pretty basic gag comic about the D&D rules, basic fantasy/adventure tropes, ect.

In the 20 years the comic has been running, it has updated about 1300 times, not counting bonus strips exclusively made for the printed version, and several print (or PDF) only side and prequel stories. It has also dramatically grown from it's roots, the art has improved while keeping the same general aesthetic, and the gag-a-day comic has become a sweeping fantasy epic. The characters have grown beyond their initial bits (Belkar is a Murderhobo, Elan is stupid, Haley is greedy, ect), and it's genuinely up there as one of my favorite stories. But anyway, let's talk about Vaarsuvius. If you look at the above art, You'll notice that the characters tend to have three types of body shapes: Rectangles for Roy, Belkar, and Elan, feminine curves for Haley, and Robes for Vaarsuvius. This presentation is a pretty consistent signifier of gender and/or somebody wearing robes. Early on, part of Vaarsuvius's running gag became their ambiguous gender. At the time, it was a fairly common joke in fantasy to talk about how Elven men had androgynous or "Girly" appearances, so V was part of that. Instead of a singular pronoun, characters would generally just abbreviate Vaarsuvius's name as "V", and whenever the narrative would have naturally provided some indication of gender one way or another, V would resolve the situation without providing any such indication. For example, an early gag has the characters seeking out a set of modern style bathrooms in the dungeon. When they find them, V says that their "More Efficient elven biology" means they don't have to go yet, so they wait outside while the boys go into the Men's room and Haley waits in the inevitable long line at the women's. When Vaarsuvius reveals that they are married, they use the term "Spouse" to refer to their partner, when we see their children, the children are clearly adopted (V and their partner both have pale skin, their children have darker skin) and refer to Vaarsuvius as "Parent". Vaarsuvius themselves seems to have trouble identifying other people by gender. Characters outside the central cast might refer to Vaarsuvius as "He" or "She", but doing so was always shedding light on that character's perspective, rather than saying anything about Vaarsuvius. The assumption behind the gag is that Vaarsuvius must be either male or female, and the joke is that the narrative/Vaarsuvius themselves keeps finding ways to avoid "Revealing" their gender. Fan wikis and official books list Vaarsuvius's gender as "Ambigious" and on the forum there used to be a regular, multi-part thread dedicated to debatings Vaarsuvius's gender, even after the author declared that it would "never be revealed".

Anyway, going back to the start, it's 2023, and something shifted at some point, both in the comic and in the general cultural background. The jokes about V's gender kind of fell off, not just because the gag got played out, but because the basic assumption behind it simply doesn't work anymore. Everybody knows that Nonbinary people exist. There's no point in the comic where Vaarsuvius switches from being "Ambigiously Gendered" to Nonbinary, in fact, the entire comic reads just fine if you read Vaarsuvius as male or female and just not caring enough to clarify their gender to anybody and at some point other characters just stop thinking about it. But it's interesting to see how a character trait that was once included in even the most basic character descriptions (Varsuvius: Elven Wizard. Arrogant, Intelligent. Ambigiously gendered) just kind of got washed away by a rising tide of cultural nuance towards gender. Also go read OOTS, it's pretty great.

[queerfables]

'Wilson' as an episode fucking slaps. I'm obsessed with Wilson's complete lack of boundaries and I'm obsessed with the way he acts out to express resentment while still being completely incapable of saying no. He gave a patient part of his liver!! The man is in no way hinged.

For all the emphasis that gets placed on Wilson's failed marriages and infidelity, we don't ever actually see it directly on screen. This is a narrative choice I love, for the record. We see Wilson's relationships through House's eyes and it allows us to understand Wilson as a deeply flawed person without ever making him unlikable, because Wilson's flaws and contradictions are what make him irresistible to House. It's so effective, the way these failed relationships say so much about Wilson's character while being constructed largely out of inference.

In this episode, though, we watch his inability to self advocate play out in real time, and I guarantee that this is what every one of his relationship meltdowns looked like from the inside. On some deep fundamental level, James Wilson doesn't believe "I don't want to" is a valid reason not to do something. You know the fantasy trope of an obedience curse, where the victim is inescapably compelled to obey other people's requests? Wilson casts that spell on his own damn self, and he'll hold true to it even to the point of violating his own bodily autonomy. When you lack boundaries like that, it becomes almost impossible to even know what you truly want, let alone to act on it. So Wilson says yes and yes and yes until it breaks him, and then he still can't say no.

When saying yes feels like surrendering to torture and saying no feels like committing murder, the only option left is escape. So Wilson goes out drinking to trash the liver he's going to donate. He gets dinner with the pretty nurse instead of going home to his wife. All of it is him scrabbling at the bars of his cage. And the irony is that the cage is unlocked, he just has to walk through the open door, and that's the last thing he could ever bring himself to do.

I'm pretty sure that when he went to Cuddy and told her his plan to donate, he wanted her to say no. She almost did! And I think she should have, because her first impulse was right, it is insane. Unfortunately this is the Insane Lack of Boundaries Hospital, and she can't actually be expected to guess when her employee's mouth is saying yes but his eyes are saying dear god no. By the rules of universe that House MD operates within, this doesn't even break a 7 on the "unhinged measures to save a patient" scale, and Wilson invoked the power of friendship. What was she supposed to do?

And through all of this, House is the person Wilson lashes out at. I love, love, love that House is the person Wilson lashes out at. Wilson can't even admit to himself that he's angry about the position he's in. How can he be angry when he's the reason the patient needs a new liver? But House sees right to the heart of everything going on with him, and he says all the things Wilson wants to be true and can't afford to believe. Because if he lets himself believe this wasn't his fault then he might not be able to say yes. And he's going to say yes. And he hates that he's going to say yes. And he hates that House knows he's going to say yes.

So he gets angry with House, because it's safe to get angry with House. He lashes out, because with House, he can. He tells House he's wrong about him, and demands House move out, and that's not at all what he really wants but he feels helpless and coerced and he desperately needs to exercise some kind of control over his own life. The fact that he can let go like this with House is in part about knowing House isn't ever going to leave him - the closeness of their relationship is always defined by what Wilson wants, House has never once pushed Wilson away and fights to reconcile when Wilson wants distance. But it's also about knowing that he can't hurt House by setting boundaries with him. Mostly this is because House will walk right over any boundaries he considers unacceptable, but in fairness, the fact that House is kind of a terrible person is part of his appeal. If Wilson had issues around other people violating his stated wishes, House would be the last person in the world that he should have anything to do with. But Wilson's issues lie in the fear that not being compulsively available and accommodating to everyone around him might permanently fuck up the life of someone he loves. House's fucked up life is never going to be Wilson's fault and even if it was House would still kind of deserve it, so Wilson's anxious people pleasing compulsion can chill the fuck out for five minutes at a time.

I don't want to idealise, there are times in their relationship when Wilson absolutely makes fucked up sacrifices for House. I don't think it's the case that he earnestly wanted to every time. But it's also true that House brings out authenticity in Wilson that few other people manage to. House knows him. House allows him to give in to his selfish impulses without guilt and consequences, and for all the people who love the best in him, House knows and loves his worst. While Wilson is caught up in trying to bend himself into whatever shape someone else needs him to be, what House wants more than anything is the truth. For Wilson, who is so out of touch with his own desires, being an object of fascination to someone obsessed with drives and motivations must be a rush. And if we accept the throughline of this episode, it might just be the case that House's boundary pushing and obsession is something Wilson needs.

[thydungeongal]

There's this idea floating around the general TTRPG space that's kind of hard to put one's finger on which I think is best articulated as "the purpose of an RPG is to produce a conventionally shaped satisfying narrative," and in this context I mean RPG as not just the game as it exists in the book but the act of play itself.

And this isn't exactly a new thing: since time immemorial people have tried to force TTRPGs to produce traditional narratives for them, often to be disappointed. I also feel this was behind a lot of the discussion that emerged from the Forge and that informed the first "narrativist" RPGs (I'm only using the word here as a shorthand: I don't think the GNS taxonomy is very useful as more than a shibboleth): that at least for some TTRPGs the creation of a story was the primary goal (heck, some of them even called themselves Storytelling games), but since those games when played as written actually ended up resisting narrative convention they were on some level dysfunctional for that purpose.

There's some truth to this but also a lot of nuance: when you get down to the roots of the hobby, the purpose of a game of D&D wasn't the production of a narrative. It was to imagine a guy and put that guy in situations, as primarily a game that challenged the player. The production of a narrative was secondary and entirely emergent.

But in the eighties you basically get the first generation of players without the background from wargames, whose impressions of RPGs aren't colored by the assumption that "it's kind of like a wargame but you only control one guy." And you start getting lots of RPGs, some of which specifically try to model specific types of stories. But because the medium is still new the tools used to achieve those stories are sometimes inelegant (even though people see the potential for telling lots of stories using the medium, they are still largely letting their designs be informed by the "wargame where you only control one guy" types of game) and players and designers alike start to realize that these systems need a bit of help to nudge the games in the direction of a satisfying narrative. Games start having lots of advice not only from the point of view of the administrative point of view of refereeing a game, but also from the point of view of treating the GM as a storyteller whose purpose is to sometimes give the rules a bit of a nudge to make the story go a certain way. What you ultimately get is Vampire: the Masquerade, which while a paradigm shift for its time is still ultimately a D&D ass game that wants to be used for the sake of telling a conventional narrative, so you get a lot of explicit advice to ignore the systems when they don't produce a satisfying story.

Anyway, the point is that in some games the production of a satisfying narrative isn't a primary design goal even when the game itself tries to portray itself as such.

But what you also get is this idea that since the production of a satisfying narrative is seen as the goal of these games (even though it isn't necessarily so), if a game (as in the act of play) doesn't produce a satisfying narrative, then the game itself must be somehow dysfunctional.

A lot of people are willing to blame this on players: the GM isn't doing enough work, a good GM can tell a good story with any system, your players aren't engaging with the game properly, your players are bad if they don't see the point in telling a greater story. When the real culprit might actually be the game system itself, or rather a misalignment between the group's desired fiction and the type of fiction that the game produces. And when players end up misidentifying what is actually an issue their group has with the system as a player issue, you end up with unhappy players fighting against the type of narrative the game itself wants to tell.

I don't think an RPG is dysfunctional even if it doesn't produce a conventionally shaped, satisfying narrative, because while I do think the act of play inevitably ends up creating an emergent narrative, that emergent narrative conforming to conventions of storytelling isn't always the primary goal of play. Conversely, a game whose systems have been built to facilitate the production of a narrative that conforms to conventions of storytelling or emulates some genre well is also hella good. But regardless, there's a lot to be said for playing games the way the games themselves present themselves as.

Your traditional challenge-based dungeon game might not produce a conventionally satisfying narrative and that's okay and it's not your or any of your players' fault. The production of a conventionally satisfying narrative as an emergent function of play was never a design goal when that challenge-based dungeon game was being made.

[milesandcorysupermacy]

"Infection"

Miles!42 x Black!Reader

Genre: Enemies-to-lovers, Angst, Fluff

Warnings: Cursing

Summary: Miles is known as the school playboy, he's flirty, athletic, and attractive. Everyone wants (and has) a peice of him. But, how do you react when the one boy you're told to stay away from is falling for you? Do you do the same, or reject him?(maybe even a little bit of both?)

---------------------x-o-x-o---------------------

Now, Miles Gonzalo Morales was NOT the true definition of a playboy. When you think of a playboy, you usually think of a guy who just uses women as a number to add to their body count. Or, someone who just cheats on women left and right. But, that's not him.

You see, Miles just couldn't find someone who could relate to him or be on his level. He's been in about 10 relationships within the past year, but not for the reason people think. Every girl he dated was just boring, nobody could truly connect with him and that further deepened his loneliness. They all just wanted him for his looks, but never truly knew anything about him. So, he just kept leaving them. But, that didn't quite help his case.

I mean, a pretty boy who dates a girl for no longer than 2 months and leaves them? How does that look? And it didn't quite help that he had gained a nickname from this, 'Month Morales'. You had heard everything about him and his little reputation, some of the girls he was with even calling him a manipulator for making them think he liked them. There was a clear narrative to stay VERY far away from 'Month Morales' But, how could you do that when he couldn't leave you alone?

You were walking out of your last period for the day, the hallways crowded from everyone trying to rush out of the Visions high school. You were almost at the door, almost! And then...

"Ayo, Y/n! C'mere."

You heard the most annoying, gut wrenching, slow, dumb, stupid, DRAINING voice in the world. Miles Morales. You turn around with a stern tone and eye roll as he smirks from you listening to his command.

"Look, Morales. I don't have time for your bullshit, I just wanna go to my dorm and crash. Ok? So can you just leave me the hell alone for once?"

You said with your arms crossed and a death glare. But, this mother fucker remains unfazed. Instead of just apologizing or walking away like a normal person, he tempts you. He walks toward you, getting so close that you could feel his breath on your face. You wanted to push him, punch him, yell at him, tell him to back up, or even just walk away yourself. But, you couldn't do that.

There was just something that had you so addicted, maybe it was the forbiddance of it all? Or maybe it was just that you found him so handsome? He had that stupid smile on his face and a glisten in his eyes. But, no! You don't even like him! No! Absolutely not! You had to let him know that he can't just flash a smile and get any girl he wants! You were not gonna be a ploy in Morales' game.

"You know that's not what you want, mama."

He said with immense eye contact. Making you feel small, flustered. There was a feeling in your stomach that you've never had before. You kept your facade up and answered, sternly.

"How would you know what I want?

He softly chuckled and said...

"Because, if you truly wanted me to leave you alone..."

He trailed off and whispered in your ear.

"Why haven't you walked away yet?"

He then cocked his head to the side, waiting for your response. You genuinely didn't have one, why haven't you walked away? It's not like you couldn't, there was a clear path behind you. The door was open, and you just stood there looking like an idiot. You truly didn't know what to say, so you just shook your head, rolled your eyes, and turned around, heading to the exit. Miles had the cheesiest grin on his face, shouting from where you left him as you walked out the door.

"You'll realize that we're meant for each other soon enough!"

You sighed and shook you head as you grabbed onto your backpack straps. You walked over to the dorm building and took the elevator to your shared room with your friend, Sofia. She was already inside, due to her not being stopped by an annoying boy who won't leave her alone. You sighed as you set your stuff down in the corner of the room. She glanced up from her book, reading the pages assigned for homework.

"Hey, what took you so long?"

She questioned

"There was a...incident."

She smirked, cocking an eyebrow. She was immediately intrigued and placed her bookmark in her book, shutting it.

"Oh, a teenage boy by the name of Miles Morales related incident?"

You sighed, sitting in the rolling chair by the desk.

"That would be the one."

She smirked, sitting up and facing you. You rolled your eyes playfully.

"And was there any way that you could've prevented this incident?"

Your eyes grew wide from the question.

"Well...I mean...maybe...but like could I really have prevented it? He was so close to my face how-"

"Close to your face?! Did you guys kiss?"

"Wha-? No! Of course no-"

"Well then what's he doing so close to your face?"

"I dunno, I mean he's just weird like tha-"

"He totally likes you."

"No! He doesn't like me, he just likes to embarrass me. Which is why I don't like him eith-"

"I never asked you if you liked him, are you getting defensive?"

"No! I-"

"You totally are."

"Why would I be defensive?"

"Because you like him."

"I don't!"

There's a knock on the door that interrupts the whole rapid conversation. You thankfully sigh, getting up to open the door. Once you do, you nearly gasp in shock from who it is.

"Hey, mami."

-----------☆--------☆--------☆----------------

[wildissylupus]

More on God Games cause the way it's written narratively is so interesting to me, especially with the Gods chosen to be in God Games, along with some of the motifs used and the way the gods are characterized.

God Games is basically framed as Athena going through different levels of Gods, Apollo is Level 1, Hephaestus level 2, Aphrodite and Ares level 3, Hera level 4 and Zeus is the final boss. we see this in how much time each god has along with how hard it was for Athena to convince them. It also subtly shows skill again and level ups through Athena arguments by using Ethos, Pathos and Logos.

With Apollo and Hephaestus, Athena starts with Logos, her arguments are factual and logical, not accounting for the contexts of those situations. With Aphrodite and Ares she needs to use Pathos, appealing to the lovers emotions rather then their logic cause that would not convince them, which in turn make Hera easier as Athena appeals to Hera's feelings on marriage and family. Then there's Zeus, with Zeus Athena uses Ethos, but not in the typical way it's used, Ethos is usually using your own authority in an argument to gain trust, what Athena does is appealing to Zeus's own ego and status of authority by begging him to let Odysseus go, sacrificing her own pride.

Then there's the gods chosen, a lot of people have pointed out that if Zeus didn't want to let Odysseus go then why didn't he get Poseidon or Helios in the argument, or any other God it would be harder to convince. In all honesty in Zeus wanted to make it insanely difficult the line up should have been Aphrodite, Ares, Poseidon, Helios, Persephone (trust me she has reason to be there, mainly due to her role in the Odyssey), then Zeus himself. So why didn't he?

To put it simply it was more of a risk, Poseidon is equal in power to Zeus, Helios is also insanely powerful, and while Persephone isn't necessarily powerful, she has status over Zeus and is honestly just terrifying in general (seriously people need to stop acting like she's just this uwu flower girl). They also have reason and authority to stand against Zeus, so when it comes to the end, where Zeus strikes Athena down, they would have had the ability to step in. The closest god in God Games that could do that would be Hera and even then it wouldn't have helped much.

Now the motifs, there's a specific instance I want to point out and that is Ares's entrance specifically the fact that the quick thought motif is still going when he enters. Which implies that they haven't left quick thought, just that the area has changed, which makes sense considering quick thought is very obviously a part of Athena's war domain. It makes sense Ares not only has access to it but also have the ability to change it to his domain, and considering a majority of interpolations of quick thought make it this night area, I think it would be cool if when Ares enters it turns to day, a strategic strike at night and a brutal fight at day. It also puts into more context why Ares asks "Is she dead?", that lightning strike was so powerful it affected their domain.

[haunted-xander]

I think one of the (several) reason for why Shadowbringers is so good is because the narrative is more about the individual characters than it is the Greater Conflict.

Like, the Greater Conflict is definitely there, obviously, it's what keeps the story going, but the focus is always on the people, much more so than the other expacs. HW and STB also have some level of character focus ofc, but it's very selective and even then the focus is based on them in the specific context of the current conflict.

But in SHB, the story bends around the characters' narratives, rather than the other way around. The story forms to put them in situations that challenges their flaws and limitations, by forcing them to confront it and actually deal with it. Even just at the very beginning, you see the twins being dealt a terrible hand that very neatly clashes against their faults.

Alisaie is confronted with a situation that she can and could never do anything about. She has no means to help the patients (at the time at least). The only way for her to help them is by eradicating the source of the affliction itself: the Light. But the Light isn't just some Big Bad she can kill and be done with. Even when all the lightwardens are down the Light is still there, it's just more manageable. Alisaie learns to not only see the bigger picture, but to care for it for her own reasons. For all that she has participated in Big Operations, it has always been because that's what others were doing, what others cared for to be done. She feels for the people of Doma and Ala Mhigo, but she didn't set out to liberate their homelands because she has any personal investment in it. But other people do, and she cares about what other people- be they strangers or friends- care about.

Caring about other peoples feelings and opinions isn't a flaw by itself of course, but doing things without any sense of personal purpose, is. This is what SHB helps her fix and confront, because it is personal now, she does it because she cares.

Alphinaud is forced into a situation where diplomacy and negotiations does and would never work. He can't talk himself into Eulemore, and he sure as hell can't convince Vauthry or the free citizens to let go of their life of ignorant luxury. The problem here also isn't as straightforward as a corrupt ruler, because even after Vauthry is revealed for the bastard he is, it takes considerable effort and convincing to get them to get off their asses and get to work. It's one thing to change the minds of people who wanted the same outcome just in a different way (like Ishgard- they rejected unity with the dragons, but they still wanted an end to the war), but it's another thing entirely to convince people that another way of life is even worth it.

And this is what SHB teaches Alphinaud, that words and deeds can achieve much, but that there is much more to diplomacy than appealing to their wants and/or sensibilities to convince them of an alternative outcome. His development may not be as immediately noticable as some of the others (largely bc he had a lot of it already from HW), but it is still very much there.

Urianger's development had already been build up and sort-of started already, but we don't really get to see it until it near explodes in his face after we kill Vauthry. Even after he swore off secrecy, he's forced to confront his morals when the Exarch bids his assistance. Urianger has always been looking at the greater picture, to the point he'd almost lose himself in it if it wasn't for the overwhelming guilt he feels. He works with the Exarch, because he knows he's the only one capable of it, and he hates the very fact that he is. When the climax of the plan is about to be executed, he is pained to the point that even he can't mask it anymore. He has betrayed their trust once more and once more it will result in the death of a friend.

But it doesn't, and that's what's needed for him to confront himself. As terrible and unexpected as the circumstances around it was, it did show him that there are other ways. There is no one way to solve a problem, the first choice doesn't need to be the only one. And he would find those other ones of he had just talked to the others.

The pay-off doesn't quite come until EW, where we see him actively make the choice to go against his first instinct of acquiesing to the Loporrits' plans, and instead chooses to consult us, but that scene wouldn't have made sense or even happened had it not been for his development in SHB.

Now, Y'shtola is a bit of an odd one because while she does get her due focus, she doesn't quite get the same amount of development as the others. Rather, it shows how she thrives when not held back by others interests and (often somewhat needless) bounderies. Her intelligence and charisma have the chance to shine, her independence and confidence now rewarded rather than punished. In ARR, she is constantly annoyed by the Maelstroms way of dealing with things, and how no one bothers to actually listen to her. Her advice and reprimands are almost entirely ignored until the problem blows up in their faces and they have no choice but to concede that she was right.

Being independent and confident aren't flaws by themselves, but her sometimes aggressive approaches to telling others off does her few favors. In SHB, she has the Night's Blessed who actually heed her word and respect her, they listen to her and actually take what she says- be it advise or reprimand- to heart.

She does also, however, have to deal with Thancred who, much like the Maelstrom, ignores her reprimands and doesn't listen to her. The difference here is that her bluntness actually serves a purpose. In ARR, her bluntness lacks tact and meaning, simply a result of frustration. The Maelstrom won't listen to someone who doesn't come up with fleshed-out arguments and solutions, but Y'shtola doesn't bother giving them any until she knows they'll listen. But with Thancred, she does give him the solution. It's just that the solution is him. His words, to be precise, and his acceptance. And he needs to be reminded of that, and she does. It doesn't automatically solve anything, but that's simply how it is with complicated situations like that.

Speaking of Thancred, his narrative is probably the most important of all for SHB. He's always been shown as a capable, but ultimately self-destructive man who genuinely does not know how to deal with himself in a healthy manner. Theoretically speaking he knows, he recognizes that he is self-destructive, but he still has no idea how to actually fix it. It's been shown as early as ARR when it results in him getting possessed, but it's not really made a point of until it almost ruins his relationship with Ryne. Up until now he could just ignore his problems, but with Ryne he can't because now The Problem(s) aren't just his anymore. Anything that would hurt him now would also hurt her, meaning that if he wants to continue doing the one thing he actually cares about (protecting his loved ones) then he needs to get his shit together.

But Thancred doesn't know how to. And for all that his friends try and try to help him, he doesn't know how to. He's paralyzed. Thancred is so deep into his self-destructive habits that it takes the threat of both his and the person(s) he loves the most in the worlds deaths to get him into action. He doesn't know if it's Minfilia or Ryne who will return, and I'm not sure he expected to survive Ran'jit. He only has this chance, and if he wants to die without (as many) regrets he has to do something now.

And he does. He does and what it is he does is tell Ryne that whatever happens, it has to be her own choice. That he will accept any outcome, that he will still care about her no matter what, that as long as she lives or dies as she wants to, that he still loves her. He still loves her. And it works, because that's what he's needed to do all this time, to be able to just tell her that she matters. That he cares.

He tells her to live her own life, and he learns to live his own too.

[wigglebox]

It’s really not that hard to understand how Destiel is canon despite not having Dean verbally textually concretely saying “I love you” back, which is what most people who only consume media on a surface level understand.

You have a jigsaw puzzle. Let’s say there’s 327 pieces. One by one you put it together with some bright spots where you get a bunch of them in a row and some more complicated spots where it took you longer than you wanted and the picture made it difficult to match up the pieces.

After awhile, you get 326 of them in, even tho your dog almost ate the 326th piece and it’s a little chewed up but whatever. It’s passable.

But, you realize you can’t find that 327th piece. It’s somewhere — it’s gotta be somewhere. You can see the hole where it belongs. You see it’s shape in it’s empty space, you see how many curves it has and how many sticky-out bits it has to connect perfectly with the rest of the puzzle.

However that final piece is still missing.

You look up and down, come up with theories about where it could possibly be (did the dog eat it? Did the manufacturers just screw up and there was a glitch in processing? Was it your own fault you lost it and it’s somewhere super obvious?).

But despite you being unable to find it, you’ve stared at that empty space for so long it’s almost like it is already filled because the shape is so clearly outlined. It’s the final piece and even if it’s not there, the rest of the picture is, and, the empty space is so well defined that there is no QUESTION that’s where the missing piece should go.

So Destiel is canon because the rest of the puzzle was filled in through years and years of subtext, text, basic narrative structure, romantic tropes, queer coding, etc etc.

The one piece that’s still missing is Dean saying three words but you don’t know where that piece is, aka, we don’t know why he wasn’t allowed to say it back. But we know that’s what has to be said. There won’t be a refusal of reciprocation because if that was the case we would have gotten it when the show was airing because there’s no harm from executives perspectives in denying queer feelings. They’d probably prefer it.

Dean’s missing words is the one single puzzle piece that’s missing right now. And we are all still searching for it but that doesn’t mean that it’s clearly defined space isn’t already there outlining exactly what could only fit right. There.