#she's an outside perspective on everything that's going on

[asirensrage]

Title: There's Something Wrong with Shinichiro Fandom: Tokyo Revengers Rating: Explicit Pairing: None. Side pairing Shinichiro x Unnamed Sano!OC Word count: 2306 Warnings: Dark!fic. Incest. Underaged teen pregnancy. Obsession. Forced Relationship. Emotional Manipulation. Swearing. Violence. Suicide. Canon divergence. Unbeta’d. *warnings are not exhaustive* Summary: There's something wrong with Shinichiro. Haruchiyo tries to get to the bottom of it. What he finds destroys everything he believes of the man. Shin is supposed to be the good one. Not this.

MAJOR MANGA SPOILER WARNING!

This fic mentions events in the manga that have not yet been shown in the anime. You have been warned.

Notes: I enjoyed writing this and the exploration in Sanzu's POV. It's a look at how desperation and fear can change a person and how distance can give the perspective needed to see the truth. I hope you like it.

There’s something wrong with Shinichiro. 

It started after Mikey’s death. Maybe even before it but Haruchiyo wasn’t around for a lot of that. Juvie does a number is keeping one out of the loop. He doesn’t regret it though. Not after what he heard those assholes say. But Shinichiro…maybe it’s because he was gone that he can see the difference. It’s not a gradual thing. 

Mikey died. A broken fucking fragile thing his friend never had any right to be. Emma left long before Haru got out. And people…he thinks people are forgetting there was another one. Another sister who was friends with his. He heard Takeomi say she ran away but Haruchiyo knows her as well as he knew Mikey. She wouldn’t do that. She was a fucking bleeding heart who tried hard to step up to take care of her family long before she had any right to. Shinichiro was supposed to be the eldest. He looked out for them. But then Mikey died and Shinichiro was going fucking insane which was saying something with how he knew people thought about him.

Haruchiyo tried to ask Baji. He tried to even ask his fucking brother who waved him off like it was nothing. When Takeomi ordered him to leave Shin alone and not go visit, he knew something was up. He knows something’s wrong and fuck Takeomi if he thinks he’ll listen to him. Haruchiyo isn’t a child anymore. He’s not afraid of his brother. Shinichiro was more of a brother to him than Takeomi ever was. If he can help him, he will. 

So he goes to visit him. 

But Shinichiro keeps him standing on the porch instead of inviting him in. It’s weird. Shinichiro was always welcoming to him. To any of Mikey’s friends. To anyone. It was part of why he was so popular, why he was a good leader. So the way he’s standing on the porch smoking, body angled in a way to keep Haruchiyo from even looking in the doorway sets his nerves on edge. 

He doesn’t get let in. Shinichiro makes some excuse to go to work or the shop (he changed his story twice) and leads Haruchiyo away from the house before he ever realizes what he’s doing. It makes him suspicious and afraid. He attended Mikey’s funeral but he wonders if they never cremated Mikey’s body. If Shinichiro has some kind of shrine set up…but he wouldn’t do that. Shin wouldn’t let Mikey be unable to pass on. So there’s something else. 

🪟

The next time he visits the house, he does when he knows Shinichiro is at work. He knocks on the door, but there’s no answer. He hears it though. Hears the soft sound of feet padding on the ground. Living in the type of home he did, surviving juvie without getting jumped, you pick up things. Including an acute sense of hearing to start. 

He moves as quiet as possible around the outside, trying to find the right window. Mikey used to joke about sneaking out as teens when they were kids. Before…before the accident. It’s never locked. Not that anyone would attempt to rob a dojo. 

He prys it open slowly, just enough that he can see first and freezes. She didn’t run like Emma. Instinct urges him to continue, to break in and demand what happened. He’ll fuck them up but there’s something warning him and he remembers sitting in Mikey’s funeral, watching Shinichiro grip his last sibling’s wrist tight, as if he was afraid she’d disappear too. It was chalked up to grief. 

He swallows tightly, shaking his head as he tries to make sense of it. He’s wrong. He has to be wrong. But Takeomi ordered him to leave it alone, no one asks about her anymore and the former Black Dragons have made every excuse about Shinichiro’s losses. They helped spread the rumours that both girls are gone. 

He closes the window as quietly as possible. And runs. 

🪟

“What the fuck are we doing?” Baji complains as Haruchiyo drags him along. 

“Will you shut the fuck up?” Honestly, it’s a miracle Baji even let him because the two of them haven’t been friends in ages. He thinks it’s the curiosity of Haru demanding his presence. That he has something to show him. Baji is the only one who Haruchiyo knows will react the way he should. The way he reacted. Haruchiyo needs him to prove that he’s not insane. That his suspicions are right.  

“Is this some fucking obsession thing? Does Shin know we’re here?”

“No,” he admits. “I was trying to see what was wrong with him and–” he can’t even bring himself to say it. Can’t air the thought that one of his heroes…

“He’s fucking grieving,” Baji says like everyone does. Haruchiyo shakes his head though and his former friend falls quiet. Thankfully just in time as they reach the house and sneak around to the same window. 

Haruchiyo prys it open the same way and looks, praying that she’s in the same spot today. He sighs as he sees her. Folding laundry now and looking too domesticated. It’s not right. He nods towards the window and moves out of the way for Baji to see. The other boy gives him an exasperated look but steps into the space and peers in. 

“What the fuck!?”

In the desperation for the truth, to know he’s not seeing things, he’s forgotten that Baji has never been quiet once in his life. 

Baji shoves the window open completely and pulls himself up into it. Haru follows quickly. He got him into this after all…and he needs to know the truth. 

She looks stunned to see them and a little scared which is ridiculous because they were friends. They are friends. “Yo–you can’t be here!” She says, looking around like she’s expecting something to jump out at them. 

“Who the fuck knocked you up?” Baji demands, storming towards her. “Does Shin know? Fuck, course he does. Who was it? Are they still fucking alive or did the dragons kill them?”

Haruchiyo can only stare at her, watching as she looks around, clutching the shirt she’s holding. Her stomach protrudes enough to make it obvious. She’s probably going to be due soon. She’s too fucking tiny to look like this.

“You need to go,” she tells them after taking a deep breath. “Shin-nii doesn’t like visitors. Not anymore.” Something about the endearment, the honorific attached to his name sits like lead in Haruchiyo’s stomach. It’s nothing he hasn’t heard her say a thousand times before, but it somehow feels worse now. 

“We’re not going anywhere until we get some fucking answers,” Baji stands his ground. “Why is everyone saying you ran away? We haven’t seen you in years! Who the fuck knocked you up? You’re fifteen!” 

“Is it Shin?” Haruchiyo asks, finally cutting in. Baji looks at him like he’s insane and ready to take all his anger out on him for the sheer disrespect. 

But then she looks away. She doesn’t protest the idea, doesn’t accuse him of telling lies and her silence is all the confirmation he needs. Baji seems to realize it too because he whirls back on her, staring at her in horror. 

Haruchiyo feels like his world is collapsing around him. 

Shinichiro is supposed to be the good one. The type of brother anyone could rely on. He was the type of person who laughed and nodded when his siblings’ friends called him ‘nii-chan’ and treated all of them like they were his little siblings too. He wasn’t supposed to be like this. Not Shin. 

“What the fuck?” Baji asks again, quieter this time, like he’s having as much trouble believing it as Haruchiyo is. 

“How–” his throat is tight. It feels like something is lodged in it. This is worse than seeing Mikey decrepit and fragile. “How long?” he chokes out. 

“It’s not what you think,” she says quickly. “He…he needs me…”

“You’re fifteen!” Baji snaps. “He’s your fucking brother!” 

She flinches at that. “I...I know. I didn’t…he needs me. We’re the only ones left!” she looks up at them pleadingly, as if trying to get them to understand. 

For the first time in a long time, Baji and Haruchiyo look at each other and agree with each other without a word. “Bullshit.” They say at the exact same time. 

“He does!” she insists. “Everyone’s gone! You don’t get it! We only have each other…we…he needs me. He promised he’d never leave!”

“Not like this,” Baji says. “This isn’t fucking right. Brothers don’t do this shit.”

“How would you know?” She snaps at him. “You don’t have any family.”

Baji scowls at her. “You’re my fucking family! You, Mikey, Emma! All of you!” He motions towards her. “No wonder Emma fucking ran if this was what would have happened if she stayed!” She flinches as he says it. 

Haruchiyo steps closer. “You know this isn’t right,” he says quietly. He thinks of his own younger sister and the hell he’d reach if someone did this to her. He makes a mental note to get her as far away from Takeomi as possible. His brother knows. Even if he’s not doing it himself, the way he warned Haru away makes it obvious that he knows what Shin’s done. “Have you even seen a doctor?”

She swallows tightly, tears building in her eyes as she nods. 

“Come on,” Baji says. “We’re taking you to my place. My mom will know what to do.”

“I can’t,” her voice cracks. 

Haruchiyo leans down, cupping her cheeks with his hands as he meets her eyes. “You can. Trust us.” 

🪟

It takes ten more minutes until she agrees. They take her to Baji’s mom like he said, sneaking around and making sure that none of the Black Dragons see them. They get her out of the city, to Baji’s mom’s relatives, as fast as they can. Baji makes a show of complaining in public about his mom trying to reform him by way of the countryside. Haruchiyo stays far from him, making it look like they’ve continued to be on the outs, to not be friends anymore. Haruchiyo can trust that Baji will protect her.

He takes responsibility for redirecting the Black Dragons, current and former, as well as Shin. Shin who devolves quickly, reacting first with anger only to sink further into his darkness. The man known to be charming enough to bring together opposing gangs can barely bring himself to leave his house, praying for the return of his sister and their unborn child. His friends, the men who followed him, tear the city apart. 

Izana, leader of the Black Dragons, has his men drag Haruchiyo off of the street, demanding answers.

“You know, Shinichiro asked me to make sure you made it through juvie alive,” he tells him. “You asked about him. Why?”

“He picked me up when I got released.” Haruchiyo says, spitting blood out from the last hit. He glares up at the silver-haired man. “He seemed off. I wanted to make sure he was okay.”

“Why?”

“Because I owe him a lot.”

Izana scoffs at him, looking at him like he’s unworthy. “Where the fuck is my sister?”

Haruchiyo looks at him. “She’s not your sister.” He gets a kick to the face for that. 

“She’s Shin’s, that makes her mine.”

Haru wonders what it is about her that’s making these men like this. If it’s Shin’s provocation, if it’s contagious or if it’s just the way she’s always been kind and trying hard to keep her family together that draws people into her. 

He keeps his mouth shut. 

🪟

He hears through Takeomi, through Wakasa, that Shin’s obsession has grown. Not only is Tokyo being torn apart, but Shin has apparently gotten it into his head that the problem is Mikey’s death. That if he can find a way to go back, he can fix everything. He can have his brother back. He can get his sister back and their child. His child. 

It reinforces Haruchiyo’s belief that he’s doing the right thing keeping her out of the city. 

🪟

“Please, Haruchiyo.” 

Shin looks worse for the wear. His shirt is stained, hair unwashed and Haruchiyo thinks he hasn’t bathed in a few days. It’s almost sad seeing a man who was leader of one of the most powerful motorcycle gangs reduced to this. His grief is eating at him but instead of doing something about it, he’s spiralling. 

The only reason he’s talking to him is because Takeomi called, demanding to know what the fuck Haruchiyo did. He’s the prime suspect but even with the fading bruises and threats from Izana, Haruchiyo gave nothing away. Shin apparently clung to that and tracked him down, finding him to beg the boy for answers. Haruchiyo thinks it’s pathetic, even if he’ll never say that out loud. What happened to the man he idolized? 

“Where is she? Where’s my child?”

“I don’t know,” Haruchiyo answers. It’s not technically a lie. He doesn’t know exactly where she is. It’s better that way. 

Shinichiro sighs and looks up to the sky. “This is all my fault.” For a moment, Haruchiyo’s hope rises at the admission. If Shinichiro realizes he fucked up, that there’s something wrong with him, he can get better. He can– “I should have chained her to the bed or some shit.”

His heart sinks. “What?”

Shinichiro shakes his head. “I lost them all. She…she was all I had. If Mikey hadn’t…I thought I found the answer. I really did.” 

Haruchiyo watches in horror as Shinichiro gets closer to the edge of the bridge they met on. “Hey, wait! Stop!”

“We were happy,” he sees tears in the older man’s eyes. “I love her. I always have. No after how fucked up it was. Take care of them for me, alright? Tell my kid..tell them I’m sorry.” 

Haruchiyo stares at him in shock, seconds too late to lunge forward and stop him from falling over the edge. He didn’t want this. Never this. “SHINICHIRO!” 

🪟

Haruchiyo never thought he was insane, despite what people said about him. He always knew exactly what he was doing. But the moment he went from being glared at by a majority of people at Shinichiro’s funeral to being at home with a different series of memories in his head, he thought he finally cracked. 

But there are scars on his face that he never had before. 

Haruchiyo races, trying to find the truth. He heads for the Sano home as fast as he can and nearly crashes into Shinichiro headfirst. If Haruchiyo is confused then Shinichiro is just as surprised to know that Haruchiyo remembers everything. No one else does. 

He thinks that’s the end of it. Shinichiro is alive. Mikey is alive. Emma hasn’t run away and the last Sano isn’t pregnant with her own brother’s baby. There is a relief that settles in his chest at the fact that everything is fixed. Shinichiro fixed it.

But then he sees the way Shin looks at his sister when he thinks anyone isn’t paying attention and Haruchiyo is forced to face the reality that this Shinichiro still loves her in every fucked up way imaginable. When he stares too long at her stomach, Haruchiyo wonders if he’s imagining the baby that he put there. That he left behind.

He can see the obsession in the man’s eyes, the guilt and the way he holds her too long when she hugs him. Haruchiyo stays around the Sanos more now and he would bet all the money he doesn’t have that Shinichiro has to force himself not to send him away. That would gain questions because Haruchiyo has always been welcome. Everyone has.

Then, out of nowhere, Shinichiro is killed. 

An accident that Haruchiyo doesn’t really believe because who doesn’t know that SS Motors is Shin’s? Wouldn’t Mikey have taken his friends there? Guilt eats at him for the relief he feels. Haruchiyo doesn’t have to protect her from her own brother now that he’s dead. 

He promised to keep her safe. Even if he didn’t get the chance to respond, the nightmares he has of Shinichiro falling off that bridge, of Mikey’s expression as he ripped apart his mouth and told him to laugh. It keeps him awake sometimes. Mikey never used to be like that. He knows that. Something changed. It’s the same feeling that led him to discover Shin’s secret, so he stays by the Sanos, stays at Mikey’s side, and watches.

Just because Shin is dead doesn’t mean shit. Not when Haruchiyo remembers the way Izana threatened him at Shinichiro’s funeral the first time, promising him that he’d find her and raise Shin’s kid as his own. Nor with the way he sees Mikey starting to spiral after Shin’s death and the way her and Emma are stepping up to take care of him. The way he clings to them, to her, like they’re the only thing keeping him standing. 

He doesn’t trust the Sano men. Not with her. 

He stays. He changes his last name to Sanzu, to get as far as fuck away from his own brother he still sees as complicit even if he never was in this timeline. He keeps in touch with his own younger sister, keeping Senju away from their own brother and using her to keep track of the Sano girls as he remains at Mikey’s side. He couldn’t save her from Shinichiro, but he can try from Mikey. From Izana. 

He made a promise. 

tr tag: @mitsuwuyaa @blackfire2013 @bleach-your-panties @reiners-milkbiddies

I’m not tagging anyone else lol

[rita-repulsa-ke]

Death and Time

“Why don’t you want me?”

Why don’t you want me.

Hey, Agatha, why don’t you want me?!

Before Agatha, there is nothing for Rio to lose. She is loss, the final end of all things. Nothing can be taken from her. All things die and so all things are hers. Until Agatha, and then, for the first time, she understands loss from an outsider’s perspective.

“And when I do die, a long, long, long, long, long time from now, I don’t want to see your face.”

Sure, she can do that. It’s not like she appears personally for everyone, though she could. Some people find their way past the veil without a guide. Some are ready for it. She picks the one who aren’t, those who feel their time has come too early, the ones who want someone to complain to or a long-suffering shoulder to cry on. She does her best to talk them around, but ultimately, one way or another, they’re coming with her.

Agatha will probably hurl herself past the veil and immediately start causing problems on the other side. She will never go gently into that good night. She’ll find the rules and then she’ll try to break them, arrogant creature that she is.

Rio misses her every day.

Or however long. She has trouble with Time. Not her domain. A day is a week is a month is a year; it all blends together.

Until she gives some to Agatha. Then she watches, unseen, and sees the hourglass tick down, grain by grain, until the inevitable end.

Which is, of course, her.

All she knows is that it has been too long. They did battle across continents until Agatha hid from her with dark magic and that hurt worst of all, the long stretch where she can’t even find the woman she loves. She doesn’t know how long it was. It felt like an eternity. It wasn’t.

When they were together, Agatha handled Time, mostly by being annoyed at it. Nothing has ever moved fast enough for Agatha. Rio doesn’t understand—there is only one thing to hurry towards.

And now that she’s arrived, Agatha doesn’t seem too happy to be here.

Too bad. This time she’s coming with Rio. It’s been too long (how long?). Death wants her favorite girl.

Only, Agatha is kissing her. Properly, even hungrily, and all she can do is let it happen.

How long has it been since Agatha kissed her?

Agatha’s mouth is so warm, exactly as she remembers, and Rio’s anger abates almost instantly, transmutes into something far more tender and adoring.

Agatha is so good at kissing her that it takes her some time to realize she has been cheated out of her prize.

She stands next to the grave. Agatha stands—floats—next to her.

“So,” she says. “I was thinking. Maybe we should let bygones be bygones. You know, dying really has a way of changing your perspective.”

If only. Rio knows her too well. “What do you want, Agatha?”

Agatha’s ghostly lips shape themselves into a cruel smile as she abandons the pretense that she isn’t doing what she always does, manipulating Rio’s fondness for her own gain. “Information. How does all this—“ here, a motion to her ghostly form, a bit of a twirl. “Work?”

Rio snorts. “How would I know? Ghosts aren’t mine. They deliberately defy the natural order.”

“Oh. Well, then. Ta, darling,” Agatha says, starting to fade.

”Actually, there is one thing I do know about ghosts,” Rio says, contemplating the grave.

“Oh?”

“In the end, they always come to me.”

Agatha considers that, then leans over and taps her on the nose, a whisper of something spectral against her skin that Rio has to work not to flinch back from, she’s really not the biggest fan of ghosts.

“Not the worst fate in the world. But I’m not done yet,” Agatha says with a wink and disappears.

Rio stands frozen for some unknowable duration, then shakes her head with a small smile. Agatha never fails to surprise her.

Fine, then. She’ll wait as long as she needs to—Time means nothing to the end of all things. Eventually, everything is hers.

And now she’s got something new. Hope—also not her domain—that by the time Agatha comes to her, her beloved will finally be ready to admit how much she wants Death.

For something cute, try the wedding

for something angstier, try jealousy

[rosewaterandpinkseasalt]

if we’re going with that though—do we think steven would really figure that out during the timeline of the show? we only see him up until the age of sixteen. he’s processing everything he’s been through (which is a lot) and he’s in a terrible mental state. i think this is something he’s going to reflect on & really figure out in post canon. if anything, a tiny silver lining is that the end of canon reminds young people that they don’t need to have all their traumas resolved right away! his relationship, too, is something he’s still working on but we can kind of tell they’re always going to be together.

i can’t help but sympathize with steven & as someone who’s older than him i really like how you always acknowledge the outside perspective! lots of rose haters see the show from steven’s perspective and forget that they can have an outside one, too. i try to look at both.

through steven’s eyes, he has a whole belief system set up and so much happens throughout his adolescence that, while he changes and goes through unimaginable things, he doesn’t know what to believe anymore. he starts to only see extremes. he started off with imagining rose as this perfect mother for comfort, and then he learns things about her that are quite alarming (i.e., bismuth being bubbled, not telling garnet and ame and dad about being a diamond) and feels this bitterness & anger. he even begins to question if she’s a bad person. it’s going to take awhile for him to process and figure out everything.

in a very similar way, he has trouble with how he feels about himself. he grew up isolated from lots of kids & finding out he was a protector & a healer, but as time goes on he struggles with self blame and self doubt. he begins focusing so much on protecting others that he forgets about himself—which makes him lose some self awareness, too.

so, when he’s in fight or flight like that and he needs to make a last minute decision, he chooses something that’s extremely self destructive but with the intention to protect the person he loves most. & that’s interesting to me because he’s not only reminding me of one mom here—he’s reminding me of pearl, too.

situations involving life or death & fight or flight, when the person already has lots of unresolved trauma and mental health issues… these situations can easily bring out some troubling aspects of people.

i have so much empathy for steven & pearl that i can’t bring myself to say that they were bad hurtful partners—really, they were being self destructive. & i think connie and rose were upset but more so because they were worried about their partners and they couldn’t do anything to protect them. it’s not something that would end their relationships or lessen trust—but it’s definitely a good example of how putting your loved ones over yourself & not having self compassion can cause issues when they feel the same amount of love for you & want to protect you, too.

@selkie-soup you know steven & connverse better than i do, but this situation is just very interesting to me and i thought i would chime in! i hope this is soup approved :3

it irks me so much when people act like Connie is in the wrong for how she acted after the trial. It ignores three things. One- Connie is 12, of course she won't act "perfect". Two- she tried to talk to him irl but Steven was at the cabin with the gems + his dad. Three- Connie has a right to take space, even if it was in her best interest it's not unreasonable she was hurt. She wanted to be there for him and they promised to protect each other (not to mention if any of Pearl's ideology still effected her) and she felt like their promise was broken. It was for the best she was left behind but she can still have complex feelings about the topic.

[aparticularbandit]

and like.

the pov characters grows throughout the trilogy, too.

oaei is primarily kyoko with short bursts of mikan (and three cameos).

oafc is primarily ryoko with kyoko as secondary and short bursts of nagito (and two cameos).

oalh is primarily kyoko with chisa and hajime as secondary and short bursts of junko (and currently no cameos planned).

...which i guess means that technically oalh has fewer povs than the other two but that the characters with povs have bigger chunks in their headspace.

that's not what i initially meant, but uh. i honestly expected there were more povs in oalh. XD

[clottedscream]

Yearly redraw number 9!!!!!

[Image ID: A digital painting of a girl resting on a ledge. She strikes a casual pose, popping a bubblegum bubble and scratching the back of her head. She's dressed in a 2010s-skater-grunge sort of style with a pair of high waisted jorts, denim vans, mismatched slouchy socks, a black tank top, and a ratty, splatter-painted overshirt that says "PUKE" in bold block letters. In the foreground beside her, a skateboard with the same splatter-paint design, and mismatched wheels matching her socks, is propped against the wall. It's covered in stickers, including some cats, a lesbian flag, and a bumper sticker that says "defund the M****rfuckers" with asterisks. The background is a placid suburban scene in watercolor style, with trees casting dappled shadows over the foreground. The sun is low in the sky, as though it were both early morning and late afternoon at the same time. Her large yellow headphones and pink gum bubble create a visual link between her and the wheels of her skateboard, as though the skateboard were a part of her. END ID]

[cashweasel]

🏨 gimme those blorbo rooms fdsfdsfsfsd, since it’s Pinterest can I ask for more than one? XD if so ima ask to Karimas and Shaheens OH and also Gideons (low key I know what valens/yazans looks like but its a good excuse for u to get to share) so if u want to Valens and Yazans wild be fun 😌

K BYEEE <3 😘

LOLL im glad you asked and yes i will give you all of them 😌😂😂

Karima: she’s obsessed with collecting room decor and she has a crochet corner, half of her decor is crocheted too honestly 😂 I think she also has a thing for animal print stuff esp curtains and pillow cases, she’d keep small ceramics stuff she made with daemon everywhere

Shaheen: idk why it was funny to imagine his college dorm lol he uses space very efficiently also his desk is very important 🧠

Gideon: his room is so big and so empty but he’s barely home so who cares, the only notable thing about it besides the diabolical toys collection on display is the display cabinet he keeps all his medals, plane models, pictures, uniforms etc in

Yazan: yazan’s room as you know is a Dumpster 😂 it’s impossible to find anything in there and it’s never tidy, also so many posters and records + ofc drum corner

Valen: very pretty but his room is an entire house in itself you need directions to where everything is 💀 Texas king bed with a canopy, mirror above bed/on ceiling, maximalist unique decor and very beautifully coordinated color wise. Also huge portraits of himself obviously lol

[OC headcanons: Picture Edition!]

[unproduciblesmackdown]

also it's something (better) like, the exercise of deliberately [art imitates life imitates art] holding up Billions to My IRL Things Perspective and going like whaaat would i want for winston. first answer is you want any character to not have been within the scope of the show in the first place, and to exit it since they are. and you kind of get that in the accidental reward in banishing winston, since like in the end it's just that the show doesn't care about him existing at that point But like it's winston sitting there quietly as everyone leaves & turns out the lights & Then he can leave too; others have peaced out & nobody remembers he exists so Now he can go off & do whatever.

but like in true form i think they definitely accidentally baked in another divine reward for winston in that, like, the way he's kept around as fodder for these fun little [pov: enjoy abusing this guy] asides with him, where it Just So Happens that he's autistic as something they're unaware of but is completely relevant to the expectation we understand him to be inferior(tm), it Just So Happens that he's also ""bad"" at not ""causing"" abuse to be turned on him. he's ""bad"" at staying in line. like well yes Yes that's what i want for him. just like In Real Life it's like yeah Ideally i'd want people to be able to extricate themselves from where they're trapped in power structures & i'd want them to have the perspective about it of understanding they're not Inferior / i.e. they are as much a person as anyone else and they're not corrupting everything good / i.e. it wasn't them Bringing It Upon Themselves and it's not them being Destructive by toppling a jenga tower of a hierarchy that happened to be pressing down on them. and winston is the kind of [the ruinerrrrrr] who is Turned On exactly because he keeps acting like someone who's on the verge of breaking out of the [being in line] someone demands of him as autist, employee, whatever other supposed manifestations of [inferior]

like in the 5 second stretches in which winston's allowed to speak before retaliation, it's because he's like "matter of factly" delivering whatever Information that's useful for another plotline. then he Brings It Upon Himself by making people aware that he's Also existing in his own right as a person rather than what they think serves their own deal / what they want from him at all times, perhaps by expressing his personality (didn't appeal to them! so it was Wrong) or not b/c of anything in particular said or done at present, just b/c people have a constant / accumulating contempt for him so their being in the same room as him & able to see & hear him is already dangerous. the [we're just seeing Any Abusive Dynamic in action] continuing apace.

and it's like, well, right there. he's written as acting like someone who doesn't blame himself for how he's treated, which billions frames as being Rude & Mean, and so too does everyone's abusers lmfao like and that these are his moments that are written to be Bringing It Upon Himself. and it's like hell yeah he doesn't blame himself. hell yeah that his self-esteem can manifest as anger at all. hell yeah that he keeps expressing himself with personality & confidence & doesn't even disguise his having been hurt, & it's this [his ass is Not grey rocking] that billions frames as both him "causing" his abuse & making that abuse "successful" lol, wrow just like real life!! and when like speaking of real life yeah it's not "bad" that people Do engage in strategies to mitigate & survive, including things like blaming themselves or being too "boring" to be anything but a non dialogued background character b/c that's all that goes unpunished, it's bad b/c it's done to them at all, not [ohh they're doing it to themselvesss] and like i'm asking myself like Ideally. what do i want Ideally. and i'd want winston to know that it's being Done To Him & i'd want him to find as much room for his personhood & autonomy as possible. and that's basically how he's written anyways, and billions hates that like You See this is why he deserves it this is why he's doing it to himself. and i'm like my god if that's not Inspiration for like "so what if people don't find you Personally Likable" and not preemptively holding back all personality or anything that'd draw attention as if you exist as a person in your own right & not something that only either gets in the way of or serves their wants of a Real person (someone with more power) like hell yeah you have him out here doing it =']

another fun addendum is like, billions isn't getting into it much b/c it doesn't seem to care much about "what if some people were peers & seem to have a genuine, recipcrocal relationship?" but that it just so happened to be like "oh tuk as the next closest loser who deserves it might be nice to winston" while it's framing winston as the "worse" Loser as being....unconditionally supportive of tuk. while the one downside of billions Also giving bentuk as much as it is is that it also inevitably has that shadow of "but ben is Superior to tuk" and like that it's correct that everyone encourages tuk to Stop Bringing It Upon Himself and start being less of a loser; it's wrong for winston to be like hey let's go have a foursome. like yeah probably don't make a list of the women you work with you'd be dtf but it's not like i'm convinced "ah billions and it's strong anti misogyny stance like" roflmao and billions is Not reflecting on "the downsides of unconditional support?" there when winston was beaten up for criticising taylor earlier like we WILL take his ideas while looting his [beaten unconscious] body there but he WAS wrong to express them as though he's BETTER than taylor!!! mafee's beautiful show of loyalty in kicking his ass even when he might agree with the argument and then benefit when it's adopted by taylor anyways! so it's as usual actually purely based on hierarchy & who gets to be in charge of people. it's correct for ben to be in charge of tuk, unless he has to step aside for that bizarre dead-end subplot about how it's tuk's fault if he's treated badly, b/c it's really his own Failure to have Confidence to know he has good ideas [raising our voice to deliver this message over the sound of breaking desks and chairs and computer monitors over winston because he had the confidence to act like he deserved to talk to someone and because he knows his ideas efforts & results are good & valuable around there] like. and isn't it sooo fucked up to talk about who you're dtf in the episode that has it be neutral if your boss is dtf & lets you know but is nice about it (and you're already Correctly tending to their ego, which you're responsible for!) like hey no possible problem! it's not even so much of a problem for a boss man to have the sex they're entitled to & be rude about their leveraging their power in that acquisition that it Stays a problem into the next season. ew, winston is Known (Inferred) Dtf??? we'll use it to exploit His vulnerability, exacerbate it, & punish him further for good measure in another episode that just revels in abuse & violation with a sexual aspect once again, but like, hey tuk don't do that, winston's such a Bad Influence for being like, shrug, kneejerk intervening with the Good Friendship where the One In Charge leaps in & Tells tuk the Correct thing to do. obviously there's also the tragedy that billions will Never let winston push back against Real Winners like rian or taylor in A Way That Matters (actually gets in their way at all) lol like. one thing that would have really been fun, winston should've literal kneejerk started physically fighting wags in either pertinent scene in 7x03 for real 110%. i wouldn't be like Gasp Violence Is Never The Answer if he just hit someone to hit them b/c fuck you. or broke anything on his way out etc etc. billions would Never let him. which is the other side of the same coin of [why he should get to]

tl;dr how great that winston's being "out of line" means he's basically always noticeably flouting & rebelling against the [He Deserves Abuse] agenda lol. that IS what i want. his being "beyond hope" like ohhh he's sooo stupid he doesn't realize how much he has the bad tastes & wrong interests & annoying personality He Will Always Be This Way like hell yeah!!! billions like oh no winston's personhood will never stay tamped down & locked away such that some godawful person tolerates keeping him in their inventory :( ohhh the ABA will never work :( that's right!!!!!!!!!! although they're not sad about it because it's about relishing the promise there will always be True Inferiors you can enjoy abusing with your righteous power over, but like well you wrote him escaping anyways even while dragging other "better" characters into standing around to serve axe's need for more than 1.8 employees and [crickets, reverberating cough, sneaker scuff] like. another ""wrong"" thing for winston to do, another thing for him to not "deserve," which is itself godawful actually lol like lord what it "rewards" its Good, Deserving characters with, no thanks. meanwhile winston's punishment is that he's autistic and """bad""" at being abused like lmfao good for him, fantastic for him, just what i want

[beldaroot]

blue period: chapter 63 - summer vacation part 9

[cursedthing]

.havign lots of thoughts about how npcs are portrayed learning about the nature of their universe in works

[fazcinatingblog]

More like IF I come back amirite, also stop making me feel guilty, also learn to spell (paralegal? Parallel? ...never mind doesn't parramatta), also like it's my fault she hires 53 accountants that can only do accounting and 1 admin person to send out the tax returns and invoices and

[daydreamerdrew]

Iron Man (1968) #57

[rebelliousstories]

Different Time

Relationship: Remy LeBeau/Gambit x Reader

Fandom: X-Men

Request: Yes by Anon

Warnings: Angst, Fluff, Mentions of Blood and Violence, Strong Language, Happy Endings

Word Count: 2,358

Main Masterlist: Here

X-Men Masterlist: Here

Summary: Being dragged into the Void by your good buddy Wade was not how you imagined to be spending your days after your lover had died.

A single card was fixed between her fingers as she walked behind the other two people on their journey. There was silence all around the trio as they walked through the field. She did not pay attention to what was being said, nor did she care very much. If it was of any importance to her, they would let her know.

Before she knew what was going on, a dog was running straight for them. But the man with long, flowing locks that was running behind made her finger tingle with energy. After Deadpool and the Wolverine ahead of her did not move to attack the man, she let that energy fizzle out. Not that it would have done much damage anyways. It was getting harder and harder to remember what it was like. And yet, she could see it so clearly in her mind; the first time he had shown her what he could do.

“So what can you do exactly? You just throw cards at people?”

“Nah, cher,” his hands came up to hold a card between his fingers, “is much more den dat. I charge da playin’ cards wit energy. And den dey go boom.” His chuckle followed shortly afterwards.

“Is that so huh?” She chuckled as well. But the man just smiled, and wrapped his arms around her anyways.

“See is like dis, cher. Watch and learn.”

With his arms around her, he held an ace of hearts. Flicking it in the air caused a pink glow to encompass it. She giggled as he swiped the card from the sky, and touched it to her skin. The resulting kinetic energy made her entire body jolt, but the man kept her grounded as it flowed through each and every muscle.

“Feel dat, cher?” His breath fanned across her cheek as she rested against his chest. Once she had recovered, she held her hand and felt the card laid in her palm. Flipping it over through her fingers, she managed to produce a glow and a light crackling energy field around the object.

“Atta girl, cher.” A kiss was laid upon her cheek, and she felt the day old scruff rub against the crook of her neck.

“You comin’, bub?” A gruff voice pulled her out of her thoughts. Snapping into reality, the three men in front of her were looking like they were off to go somewhere.

“Apologies,” came her reply.

“Did we just miss some exposition about you? I feel like we just missed a vital flashback into your tragic backstory. Besides, I would like to find out what you do exactly. We’ve never gotten a clear answer. You just sort of do everything, like Taylor Swift.” Wade was having none of her dismissal.

“What are you talking about?” She was utterly confused, but Logan waved the red menace of off.

“Don’t pay him any mind. Come on, let’s go.” They all made the trek out to the dense corn that housed an old Honda Odyssey, which made the merc in red pitch a hissy fit.

“Get in the fucking car.” Logan snapped at Wade, utterly feed up with his antics. Before being prompted, she threw open the side door and climbed n the back. She watched as Deadpool tried to run off with the sweet little pup that had found them, but Wolverine put a very fast stop to that. Defeated, Wade climbed in the passenger seat, while Logan went in the driver’s, and they were off.

Somewhere along the way, she must have dozed off. That was the only explanation for the memory she was experiencing right now. Except, she was not exactly experiencing it as t had happened. No, she was watching it from an outsider’s perspective.

The first thing she saw, was a dingy old motel room floor. And the next, was laughing. Looking up, she saw them. It was her, and her beau play fighting on the bed of the motel room.

“Now, you know bettah den to play dirty, cher. Ain’t no coyon, ya know?” Her lover had trapped her arms to her body, and was smiling as big as ever. Plush lips stretched across his face. Hazel eyes twinkled brightly.

“Didn’t hear you complaining about me playing dirty last night,” she teased. Turning in his arms, she looked up at her lover with nothing but adoration.

“Well, Gambit seems to remember you not complainin’ neither.” His lips came down onto hers.

Watching from her spot near the dresser, the future her could still feel the wonderful pressure of their kiss. Tracing her fingers over her own, melancholy filled her heart. He looked so alive in this moment. A moment that she cherished with her whole being.

“Ahh!”

Something far less pleasant awoke her this time from her thoughts. One of Wade’s knives had lodged itself in her shin. Blood steadily poured itself from the wound. And the world fell still for a moment. Raising her eyes, she felt herself shaking in anger and pain as Deadpool met her gaze.

“Oh no. Oh, I am so sorry.” He wheezed. But it was too late.

Her other leg raised and kicked him hard in the head. While he was disoriented, her mind contorted the blade that was in his hands; even the hand that was holding the knife began to bend and break. Holding her knee, she made herself fall through the car and onto the ground below.

“Where’d she go? Magic woman.” She heard Deadpool exclaim loudly. It was followed by a growl and a squeak. And the car started to rock with the force that they were going at each other.

Rolling to her right, she got out from underneath the vehicle before someone sent a blade through to her again. Releasing her leg, she crawled on her belly over to a tree that was still facing the car. Her forearms were covered in dirt and leaves now, as were the entire lower half of her body. While keeping an eye on the Odyssey, she worked to remove her boots and rolled up the pants from her injured leg. She could see the wound eventually and worked to clear her mind.

Regenerating always took a lot from her. It took a lot physically and mentally from her, but she could get it done. Groans slipped from her lips as she could feel her skin, muscles, and even veins being to stitch themselves together. A scar was all that was left in the place of the stab wound. The woman rested against the large piece of wood behind her and watched through blackening vision as both men were thrown through the car, and jumped back in with fervor.

That was the image that she passed out to. That was the last thing in the real world that she saw. She was not sure how much time had passed between her passing out, and when she woke up. But she immediately recognized that she was not where she was before. There were stone walls all around her, and she was lying down on a bed. Before sitting up, she looked and could see Logan with a bottle of liquor to her right.

Voices were muffled all around her. She could not pin point a specific one, but something felt off. Like someone or something was there, and how that was supposed to make her feel, she did not know. Groaning, she sat up and caught the attention of everyone else that was talking. One person much more than anyone else. A familiar drawl called out her name, and her body filled with dread. Footsteps came closer, and the muffs came off from her ear.

“Cher, that you?” Her heart sped up and it felt like it was beating out of her chest. A hand came to her shoulder, but she was not having whatever weird illusion this was. Grabbing whoever’s wrist this was, she used her body weight and center of gravity to pivot the person onto their back on the floor beside the bed she was on.

Staring down, her heart stopped. This was her beau. Remy was staring up at her with wide eyes. Letting out a shaking breath, her hands let go of the man as if he had burned her and stood upon shaking legs. The man on the ground was not doing much better than her. He stood just as quickly, and looked at the woman just the same.

“Oh, thank you Lord. It is you.” He whispered, taking a step closer. But her hand shot up to stop him from getting closer.

“Don’t. Who the hell are you? And what are you doing with that suit on?” She demanded, and watched the confusion sink in.

“Cher, it’s me. It’s your Gambit. I’m jus’ wonderin’ how in da hell you here now.” Remy breathed.

“Oh my god!” Everyone’s attention was brought to Deadpool who was wide eyed in his mask. “This is your tragic backstory. You and him…”

“I need some air.” She turned on her heels, and phased through her wall till she was outside in the forest. Outside, she tried to draw in a deep breath, but found her body starting to seize. Everything got too much. Shaky limbs and sweaty palms found themselves crashing onto the forest floor. She tried to breathe in again but only managed half a breath. Her heart was beating out of her chest. The world began to spin.

“Ay, ay, you alright, cher. Come ��ere. Let’s settle on down now, ya.” Thick arms encompassed her. They grounded her back to reality. As Remy kept whispering soothing words, she felt her world come back into focus. Her heart slowed down and was now moving at a steady rhythm. She was following Remy’s lead on her breaths; in through the nose for four, hold for four, out for four. Her arms and legs were soothing themselves out and she was able to wipe off her palms onto the legs of her suit.

“Dat’s a good girl, now. Ain’t no reason to be like dat. Just a little frightenin’ is all. Didn’ mean to.” He was apologizing for scaring her? After she had thrown him to the ground and walked out on everyone? Those arms felt so familiar and comforting; she did not want to move rom them. But she had to face this man. She had to know. Turning, her eyes finally came up close and personal with the man that had introduced himself as Gambit, Remy LeBeau.

“You good now, cher? Feelin’ a little bettah?” Even after all of this, he was still so caring.

“Yeah. How are you alive?” She whispered, tracing her eyes over every inch of his face like this was the last time she was going to see it. Because it just might.

“I been wonderin’ da same thing. Don’t know how long I been in dis here Void, but you was gone long before I got here.” One of his hands came up and pet her head so very softly.

“I’ll show you mine if you show me yours?” Her attempt at a joke made the Cajun chuckle as well. Sure, both of their laughs were tinged with sadness, but they were laughing together again.

“Well, I uh-” he stammered, trying to find the right words, “was out playin’ cards. Got a feelin’ dat somethin’ was wrong. Went back to the apartment we was stayin’ in. And you… you were gone when I got there. Tracked down who had killed ya, and it turned out to be my ol’ thievin’ ring. Didn’ like da fact dat we was ‘bout to get outta da game apparently. Da hardest thing Remy ever done was buryin’ you. Easiest was killin’ da sons o’ bitches dat took you from me.”

Silence enveloped them as the weight of his words sunk in.

“Something very similar happened in my timeline.” She replied, watching as he seemed to going through the same emotions she was.

“We were on our way back from a mission for Xavier. You and I were with Jean, Scott, and Storm. God, she was making so many jokes about how she was the fifth wheel on that mission and we were making it worse for her. Anyways, we got ambushed by the Brotherhood. We were actually taking out a good chunk of them, but Sabertooth got the drop on you. You bled out in my arms on the way back to the mansion. You had me promise not to do anything rash in the aftermath, but it was difficult.”

Tears welled in both of their eyes. Both of them mourning a love and life lost in tragic fashion. Remy pulled her in close, and she breathed in deeply. That familiar leather and musk scent blended with the fresh air outside. She just wanted that scent bottled up and kept with her at all times.

“So it seems to ol’ Gambit dat we both lost our other half. Maybe you was supposed to be the one that completed my deck, cher.” Her head raised and her eyebrow as she turned to look at the man in confusion.

“You’ve got an incomplete deck,” came her question. She began feeling around for a pocket in her jacket that was directly over her heart.

“Jus’ missin’ one card. Whatchu lookin’ for?” He questioned, letting her move around freely.

“Get your deck out,” his eyebrows raised. “Your card deck, Gambit. Humor me.”

“Whatevea you say, cher.”

The duo shifted until their respective items were grabbed. Remy produced a deck of cards and quickly rearranged them to be in card order. Her card was in between her first two fingers. As Gambit sifted through his deck, he stopped right where a card was missing. And as she revealed what was in her hands, the two suddenly looked at each other with love and tears. Her ace of hearts was missing from his deck, but he had finally found it again. It was a different time, different place, even a different person, but it was the same love that spanned the multiverse.

[sixofsol]

the crows as tarot cards in the major arcana

FINALLY DONE with the first part of this project… the plan is to maybe make a whole deck with different characters from different fandoms, we’ll see !! here’s my long explanation on why i choose what cards!

for all the crows i choose cards from the major arcana, which as the name suggests, often represent major events in life. most of the inspirations come from the rider-waite deck, however i’ve also taken inspo from other decks ! also pay attention to the directions the characters are facing - left usually represents the past, right the future, and facing front means the present

0 - the fool - jesper

the major arcana is sometimes described as the fool’s journey, we see this with the fool being card 0, instead of card 1. the fool goes through every challenge the major arcana has for him, and grows in the meantime. the fool represents innocence, freedom, adventure, travel, carlessness and the start of a journey. for jesper this feels very fitting especially looking through a pre canon lens, i sort of imagined this being his journey to ketterdam. the flowers on his coat are inspired by the rider-waite deck, where the fool holds a white rose, which symbolize youth and innocence.for all the crows i choose cards from the major arcana, which as the name suggests, often represent major events in life. most of the inspirations come from the rider-waite deck, however i’ve also taken inspo from other decks !

9 - the hermit - wylan

the hermit symbolizes soul searching and solitude. much like the fool for jesper, this feels like a pre canon card for wylan. the hermit can mean withdrawing inwards to recover and heal after a hard time. solitude in search for enlightenment. the lantern is also taken from the rider-waite deck, and to me the star in the lantern, much like the actual star card, represents healing.

11 - justice - inej

the justice card means… justice. consequences, truth and honesty are also words associated with the card. i tried many different ways of making the sword and scales interact, and thought this was a nice way. this to me is post canon inej, sankta of the seas out hunting slavers inej ! her yielding the sword with both hands also to me means that she holds justice in her hands, and she will bring it.

12 - the hanged man - matthias

before anyone gets mad at me… hear me out ! the hanged man represents being in a situation which you are not happy with, and that you want to change. you have the ability to change it as well, if you can dare to let go of the old situation, and see things with new eyes. this to me captures matthias arc very neatly, as much of his development is learning to see the world from a different perspective.

13 - death - nina

apart from death itself, the death card represents more rebirth, endings and beginnings, and letting go. traumatic transformations, which i think also captures nina’s whole arc. she is constantly being reborn, the world around her constantly changing. both pre and post parem, and i wanted the lines around the heart, black and red, represent different parts of her powers. as well as the icy fjerdan terrain behind her, being the first of the many sudden transformations she went through.

18 - the moon - kaz

the moon card generally means “everything is not as it seems”. it’s a card of deception and illusion, both to the outside world, but also when it comes to burying things within ourselves. the moon is closely tied to water, which matched the vibe i wanted to go for. fun fact, in numerology in tarot you count the numbers combined, so 1+8 for 18, meaning both wylan and kaz’ cards are number 9, which is why i wanted similar vibes for them

[halemerry]

So there's a lot to unpack here but I want to start by talking about the ending and specifically about the Metatron and the calculating moves made at the end of episode 6.

Every single piece of what happened there was a manipulation technique being employed against Aziraphale to an almost brilliant degree and I'm honestly a little obsessed with what this says about the Metatron in particular.

Let's go in order.

First of all. We see him order coffee. In a human body. Something sweet and sugary. He talks to Nina and asks her about her shop name. Does anyone ever ask for death? And when she tells him no they don't his response is to say "so predictable". Our introduction to him here even when everything about him reads like a sweet old man is presented to show us someone who reads the world in terms of being predictable to him.

He then shows up in the middle of Aziraphale's existence being threatened. He immediately cuts down the threat's authority (using outdated language like Az himself would favor) and reemphasizes his own connection to Heaven. When Michael doesn't recognize him and he puts her down and then directly engages Crowley. Crowley who, to Aziraphale, has for centuries at a minimum been someone he thinks is smarter, better, more Good than these other archangels. The Metatron validates these beliefs. Crowley is more Heavenly than these archangels who couldn't even recognize the voice of God when he was standing right in front of them.

The Metatron draws attention to the fact he's in a human body. The kind of body Aziraphale has been in and loved for nearly 6000 years. He then banishes the archangels, implying their morality is in a gray space, and validates Muriel someone we have seen Aziraphale react positively to and someone outside the current power structure. Look at me, he's saying. I see and validate the little guy.

He then tries to talk to Aziraphale. Aziraphale says "I've made my position quite clear." And then the Metatron offers Aziraphale the coffee. This bartering chip, consuming sustenance, is a thing that Aziraphale and Crowley have used as their connective tissue for centuries. It's an olive branch for them. It's giving Aziraphale bodily pleasure and the Metatron implies that he himself has partaken also - a thing we know that Aziraphale has struggled historically with moralizing. He is seen by the closest thing he has left to his parent and he is having old fears validated as safe and old habits being played upon to make him feel secure

He then REMOVES Aziraphale from his home turf. Not only does he remove Crowley from the equation but he takes Aziraphale from the place that has stood as a place of sanctuary throughout the entirety of the season. The shop is Safe and Aziraphale is leaving it and he is leaving the one person who might be able to smell the bullshit coming from the Metatron. The music notably turns absolutely dire here.

The next time we see them the Metatron tells Aziraphale that he doesn't need to answer instantly. He can take his time, if he likes. All the time he needs. And then tells him to go tell Crowley. Once again bringing Crowley in as a valid part of this while manufacturing a scenario where he can't possibly be.

Az ends up in a place where he's overwhelmed and confused and he wants so badly to believe what he's being told. It's an appealing thing from his perspective! He feels off kilter like he's made a mistake in judging the Metatron. He can't even fully articulate what happened to Crowley at first and he's had absolutely no real time to actually think it through. He's running on sheer reactive energy.

The Metatron starts their conversation by asking Aziraphale's opinion. Who should rule Heaven? This is once again playing into making Az feel validated and like he's a part of this decision making process. The Metatron corrects him, complimenting Aziraphale and making him feel capable and in control. He reassures Aziraphale's bafflement. And draws attention to some traits that, while true of Aziraphale around Crowley, are not his defining traits in the eyes of Heaven. You don't just tell people what they want to hear I find particularly notable in this regard given Aziraphale spent most of his time on earth actively lying to Heaven and doing just that. But it fits into the narrative Aziraphale has built around himself, especially post Apocalypse. The Metatron then says I need you (a phrase Az will use much more painfully here in a minute).

And even after all this Aziraphale says no. He says flat out he doesn't want to go back to Heaven. He says this!!! And then the Metatron sweetens the pot. He swaps tactics. Not once has this come up until Aziraphale pushes back against the idea. If the Metatron could've gotten him without using it I have no doubt he wouldn't have bothered with it. Come to Heaven and we can save Crowley. Aziraphale loves Crowley. Aziraphale thinks Crowley is better than any of the angels he's interacted with. Crowley is Good and Nice and Kind and always saving him and now he's being presented with a way to return that. He can Forgive Crowley - a thing Crowley has always presented to Aziraphale as something he struggles with. All of these things Aziraphale has watched Crowley react to in a way that belittles himself or distances them from one another. Of course he wouldn't consider that maybe what he was actually saying is "I'm unforgivable and I don't want that forgiveness."

The Metatron offers Aziraphale a Dream Offer for the pre Armageddon Aziraphale. You can keep your Crowley. You can heal him like you have always thought he deserved. You can have power and control the people who for your whole existence has beaten you down. It can go back to how it was but BETTER.

When Aziraphale leaves he still hasn't answered. He goes and has the conversation they have. It's intense and emotional and the Metatron comes in after the Moment all casual and asks how it goes, knowing fully well the shitstorm he had just set up to get created. And then he turns around and says "always did want to go his own way" which is not only true of Crowley but framed as a bad thing despite the fact that he has just spent twenty minutes or so telling Aziraphale that he's done his own thing and that is Good. He is playing both sides of this perspective as it suits him. And then he cuts down Crowley asking questions, pressuring Aziraphale to avoid doing the same. He then proceeds to ask Aziraphale not if he's made up his mind but if he's ready to get started. He is one by one closing off exit routes to this thing as Aziraphale starts to look more and more panicked and indecisive. He makes sure the bookshop is in good hands and asks Aziraphale if there's anything he needs to take with him. Letting Aziraphale have the illusion of choice while cutting down "I don't want to" as an option altogether.

And Az, as soon as the Metatron is out of shot, tries to express this. And then he falls back right on old coping methods. The Metatron pats him on the head. Reassures that he's the right one for this. That he is Good. That his particular skillset is needed here.

It is a masterstroke of manipulation. A very dark twist on what we see Crowley do time and time again with Aziraphale throughout the millennia. Familiar in a way that makes Aziraphale feel safe. Except this time this is being used to put him back in line. It's brilliant and painful and it fucking hurt and I need a season 3 to see the Metatron get what's coming to him stat.

[punkshort]

i know who you are | 7. the week

Pairing: Joel Miller x f!reader

Chapter Summary: Joel is on a mission to win you back. You struggle with your feelings and visit an old friend for some perspective.

Chapter Warnings: language, angst, pining, sad!Joel, amnesia, slow burn, physical violence, wounds/blood/injuries/gore, vague reference to suicide (Joel remembering his incident after Sarah), alcohol consumption, non-descriptive smutty memory, mentions of murder (adults and children), mentions of pregnancy (not reader)

WC: 7.7K

A/N: I took some liberties with the background of the Fireflies, it's not exactly canon.

Series Masterlist

Somewhere in Northern California

It took two days.

Two full days of freezing temperatures and frigid wind as he traversed up and down mountains, through snow covered forests with little to no shelter, but he finally made it. Right before nightfall, he approached the edge of the town you grew up in. The town your parents still lived in ten years ago. The town that holds a history of you and everything you hold dear.

It was too dark and he was too tired to enter the town and go any further, but fortune smiled upon him for the first time since he left Jackson when he spotted a dilapidated woodshed tucked into the forest. It was small, no bigger than a bedroom, but it would do. It would be the first time in two days he would get to sleep with a roof over his head, and he desperately needed it.

He grossly overestimated his ability to survive out in the wild. He did it before, of course, but life in Jackson made him soft. Made him complacent. Made him weak.

Time took its toll on his body. His age was an offensive reminder every time his knees creaked or his back twinged. He wasn't as fast as he used to be, nor as strong. But he was determined and stubborn, two things that would never change.

With hands trembling from the cold, he jabbed his knife into the lock and broke it with ease, a small triumph in an otherwise unforgiving journey. The shed was mostly empty, save for a pile of wood and an axe. Plenty of room for both him and the horse.

After he scattered some oats on the floor, he grabbed his rifle and marched back out into the snowy tundra to do a perimeter check, knowing he would fall asleep the moment he allowed himself to slow down. By the time he deemed the area safe, he retreated back into the woodshed and lit a fire in the tiny furnace to warm up a bit.

Once he got feeling back in his fingers, he cracked open some stew and ate it cold straight from the can, too impatient to warm it up and too eager to get some rest. The wind howled outside, practically screaming at him with every gust: How could you say that to me?

The horse nickered softly, her head lowered, one back leg cocked as she began to doze off. He laid on the wooden floor, partially resting inside his sleeping bag, ready to strike if there was an intruder. The back of his wrist laid against his forehead while he stared blankly at the ceiling, wondering for the umpteenth time if what he was doing was even going to work. If he would even be capable of finding your house in this town, let alone finding any pictures still in good enough condition to bring back to you.

But it was all he had.

You had mentioned to him when he was sick, after you saw the photo of Sarah, how you wished you had pictures of your family. You looked so somber and distant and he was once again reminded that even though you lost them ten years ago, in your mind you only lost them months ago.

He couldn't imagine losing Sarah twice. Waking up one day, thinking she was alive and healthy and late for school just to be told she was killed mercilessly ten years prior and died in his arms. You were so much stronger than him. You always were. You were told your whole world changed, your family gone, and then tossed into a house with him, pressured by everyone every damn day to regain your memories and become a completely different person when he knew deep down if the same had happened to him, his answer would lie at the end of a barrel. But unlike before, he might not flinch.

You really fucking hurt me, Joel.

He rubbed his face aggressively, the pain and anguish in your voice haunting him. This trip left him with too much time to get lost in his thoughts, too much time to wallow in his grief and replay every single painful memory from the past several days.

Sighing, he dropped his hands to his chest and tried to think about something else. Letting his eyes drift shut, he let his mind wander back to before. Before your accident, before he fucked everything up, back to a time when you were happy and stupidly in love.

"What's cookin', good lookin'?" he heard your voice behind him.

He grinned as he stirred a pot of sauce on the stove while you wrapped your arms around his midsection, burying your face against his back.

"My accent rubbin' off on you now?"

You giggled and let go, walking over to grab the bottle of whiskey and pouring you each a glass.

"Maybe."

You handed him his glass and clinked them together before taking a sip.

"How was patrol?" he asked, turning his attention back to the pasta.

"Boring," you replied, hopping up onto the counter next to him, swinging your legs back and forth. "Jesse has a lot of work to do. He's not seasoned enough to be out there without one of us."

He nodded thoughtfully and lifted the spoon up to your lips to taste the sauce. "Needs lemon," you said, licking your upper lip while he snatched a lemon from a basket in the corner of the kitchen and sliced it in half.

"Yeah, I know, but he's got potential. Just gotta get him to focus a bit more. Gotta be more aware of his surroundings."

You hummed and rubbed the back of your neck with a wince.

"You hurtin'?" he asked, but you shook your head immediately.

"Just tired."

"You sure?" he said while he strained the pasta. "I can rub your neck later."

"Oh, well in that case, yes. I'm absolutely aching over here," you said with a smile.

"Don't tempt me, baby," he told you, setting down the pot before wedging himself between your knees, his hands rubbing over your thighs. "Might not stop at your neck."

"Is that right?" you teased, pulling your lower lip between your teeth playfully.

"Mhmm. First it's your neck, then shoulders," he said, pressing a gentle kiss against your lips, "then your back," he dragged his hands up your back and pressed you forward, nearly pulling you off the counter.

"Then what?" you asked breathlessly, arms loosely draping around the back of his neck.

"Before y'know it, you'll be pullin' at my belt, tellin' me you got an ache someplace else 'n you need me to stuff you full of my cock." His hands dragged up and down your back, his mouth nipping gently at your throat as you tipped your head back with a gasp.

"You know me so well," you murmured, a lazy smirk spreading across your face when you felt the urgency behind his touch.

"Yeah I do, baby," his words getting lost against your skin, "know you like the back of my hand. Know what makes you tick. What makes you feel good. Know what makes you scream my fuckin' name." His lips slotted over yours urgently, the pasta cold and long forgotten as you wrapped your legs around his waist and pulled him close.

"Take me to bed, Joel," you begged after you pulled your head away, breaking the kiss and then quickly latching onto his neck. "Need you. I want - shit!" you cursed when one of you accidentally pushed a plate off the counter and it smashed into pieces against the floor.

"Leave it, don't care," he said, picking you up and pulling your attention off the shards of ceramic littering the floor. "I'll clean it up later."

His eyes popped open, the echo of your giggle from that night bouncing around his skull. It was almost laughable now, thinking he felt lonely before compared to how he felt in the middle of fucking nowhere with only a sleeping horse to keep him company.

He wasn't stupid. He knew he would need to do more than bring home some pictures to convince you to forgive him. But it was a start, and maybe, just maybe with time, you would come to understand what you meant to him.

And if he was really lucky, he might end up meaning something to you, too.

It was stupid and it didn't mean anything.

That's what you kept telling yourself ever since Joel left and you found yourself curling up in his bed at night instead of yours.

His bed was more comfortable. His room didn't store the bad memories of your fight. It was simply easier to sleep there.

It certainly didn't have anything to do with the way the sheets still smelled like him. Like the soap you both used combined with the outdoors and a hint of his sweat. And on the third night when you picked out a flannel of his from the closet and wrapped it around yourself, it was only because it was a particularly frigid night.

You didn't miss him.

Well, you missed having another person in the house, sure. But you didn't miss him on some deeper level. Maria and Ellie were wrong. They had no idea what they were talking about. They had no idea what was going through your head, what you were feeling, what you were struggling with.

There was no possible way you could have feelings for Joel. Not after everything he did and said. Not after the lies and the cheating and the deception.

But then why, when you were struggling to fall asleep at night, did your mind always wander back to the way he looked at you in the meadow, or the way his arms felt wrapped around you on the back of the horse, or the way he made you laugh when you played Monopoly?

And why did it feel like a part of you left with him that night?

"Pathetic," you muttered to yourself, pulling the sheets tighter and rolling over onto your side, his soft, worn flannel like butter against your bare skin. You squeezed your eyes shut, forcing the memories from your mind and instead, replaying what he told you about the hospital.

He almost killed you. He was seconds away from putting a bullet in your head and only after presumably begging for your life did he let you go, and then he had the nerve to keep that information from you not only once, but fucking twice.

He was protecting Ellie.

But he still shouldn't have lied.

With a groan, you rolled onto your back and stared up at the ceiling, sleep so far out of reach you didn't even feel like trying anymore. Then a thought occurred to you:

You weren't the only one he let live. There were two other people in Jackson who were there, who were shown mercy and didn't appear to hold any resentment towards him for it. In fact, they seemed rather happy with the second chance they were given.

You hadn't seen Ben or Lisa in a long time. The opportunity never presented itself for you to seek any perspective from them about that day.

Perhaps it was time to change that.

It took him a few hours to scope out the town and venture out of the woods, but by late morning he was heading down what looked to be one of the main thoroughfares in town, eyes squinting against the blowing snow as he tried to pinpoint the location of town hall.

All he remembered was your street name but he had absolutely no idea how to find it, so his plan was to break into the town hall and find a map. From there, he prayed Ellie's drawing was truly accurate enough to narrow down your parents' house.

He was freezing. His face was numb and his back was fucking killing him from riding so much, but he was so close. If he was lucky, he could find your house, get what he needed and head out all before nightfall. Maybe he could even spend another night in the woodshed. It wasn't so bad. At least he was warm.

As he continued to steer his horse down another road, he couldn't help but think Tommy was right about the storm. It was providing him some cover, just in case there were survivors around that wouldn't take kindly to his intrusion. He just hoped it would blow through in a day so his ride back would be clear.

After another thirty minutes of wind whipping at his face, the cold penetrating his coat and several layers underneath, he finally saw it. It was a smaller building than he imaged it to be, but the sign was clear. Hoping that the town size was as small as the town hall, he steered his mare down the drive and through the parking lot, making sure to take in his surroundings, confirming he was truly alone before he slid down from the saddle and trudged through the snow to the front doors.

He wiped away the snow from the window, peering inside before heading to another one and doing the same. It appeared to be empty so he tried the door, unsurprisingly finding it locked. He pulled out his knife and worked on the lock, his fingers stiff and his ears so cold he could barely feel them anymore. Finally, he broke the lock but when he shoved the door, there was something blocking him on the other side.

"Shit," he muttered, glancing around, kicking and dusting snow off the surrounding area, looking for a brick or a rock. Giving up, he grabbed his rifle from the saddle and angrily made his way to the nearest window, smashing the butt of his gun against the glass repeatedly until it shattered. He gasped for air, not realizing how much energy he was exerting before he continued, knocking out as much of the glass as he could.

Sticking his head inside, he looked around. The place seemed empty. It was quiet, covered in dust and debris. Untouched dust was good. It meant nobody had been there in a while. Human or otherwise.

He crawled through the window, taking great care to not catch on any jagged edges. He held his breath, ears straining for any noise that might give someone away, but all he heard was the howling wind outside. This is your fault. Still, he kept his guard up. He walked room to room, finding his way to the lobby and searching the front desk for a map.

"You gotta be fuckin' kiddin' me," he grumbled as he opened and shut each drawer in the desk, only pausing to snatch up an old protein bar and shoving it in his pocket.

With a sigh, he looked around the room. There were a couple benches, chairs that were moved and tipped over, papers scattered about but his eyes were drawn to the portraits on the wall. There were a few paintings of men he would never recognize, unknown sheriffs and mayors, and some framed pictures of the staff, but the one that really drew his attention was the large map on the wall next to the front doors.

It was a road map of the town. Simple, but it was all he needed. He rounded the desk and shined his flashlight over the map, studying it, searching for where he was before looking for your street.

"Grant Street."

"Grant?" he repeated, his fingers lightly skirting up and down your bare back.

"Mhmm," you confirmed, eyes closed, a small, satisfied smile tugging at your lips as you buried your face into his neck.

"That's funny," he said, his hand wandering past your waist and over your ass.

"Why's that?"

"Grant's my Mama's maiden name."

Your eyes opened and locked onto his. "Maybe it's fate, then."

Maybe it was.

Grant was only four blocks north. It didn't look like a very long road, either.

He could do this.

He was so close.

Lisa answered the door with the same look of surprise as before, although this time she was clutching needles and yarn in her left hand while the fire quietly crackled behind her.

"Hey," you said, arms wrapped around yourself as the snow storm continued to swirl behind you. "Can I come in?"

"Oh! Of course!" Lisa said, stepping back, "how rude of me. Can I get you something warm to drink?" She closed the door behind you and took a step towards the kitchen. "I just boiled some water for tea, it's still hot."

"Tea sounds lovely, thank you," you said as you hung up your coat and scarf, trying your best not to make a mess of melted snow all over her floor.

She told you to make yourself comfortable while she prepared your tea, so you wandered into her tiny living room, the space seeming a little larger now without your two imposing men.

"Where's Ben?"

"Working," she said, setting down a teacup and saucer next to hers. "I put a little sugar in it."

"Oh, thank you, that's perfect. I like it sweet," you replied, sitting down on the same couch as before and bringing the cup to your lips.

"I know, I remember," she said, and when she sat down and fixed her billowy top, you noticed for the first time the small bump protruding low on her hips.

Your eyebrows shot up in surprise and she followed your gaze.

"Oh, yes," her tone soft, "I'm due this spring."

"Wow. Congratulations, Lisa. That's wonderful, I had no idea. I thought I would have seen you from time to time at the infirmary," you explained, setting down your tea.

"Nick agrees to see me after hours, sometimes he makes house calls," she said, picking up her needles again.

You titled your head to the side. "Why do you want to be seen after hours?"

Her lips pressed into a thin line, eyes fixed on the yellow blanket she was making. "I still find it difficult sometimes to face some of the others in town, I suppose. I know I shouldn't but the guilt sticks with me."

"Guilt?"

Her eyes flicked up to yours and she shifted her weight. "I know Ben mentioned the Fireflies to you." She held out her wrist, showing you the small moth-like symbol tattooed there. "I'm not sure how much you know or remember-"

"Actually, that's why I'm here," you said, taking a deep breath. "Joel told me everything. About the Fireflies. About the hospital."

Her eyes widened, the needles abandoned in her lap.

"Oh."

"Yeah," you said, chewing on your lip and glancing at the fire. "He told me what he did there. Told me he spared us, let us go."

"Yes, he did," she agreed softly.

"Can you tell me more about that day?" you asked, dragging your eyes back to meet hers. "I'm having trouble understanding how I could have known this before and still managed to fall in love with him."

She frowned. "What do you mean?"

You laughed dryly and shrugged. "I mean he almost killed us. He killed countless innocent people, friends of ours I'm assuming, and I'm expected to believe I just looked past it? We just looked past it?" You motioned between the two of you. "He's a murderer, Lisa. He-"

"We're murderers," she corrected, and you fell silent. "We killed innocent people. We helped lead a revolution that resulted in hundreds of deaths, and where did that get us? Nowhere! People weren't any better off. In fact, they were worse. Friends and family killed, caught in the crossfire, tangled up in this idea of freedom and safety and giving their lives to an empty cause."

You swallowed as you watched Lisa's face, her eyes fiery and her tone hardened, transforming into a different version of herself before your very eyes.

"What Joel did..." she trailed off as she thought back to that day. "We did bad things. So did he, but he single handedly cut the Fireflies off at the legs. He stopped the insanity, stopped the war, stopped the ridiculous experiments and half baked ideas to save the world, regardless of the lives lost along the way. You don't remember, I understand, but allow me to explain."

"Please," you begged softly, "please tell me everything."

She rested a palm against her swelling stomach and leaned back. "We realized we made a mistake pretty early on," she began, "but we didn't have anywhere else to go. We had been living in the wild for so long. We were tired and hungry and weak and we fell for it. Fell for the sales pitch when they found us. We were told we wouldn't have to fight, but they didn't tell us what they expected us to do."

"W-what did we do?" you stammered, sitting on the edge of your seat.

"We killed people. Innocent people, point blank. FEDRA soldiers. Civilians who ratted out our location for extra food for their family. Children-" her voice wobbled a bit as she looked down at her stomach. "Children who were experimented on, vaccine prototypes tested on, who became horribly disfigured a-and screaming in pain, begging to be put out of their misery-"

"Okay," you said, cutting her off and taking a deep breath, unable to hear much more. It was becoming clear why Joel kept this from you, and although you had a right to know, you were beginning to understand his motivation. He was trying to protect you.

"Anyway," Lisa continued, flicking a tear from her cheek, "we planned on getting out. We couldn't do it anymore. Then, Joel showed up."

You held your breath, waiting for her to continue.

"We were doing perimeter checks. Loosening a spot in the gate so we could sneak out later that night. Then we heard the gunshots. And at first, we thought some infected got in. It was the perfect distraction, so we grabbed our gear and made a run for it."

She paused to take a sip from her tea, her eyes looking miles away.

"We almost made it. We were in the parking garage loading up a vehicle when he snuck up behind us. Told us to lay face down on the ground with our hands behind our heads. We never saw him and it wasn't until later we found out he was all alone. The whole time we were convinced it had to have been a group of men. It seemed impossible for one man to do what he did, but somehow..."

She trailed off again and cleared her throat.

"He gave us a second chance when we didn't deserve it," she said solemnly. "You and Ben dealt with the weight of what we did far better than me. I still struggle with the guilt, I can't..." she looked up at you, "I hope you never remember."

A chill went down your spine and you nodded.

"Try not to hold it against him," she said, offering you a small smile. "We've all done terrible things. It's not all black and white."

It ain't black and white.

"Yeah, okay," you replied quietly, standing up from the couch, your mind reeling. "Thanks," you added, motioning to the tea before she walked you to the door, "and congratulations again."

"Thank you," she said, rubbing her belly, her green eyes sparkling. "I'm glad you stopped by. The truth is sometimes ugly, but that doesn't mean you don't deserve to understand the whole picture." You nodded and bent over to shove on your boots. "Joel's not a bad man. I'm sure he was just trying to protect you by leaving some things out about our past. He would have told you eventually."

When the whole goddamn world ends and all you got left is one or two people you care 'bout, you'll do whatever you gotta do to protect 'em.

"Yeah, I'm starting to realize that now," you said, shrugging on your coat with a wry smile.

The whole way home, you practically kicked yourself for not visiting Lisa sooner. Maybe it would have made a difference, maybe not. But it finally felt like a missing puzzle piece was back in place and you could begin to make sense of your confusing feelings for Joel.

Ellie was incredibly talented.

He needed to make sure to remind her of that when he got home because even through the blowing snow, in near whiteout conditions, he was still able to figure out which house was yours because Ellie's drawing was so detailed, so accurate that it almost felt like he had been there before.

He was eager and impatient. He just wanted to get inside and get what he needed and leave, but before he did, he peered inside the windows and did a walk around the whole house three times, just in case. It was a small brick ranch and if the snow wasn't so thick, he would be able to see the black shutters framing the front windows, just like in the drawing.

He shouldered open the side garage door first, a pile of fluffy snow spilling over the hard concrete as he stumbled in and shimmied open the roll top door so he could bring his mare inside.

He pat her between the eyes, murmuring his thanks for being so damn tough and sprinkled some more oats on the ground before slipping inside the house.

The door from the attached garage led right into a kitchen, which, by the looks of it, was rifled through on more than one occasion. No doubt some survivors had come through over the years and turned the place upside down for anything useful, but that didn't matter to him. What he needed wouldn't be stolen.

Glancing at the fridge, he paused when he saw some photos stuck to the door. He leaned his rifle against the wall and shook his head, curls flinging melted snow over the dusty floor, then bent over to examine the pictures. Most of them didn't have you and he began to worry he was in the wrong house after all, but then he saw it: at the very top was a picture of four people, all wearing summer clothes and Mickey Mouse ears with the Cinderella castle in the background. A middle aged man and woman bookended a young man, lean but muscular with his arm draped around your shoulders.

You were younger, maybe still in high school, and your hair was longer and lighter, but he would recognize that smile anywhere.

He carefully plucked the photo from the fridge and brought it closer, his eyes raking over every detail of the picture, from the brightness in your eyes to the cotton candy pink sky behind you.

You looked so happy.

Nothing like the way you looked when he last saw you: broken and bruised. Ruined and dejected. Because of him.

You spared my life just to break my heart.

He blinked and pocketed the photo before turning around. The living room was in worse condition. It appeared someone must have stayed there at one point because the couches were shifted around, an armchair wedged in front of the door, cushions flung around haphazardly.

He had to move furniture out of the way, dig around a bit through broken bookshelves, but he managed to finally unearth an old photo album. Resting on one of the couch cushions with a huff, he took a few moments to flip through it, smiling now and then when he saw an especially cute picture of you. The wind outside was howling so loudly, the old house creaking with every gust that he couldn't hear when footsteps slowly crept up behind him and knocked him unconscious with the butt of his own rifle.

Stupid. Stupid. Stupid.

He knew better. He should have scoped out the inside of the house before getting distracted. But he was too excited and too eager to get what he came for that he forgot his own rules. And he took for granted the snowstorm would hide his tracks.

Now he was hunched over on the living room floor, leaning against the wall with his wrists tied behind his back while five raiders went through his things.

"Hey man, don't you like peaches?"

"Fuck yeah I do, give it here."

Joel groaned, the back of his head throbbing, thick, sticky blood slowly trickling down the back of his neck.

"He's waking up."

"Hey, princess, how's the head?" one said with a sinister laugh. Joel ignored him.

"You got some nice shit. Wanna tell us where your camp is?"

Joel opened his eyes and glared at the man in front of him, wearing a leather jacket and leather gloves and a black bandana pulling his dark, wiry hair off his scarred face.

"Fuck you."

The punch came fast and hard across his jaw, making him see stars for a moment. The other men chuckled and got back to dividing up his things.

"You wanna try that again?" the first man asked, crouching down in front of him. Joel tugged on the rope holding his wrists together. The knot was tight but it wasn't foolproof. He just needed a little time to loosen it up.

"Don't got a camp."

"Bullshit," the man barked, spitting against the wall next to Joel's head. "Ain't nobody out here with this kinda gear and a goddamn horse roughing it all alone. Now, just tell us the city and we'll take it from there. We'll even let you live."

He heard one of the other men scoff but the rest remained quiet, and if Joel wasn't already convinced they were planning to kill him either way, he definitely was now.

"Boise."

"Boise?" he repeated, and Joel nodded, twisting his hands behind his back, feeling the coarse rope burn against his skin. The man in the leather jacket sighed and hung his head before landing another blow, this time across the mouth. Joel's lower lip got snagged on his teeth and tore. Blood trickled down his chin as he angrily whipped his head back towards the raider.

"I told you what you wanted!"

"You fed me a bunch of bullshit is what you did," he said, kicking Joel in the ribs. He gasped for air, doubled over against the wall, coughing and spraying blood across the faded floral wallpaper. He wondered if your parents did the wallpaper themselves, if your mom picked it out, or did the house already come like that?

Joel tugged harder on the rope, feeling it start to give. He needed to stay focused. He needed to make every move count if he wanted to get out of this alive.

The raider pulled a revolver from the back of his pants - Joel's revolver - and flipped it over in his hands. Back and forth, back and forth. Then he leaned forward and pressed the barrel against Joel's forehead.

"I'll give you one more chance, asshole," he said, his dark eyes boring into Joel's, "tell us where your camp is or else I shoot you in the fucking head."

"What the hell was he doing here anyway?"

"Shut up, Mike," the guy in the leather growled, eyes still trained on Joel.

"No, but seriously. There's nothing in this house worth taking. We've been through this neighborhood months ago."

The raider's eyes flickered around the room and Joel tugged harder on his restraints when he looked away. Then the man spotted the photo album lying face down on the ground.

"What's this?" he asked, lowering the gun and picking up the album. He began to flip through it and Joel felt the rope finally give. The raider let out a low whistle and slid a photo out to look at it closer. "Don't tell me you came out in the middle of a storm just to find something to jack off to," he teased, holding up a photo of you in a yellow bikini by a pool. He flipped the picture back around and grinned. When he went to stuff it in his pocket, his attention momentarily diverted, Joel took his opportunity to strike.

In the blink of an eye, he snatched the revolver from the raider's fingers and shot him in the temple, his body immediately falling limply to the side. Wet, sticky blood sprayed all over Joel's hand but he just tightened his grip on the gun, taking aim and bringing down another one of the men while they were still too stunned to move.

"Fuck!" one of the remaining three men screamed as they scrambled for cover. Joel ducked behind the couch and held his breath, straining to hear the scuffling of their boots, trying to pinpoint where they were in the small room. When he heard one of them accidentally knock against the kitchen table, the wooden legs scraping against the linoleum, he straightened up and took aim, taking out another man with a bullet right between the eyes, but unfortunately one of the last two men got a shot in as well.

The bullet grazed against his left bicep. Joel hissed and ducked back behind the couch. He would deal with it later.

"Come on, man, we can work something out," one of the men called out after a minute. "Let's just go our separate ways. Act like this never-"

Joel jumped up and shot the man in the cheek, the bullet traveling through his mouth and out the back of his head, leaving brain matter that looked like globs of gelatin dripping down the kitchen cupboards after he fell lifelessly to the ground.

Joel stepped towards the kitchen, now only one on one. He got cocky. He was feeling too confident with how quickly he took out the group. He didn't even see it coming when the knife lodged into his side, just above his hip. Without thinking, he yanked the knife out, twisted around and jammed it into the final raider's throat, watching as he fell to the floor, choking on his own blood, and didn't look away until he stopped twitching.

Adrenaline still coursed through his veins and he used it to his advantage, his left hand pressing weakly against his wound, the wound in his arm preventing it from being very effective while he searched the dead bodies of the men for anything useful. He had brought some first aid with him when he left Jackson but he was too far from home, he would need antibiotics, at least, if he was going to make it back.

Of course, he came up empty, so he snatched his first aid kit from the table and stumbled down the little hallway, searching for a bathroom. He knew it was a lost cause, the raiders already admitted to clearing the place out months ago, but he had to try.

He flung open the medicine cabinet with a grunt, the pain beginning to set in now. Pressing his bloody fingers against the stab wound as hard as he could, he rummaged around the cabinet, leaving paths of red everywhere his fingers touched, then tried the drawers under the sink.

Nothing.

"Fuck," he muttered, collapsing onto the cool tile floor as he began to sort through his first aid kit. There were no towels left but he was sitting on an old bathmat. He groaned in pain when he lifted his hips to pull the bathmat out, shook out the dust and dirt, then pressed it against his side, bringing his knee up to hold it in place.

With trembling fingers, he threaded a needle. He wiped the blood from his hands on his shirt, but they were stained red. Ripping open his jacket and flannel, he lifted the two other layers he had on underneath and lowered his leg to get a look at the wound.

It was deep and he was losing a lot of blood, but he was fairly certain the knife wasn't long enough to knick any organs. His stomach wasn't swelling, that was a good sign.

He only had a small bottle of antiseptic, so he used most of it to clean the wound and then the needle, saving a little bit to use on his arm later.

He took several quick breaths in, hyping himself up, then paused when he first shoved the needle through his skin. Tears sprung up, blurring his vision, but he blinked them away.

Focus. Focus. Focus.

In and out, in and out, he slowly stitched himself up. The angle was awkward and the stitches were ugly, but it got the job done: the bleeding stopped. His heart was hammering in his chest, sweat poured from the sides of his head, mixing with all the blood drying on his face and beard. He slumped to the ground with a pained groan, lying flat on the floor in a pool of his own blood, staring up at the ceiling. He just needed a moment to rest, a moment to catch his breath and then he would go.

Would he ever see you again? Would you ever even know why he came out there? Would you always wonder what happened to him? You told him you cared about him, but was that even true anymore? After what he did?

"C'mon, baby, gimme a sign," he whispered to himself, "gimme a sign that I still got a chance in hell 'cause if I don't, I'm not sure I got the strength to make it home." Tears welled up in his eyes again and this time he let them fall. He sniffled and waited. For what, he wasn't sure. Divine intervention? Genius to strike? A brilliant idea to form? But all he heard was the blowing wind outside.

The tile felt so cool against his burning hot skin. A small voice in the back of his head told him the longer he stayed there the weaker he would become, but he was just so tired. He rolled his head to the side, his eyes about to slide shut when he saw it: a dusty, opaque orange bottle rolled all the way against the wall underneath the sink.

Blinking a few times, he wondered if he was imagining it.

He wasn't.

Stretching his arm out, he slowly reached underneath the vanity and pulled out the half empty bottle. Holding it above his face, he squinted at the letters on the faded sticker.

Penicillin. Use as directed by your dentist.

His breath caught in his throat when he read your name on the label.

He finally got his sign.

"What happens when we die?"

"What?"

You rolled over onto your side to face him, wrapping your arm around his waist. He looked so peaceful, lying in bed like that. His eyes closed, face relaxed. You repeated your question.

"Don't know," he said, cracking open one eye to look at you. "Haven't died yet."

You giggled and he smiled, pulling you closer. He smelled so good. Like the rain and sex and smoke from the fire.

"I mean... do you think there's a heaven?"

He hummed and kissed the top of your head, his fingers lightly trailing up and down your bare arm.

"Yeah, I do."

You swallowed nervously and drew invisible circles into his skin, making him shiver.

"Do you think..." you trailed off and he froze, picking up on your tone.

"What, darlin'?"

"Do you think we'll make it? To heaven, I mean?"

His eyebrows pinched together. "Why wouldn't we?"

"You know why," you replied softly, "we've done bad things, Joel."

"Yeah, but we ain't bad people," he reminded you, then rolled over, pushing you onto your back so his arms caged you in. One knee slotted between yours and you spread your legs, hooking your ankles around the backs of his thighs.

"Are you sure?"

"I'm sure," he said, dipping his chin down and pressing his lips firmly against yours. You sighed, your shoulders finally relaxing. "Besides, this is heaven right here," he murmured against your mouth, feeling you smile.

"Ain't nothin' better than this."

You awoke with a gasp, your heart fluttering wildly in your chest. That was the first time you had a dream about Joel, and something about it made you uneasy.

You had slept in his bed the entire week, wrapped in his clothes, and today was the day you had expected him to come home. Shrugging off the dream to no more than your subconscious fixated on his return, you forced yourself to get out of bed, fixing the sheets so it wouldn't look like you had been sleeping there and then headed to your room to change and freshen up.

The past couple days you had secretly hoped he would come back sooner but you refused to let it show. If Ellie or Dina or Maria asked you about it, you played it cool, or at least you thought you did. But every night you stayed up as late as you could, curled up on the couch all alone, waiting. Every time someone walked by, your body stiffened and your pulse raced, expecting to hear his heavy footsteps walking up the porch, but they never came.

But today was the day. The seventh day. His note said a week, and you knew if Joel was alive, he would stick to his word.

His absence afforded you a lot of time to think. Time you didn't realize you desperately needed, and now that you were able to process everything clearly without his overwhelming presence muddying the waters, you felt confident you knew what you wanted now.

All day at work, you were distracted. Nick had to call your name repeatedly to get your attention on more than one occasion, and by the fifth time you felt guilty. He didn't say anything, though. He understood. By then, most of the town knew Joel had left. Word spread like wildfire, especially once the storm passed through. It didn't take a genius to figure out how difficult it would be to survive all alone in those conditions.

Then the rumors started.

You tried to ignore them, but it was hard. When people began drinking and getting loud in the dining hall, it was impossible not to hear.

When you heard a man claim he saw Joel's horse frozen in a river during patrol, you stopped going to the dining hall to eat.

It was dark, it was just a deer, Tommy had told you later after he went out to the river to check, but it still shook you up.

When the sun set on Jackson on the seventh day and Joel still hadn't returned, the fear began to take hold. Your stomach churned, making it impossible to eat the following morning. You had hardly slept, the bags under your eyes dark and heavy. Nick begged you to take the day off but you insisted you needed to stay busy, although it didn't help much. On your lunch break you tried to casually walk by the main gate, the one near the stables, hoping to catch a glimpse of him returning, but you had no such luck.

So you went back to work. You kept your hands busy, tried to keep your mind occupied, but it was impossible.

I'll spend the rest of my life makin' it up to you.

You couldn't get those words out of your head. The guilt was weighing you down as you grew worried that was going to be one of the last things he ever said to you.

"Went on a date the other night."

"With who?"

"Cindy, from the kitchen."

Ricky laughed heartily and Andrew smacked his shoulder with the back of his hand.

"Shut up, man. We're on watch, we can't be giving ourselves away."

"It's the middle of the goddamn night and we haven't seen any infected in weeks. It's too cold for them, they're all frozen somewhere waiting to thaw in the spring," Ricky said, shouldering his rifle.

"Yeah, but still. You never know. There's more than just infected out there."

Ricky chuckled and shook his head. "Tommy telling you ghost stories again?"

"Raiders ain't ghost stories, asshole," Andrew shot back.

"And raiders never make it this far up the mountains, asshole," Ricky replied, mocking Andrew's tone.

Andrew grumbled under his breath and strolled away from the tower, towards the gate, his eyes scanning the treeline. He couldn't see a damn thing. It was pitch black and deathly quiet.

He turned on his heel and began the slow walk back towards the tower where he could see Ricky unwrapping a granola bar and pulling a paperback book from his back pocket.

Just as he was about to chastise him for letting his guard down, he heard twigs snapping in the woods. He whipped around, bringing his rifle up so he could get a better look with his scope.

"What the hell was that?" Ricky's whisper materialized in his ear.

"Dunno. Something's out there."

Ricky lifted his own rifle and scanned the trees as well, both of them holding their breath, waiting for another noise.

"Maybe-"

Then they heard more twigs snapping and pine trees raking against fabric. Louder this time.

"Fuck," Ricky muttered nervously, his palms growing sweaty inside his gloves.

"There," Andrew said lowly, and Ricky followed his aim. Something was approaching in the dark. Something big.

"I got it."

"No, just wait a second," Andrew said, squinting through the scope. Then his jaw went slack when he realized what it was.

"It's a horse."

"What?"

"It's a fucking horse, bro," Andrew repeated, his voice rising a little.

When it finally emerged from the forest, they saw the rider slumped over, covered in snow, their face buried in the horse's mane.

"Holy shit," Andrew said, slinging his rifle over his shoulder and racing towards the ladder. "Radio Tommy!"

"W-what do I say?" Ricky stammered, fumbling with the radio dial.

"Tell him it's Joel!"

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[unproduciblesmackdown]

fr incredibly epic subversion move in creep 2 is denying the audience the "understanding" that our perspective is that of Neutral Objective Arbiter. we aren't shown arguments of the protagonist's unfiltered, private thoughts & feelings through visuals or dialogue for us as obstensibly our way to believe she's vulnerable: she is, we understand she understands this, and then we aren't privy to any more "proof" of this by observing whatever attacks or simply emotional duress. we can assess and judge and guess about this person, but the movie doesn't let us believe we're Not, and that instead we're simply "understanding" the conveyed factual information. the killer man uses performance as a way to generate vulnerability, the protagonist young nonwhite woman uses performance to strategically interrupt such efforts from malicious to exploitative to violently so men on like any given tuesday, and the killer man's approach to performance is not truly equipped to react to her adaptation and flexibility; his loss of control turns vulnerability back around on him, whereupon he stumbles and flounders and is knocked off course, while existing in continuous vulnerability even when succeeding at her efforts is, again, any tuesday for the protagonist. putting him in a position of having something to prove just by expressing skepticism abt his threat of eventually killing her. when he tries to leverage Gender to discomfit her by saying she (or, they both) should undress, only to be the one clearly discomfited when instead she simply does so with her nudity a matter of fact (and not really shown, b/c the killer guy's camera pov doesn't just provide some full body shot, he's directing it down, around, at her set, unbothered expression, Showing his own vulnerability in the situation now, unable to deal with her body outside his effort to make its very existence a power play. but isn't being a woman sexual, which is to say, inherently available for consumption by men???). when we get the killer guy's pov as he is looking for the protagonist around the house, increasingly turning it into a threatening sort of hide and seek (kind of creeping around, creepily, even) and we wait for his, and our, expected vision of her being Afraid and Menaced and possibly Attacked, only for her to jumpscare him, and us, knock him on his ass and laugh at him. the killer's like melancholic musings as established in the first film being a situation in which the protagonist plays into the gender of "women provide comfort, emotional support, intimacy!" to extend the relative vulnerability of that and prolong the delay of any violence, how far-fetched....while this narrative of her navigating & kind of heist breaking out of this danger doesn't ask her to like "overcome" or "transcend" that vulnerability like oh hooray she's now Strong enough to win, Too Strong to be thusly vulnerable ever again; nor ever puts forth that she can, or should, ever just turn the situation around completely to win. jumpscaring the guy? still happening in the context of her performing as, at most, "playing along." he's trying to get the advantage over her, she's trying to more so establish / prolong a dynamic of closer to equals to protect herself and interrupt this: despite her inability to take control of the situation / name the game in any lasting way: killer guy is still driven by ego. in the end it's that ego that makes him vulnerable enough for her to again surprise him and us with the final physical fight maneuver to get away, in that last minute and culmination able to drop any performing as her survival strategy, but still able to take advantage of his own performance as means of control and driven by ego

this also compared to horror genre ostensible commentary by way of "subversion" that's just still also misogyny: just Showing women's pain? what else is new. we're asked to recognize it not by understanding it's there as a matter of fact, but by observing and assessing some unfiltered display of it. or the classic of "but if we put a man through the same violence or pain. makes you think huh." or ohh we posited this disabled person as a scary threat but now they're dead b/c they weren't the real threat, makes you think huh? or the classic of "but if we keep the disability as threatening & scary but we also kind of ask the audience to Pity it. makes you think huh." like no, the power dynamic of [the audience (with a clear assumed perspective) is neutral! they must be able to assess and judge The Other onscreen] is there. pity requiring the power difference to Deign to extend it. "well disability is scary but some things are scarier" wow. indulging in [women experiencing violence / harm] as privy observers b/c it doesn't exist if you're not looking right at it, judging it as legitimate for yourself rather than via having to accept the character understands it as legitimate for themself, whether their most unfiltered (in an expectedly externalized way) pain or even simply what was done to them was shown directly to you or not. that women trying to insulate/extricate themselves from harm must also "look" unusually elevated & intense & extreme to be "real," it can't be so matter of fact and even potentially made invisible as for us to be Surprised by the efforts of the protagonist here, and have to wonder what she'll do next, and not be convinced she'll make it out of this forever through taking control and transcending her vulnerability

point is like yeah any character but also any person Making billions should've watched creep 2. the power dynamics not only re: successful Gender relevance in the text but also in the genre of horror, of film itself. the potential violence of looking? that's made constantly relevant. the audience does not get to understand itself as impartial judge. the protagonist doesn't have to earn anything from our assessment: this is a strategic heist, not, again, some kind of commentary on [gender/ed violence, huh?] that presents a Narrative Arc of a woman's who "overcomes" this by becoming "better" (stronger, braver, smarter, etc....). again, with the premise of an egotistical murder man who uses performance and wants to himself be assessed for his own power trip and amusement, the protagonist already prepared to perform in response to such efforts has a survival skill that completely eclipses the ability of murder man, who can only be on the offensive, while not being a mere [just being on the offensive in turn] response which would only become a Power Levels competition. it's not about "winning" at someone else's game that shouldn't exist, it's just about getting through it until there's the opportunity to get away.

and, again, like that we and the protagonist doesn't Need to know if he really means to kill her for real. uneven power and misogyny and the threat of a man and what room there is for her to act in ways that throw off, interrupt, divert, but don't make overt that she's deliberately doing so or threaten in turn? we can understand that this woman is already at all prepared to navigate that; the killer man is not (who, in a true "that is a choice" element of the first movie which is more [whatever] and not required viewing for the vastly superior sequel imo, has implicitly killed mostly to all men before (Choicedly b/c there is given this angle of like, "performing" any affection towards these men. that and the "uh oh! he's Weird!" angle carrying so much more weight like, zzz to the first one. "uh oh! he's a man immediately trying to fuck with this woman!" in the second being much more actually interesting, as well as the performance of / desire/expectation for affection, intimacy from a woman amidst this context of violence like yeah and that's cishet ideals for you!)

anyways yeah lot of media analysis, the pov & not like "negotiating" with the audience to interact w/the understood theme of gendered power dynamics, the audience not getting to think it is granted an objective omniscience, the [this is An Other Person] turned on the protagonist made Relevant, our lack of complete access to her is Relevant, we do not get to expect we are entitled to that full access or forget that we're observing as An Other Person ourselves to instead believe we're a removed, impartial judge who has to be presented with and convinced of every element out here. much more to say but this is like effort #5 & we can't be here all day, gotta throw down a draft at some point, and can't readily rediscover some short essay about it from closer to its actual release. well, it pwns. like i was saying the handling of gender / power going on in there is >>>>>>>> like god knows horror material generally including that which tries to be About it too, but also really just anything in any genre. billions should've watched creep 2 & been different now. imagining s5 where after axe gets peak horribly possessive towards wendy, being outwardly petty towards her over her also shit & boring & Superior artist bf, stalking her about it, sabotaging the relationship about it, secretly taking the portrait of her that he resented her having before....and then we get the repulsive "romantic" scene about wendy going "aw gosh :) you only want me to be [single] so You get access to me!! :))" like and then axe doesn't show up on the helicopter in the end while wendy's like haha i knew :) b/c she rendezvoused with him and killed him. society if only. superhell for real