#straight lines? perspective? what are those

[pleasantbirdsand]

“Chick, I’m glad for the apology but that is not what tonight is about."

Forgotten Highways - PAW_07

[jaythelay]

"Why are you talking to yourself?"

I'm a very interesting person to talk to, as you can plainly see, even your interest has been caught. Do you, not find yourself interesting?

I find you interesting.

[nikoco11]

wavin at you. so question: how’d you get so good at drawing bodies? i’m pretty decent at them but you can draw bodies from just so many angles and in so many perspectives and that’s always hard from me. do you use references? how do you break the body down to be able to do those perspectives so well?

waving back at u hello!! tagging in ur other questions here so i can knock out as much as i can at once ^_^

i use lots of references! i used to use them by drawing over the silhouettes of poses i found on pinterest.

i don’t have any easy tricks or shortcuts to proportions unfortunately :’D i picked it up from observation just by doing this for so long.

it’s a fun way to learn, but can be restraining in terms of stiffness and also making u really dependent on seeing a reference before u can think of how to draw a certain pose.

now, i focus on what lines a body follows rather than the silhouette. i try to keep every section of the body to no more than 1-3 lines when first sketching.

doesn’t matter if the lines are accurate, just be bold w them!!!!!

this is a lot easier to me than breaking the body down into shapes, and it keeps everything more fluid.

it’s on these lines where i choose to exaggerate as well!!!

my fav exaggerations to do are flipping between curve/straight/curve/straight.

for example: on the left leg, i made the curve of the calf more pronounced while stiffening the straight line of the shin.

or on the skirt, i simplified the edges to single straight lines and the hem to one long curve :D

this comes back to my 1-3 lines habit, where i try to simplify everything as much as i can, but also it comes down simply to observation and practice…..which is unfortunately the worst answer ever but it’s true LOL my sketchbooks are packed right now, but i have many many pages of completely fucking up and drawing a leg one thousand times too long. the best thing to do is to draw quickly and boldly, even if it’s wrong 100 times, than to sit down and take forever trying to get it correct on the first try.

pen and marker sketching will force u to do this LOL. it helps to find pens and markers that are fun to use, especially for scribbling, bc then u will look forward to drawing more even if it turns out bad!!!

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[burst-of-iridescent]

yall need to stop this “but katara choose aang!” nonsense because a) idk how she personally told you that when she doesn’t exist and b) even if katara were a real woman, this is some choice feminism bs that willfully ignores a lot of the social pressures and dynamics within heterosexual relationships that kat.aang as a relationship taps into both within the world of atla & as a narrative.

the creators themselves have alluded to the fact that katara & aang’s relationship draws from the trope of a younger boy pining after an older, more mature woman who doesn’t give him the time of day at first but is eventually brought around with his persistence and determination to win her heart.

and this dynamic bleeds through into the show itself, especially when aang is talking to people about katara. he is told multiple times that she’ll come around because he’s the avatar and that all he needs to do is not give up. the social dynamics of the kat.aang relationship even within atla reflects the prevalent narrative around straight relationships in our world: if you keep trying, the girl you like will obviously give you a chance eventually, because how could she not?

that’s troubling enough but then comes the second half of book 3, and now this narrative isn’t reflected just in those around aang, but in aang himself. what began as a sweet, harmless adolescent crush warps into something more dangerous, more familiar: entitlement. the aang of ember island players is one who demands katara’s love, not one who wishes for it. just look at the language used here:

i thought we were going to be together, but we’re not.

why don’t you know?

when is the right time?

the line delivery here is frustrated, almost accusing — this is not the way you talk to a girl you claim to love. this is the irritation of a long-promised reward that continues to be denied, something you wanted but cannot yet possess. this is eerily, intensely reminiscent of real-world gender dynamics, and it continues to be reinforced when katara responds according to the same gendered script:

aang, i don’t know.

we’re in the middle of a war. this isn’t the right time.

i’m sorry but right now, i’m just a little confused.

katara gives neither a yes nor a no but a neutral, noncommittal in-between. her tone and body language are apologetic yet clearly tense, uncomfortable — dancing that fine line most women are familiar with, of having to let down a man yet protect his feelings at the same time.

it’s one thing for the narrative of kat.aang to be misogynistic from a doylist perspective, but when the same applies within a watsonian analysis as well, that’s a far bigger problem. when you set up this dynamic for kat.aang in the show and double down on it as their last romantic interaction, you cannot then remove the implications that follow when katara inexplicably, wordlessly, obediently kisses aang in the finale:

that she loved him because she felt she had to.

because that is the underlying societal expectation of this particular dynamic, the same expectation the show itself has set up within the advice aang receives: that a woman’s affections are owed to the man who fights for them, and if he fulfils his obligations in pursuing her, she will fulfill hers in turn by dutifully rewarding him.

as with women in the real world, no choice katara makes in her world is free of the delicate, insidious entanglement of social pressures and gendered expectations that underlie and drive those choices, even subconsciously.

so yes — katara chose aang. but as the show ends with no insight on her part as to the nature of this choice, the question still remains: did she choose him freely, joyfully, unfettered and unburdened by the weight of expectation? or did she choose him as the girl who always did what had to be done, who took on duties that she was too young to shoulder for the sake of the people she loved, who could never let down the child she fiercely, lovingly protected from the moment she met him?

[tinytennisskirt]

Let It Linger

Summary: When post-canon divorced! Art goes back to high school for a fifteen year reunion, he’s met with strong memories of the his estranged best friend, the girl he loved those fifteen years ago. He gets caught in a rally between his past and present. A whirlwind of past yearning, casual touches, meaningful conversations and pining rushes back to him like the time never passed when he sees her again for the first time in fifteen years. Turns out not so much has changed.

Warnings: mentions of sex, alcohol, marijuana. casual touching, pining, yearning, MEGA SLOWBURN, a longer fic with time skipping between MRTA! art and POST CANON! art. AU.

Art wasn’t sure how to feel about this. He was parked outside, in some dress shirt he’d owned far too long and the black dress pants he wore for when he did pre-game press. His hands on the wheel, lips pressed into a straight line. This would be interesting, he knew it would be. He was sitting in the parking lot outside the smaller gym of Mark Rebellato Tennis Academy and he could hear the music through the walls of the car and through the open gym door, he could see a purple cast of light from inside.

It had only been fifteen years. That wasn’t much time in perspective, but fifteen years felt like a lot when he remembered who he was that many years ago.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

“My mouth, my mouth!” You called, opening your mouth and slowing your running to walking backward. Patrick tossed a marshmallow and you caught it in your mouth as the three of you ran down the hill, Patrick with a bag of marshmallows, you with the chocolate, and Art with the graham crackers.

Both boys cheered loudly and you jumped, triumphantly raising your hands above your head. Art nearly ran right into you with the momentum from the hill and you all ended up laughing way too hard at it, even with the marshmallow in your mouth. Art tried to catch his breath, his hand sliding over your waist as he passed you, trying not to stumble the rest of the way down the hill. Patrick just laughed. “I had no idea my aim was that good,” he said, teasing.

You swallowed the marshmallow, “You’re kidding? Your aim? That was all me.”

Art grinned, “I think it was a joined effort…” He played mediator. You hit him in the upper arm gently. “No, all you. All her, Patrick. Sorry.”

Patrick threw his arms up in forfeit. There was no winning against you. They both knew that. You giggled and shoved a marshmallow right in Patrick’s mouth before skipping down the rest of the hill, leaving both boys behind you. Art watched, a huge grin on his face. The three of you had found a great way to sneak out of your dorms at night. It was 11:42 and you were heading toward the back of the grounds with the ingredients for s’mores, a lighter, and matches for good measure. And maybe the remainder of a pack of cigarettes.

What good was your last year at the academy if not the one you rebel just a tiny bit? You were down the hill humming Groove Is In The Heart by Deee-Lite in your big Mark Rebellato sweater and yoga pants just happy to be out at night. You were fun, carefree, and bright, even in the dark of the edge of the property, away from all the fuss of the school. “You’re so slow!” You called out to them. Both Art and Patrick jogged to catch up to you, finding your regular spot between a few trees.

You sat on your regular log and pulled the blanket from your bag before getting up to drape it over. Patrick got to collecting the twigs from the stash and put them in the hole you three dug the first time you snuck out. Art took the seat next to you on the log, “Crazy, you have like seven tennis balls in here.” He laughed. You shook your head, nudging him just a little while he grabbed the three marshmallow skewers from your bag. He grabbed one of the balls out and threw it at Patrick.

“Can take the girl out of Mark Rebellato but can’t take the Mark Rebellato out of the girl,” Patrick said, catching the ball and throwing it back at Art. He got the fire started and lit one of the remaining cigarettes off of the growing flame. “You guys ready for that test on Monday?”

“Since when are you an academic?” You chuckled, putting a marshmallow on the end of Art’s stick.

“Since he found out Lydia Jennings is into smart guys,” Art said. You chuckled, biting your lip just gently. Art noticed.

Patrick blew smoke out the side of his mouth, “No- okay, she said she liked smart guys we all know there’s no way in hell I’m becoming a straight-A student like this one over here,” he gestured with the cigarette between his fingers to you. “She’s hot, she’s not drop-everything-and-study hot. I’m talking about the test on Monday because I know that with you two and Stanford, you’re obsessed with your grades… I am… not ready.”

You shook your head, looking up at him, “She is so drop-everything-and-study hot, you’re just picky. And I’ll lend you my notes tomorrow if you want- Art and I worked on them together, they’re pretty extensive.”

“They are good.” Art nodded, dangling his marshmallow over the embers. “You’re actually worried about it? I mean, the year is almost half-done, you’ve got time.”

He nodded, “I know, but I have to graduate to be free of this place for good. No way I’m doing that GED thing.”

“My mom did the GED thing.” You said. “She’s doing just fine. It was only a setback. Plus, if you plan on truly going pro, it won’t be a big thing. Just player trivia.” Art laughed at that, pulling his stick back to pull the marshmallow off. You had already prepped his graham cracker and chocolate and pulled the marshmallow off between them for him. Patrick watched how you two worked so wordlessly- wasn’t his focus. “I will lend you all of my notes tomorrow, it’s just a matter of reading them a few times a day and you’re set.”

Patrick shrugged, grabbing himself the things he needed for a s’more. “Thanks.”

Art nodded, “You’re lucky you’re good with a racket.”

“Rude!” You said, shoving him backward off the log. He landed on his back in the leaves and it was all-around laughter again. The dynamic was this. Shoving, pushing, insults in good fun, but caring all too much. Art knew there was nobody in the world who cared more about anything than you did. He was, as your friend, able to enjoy just how passionate you were about the things and people you liked. He pulled himself back onto the log, shaking his head at you as you dusted him off and removed the leaves from his hair. You smelled good, like fall, vanilla, and chai, almost, but with a sweetness that reminded Art of the caramel apples from the fair. He shut his eyes as your hands picked the last little bits from his hair. You pat his cheek when it was done and the conversation moved onto the new tennis coach’s really bad toupée.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art got out of his car, shut the door, and locked it, car keys sliding into his pocket. He stared out over the grounds, past the outdoor tennis courts, and to the point in the field where it dipped down into the big hill. He wondered if they’d ever found your makeshift fire pit, filling it with dirt, moving the logs… He glanced at himself in the side mirror of the car, remembering when his hair was longer, more golden. Part of him wondered if he would even see you tonight. Maybe he’d see Patrick, which was a more likely occurrence, Patrick wouldn’t miss something like this.

If only they made it less of a surprise who you’d run into at one of these. He guessed it would be his class, a few extras, people who had settled down bringing their fiancees, partners, husbands, and wives. He wondered if he was too dressed up? Dressed down? And he was nervous, for some reason, when he shouldn’t have been.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

“I know I shouldn’t be deciding on a dress this late but I can’t tell if this dress is too much?” You said from inside your dorm room. “I’m afraid Mark Rebellato himself will come to smite me for how much boob this dress shows off.” You spoke through the door.

Art and Patrick grinned at each other. “I’m sure it’s fine!” Art called back. Both boys had spent about twenty minutes tops getting ready for the mid-term formal. One of many formals the school so unfortunately had. “Can we see?”

“It’s not the right dress!”

“How would we know?”

The door to your room unlocked and you opened it, standing looking very unimpressed in a gorgeous purple dress. Both boys stood, a little dumbfounded for a second. “Too much?”

“No.” Both boys said in unison, gazing at you, your hair perfect, your makeup perfect.

Art blinked hard to snap himself back to reality, “You look… beautiful.” His eyes lingered a little too long on the slight shimmer to your eyelids and the gloss on your lips. Your eyes softened and you looked down at yourself again.

Patrick agreed. “Damn.” Both boys had themselves forgetting you were the same girl they called their friend on a day-to-day basis. “Mark Rebellato is rolling in his grave.”

“Is he dead?” You asked, laughing. Art didn’t find anything funny when you were standing there looking like that. He thought you were gorgeous, he could say that as your friend of a good few years, but this was breathtaking. You were.

The dance was more fun than both Art and Patrick anticipated, but you made anything fun. Patrick nudged Art’s arm as they stood off to the side with cups of punch. “She’s different this year.” He said. Both boys were watching you dance with one of your girlfriends. You were so free and you were once again the brightest thing in the whole room, purple and pink light cascading over your face and you were laughing.

Art hardly heard him. “Hm?” His eyes didn’t leave you.

“Exactly.”

Art nudged him back, seeing what Patrick was getting at. “Fuck off.” He grinned. “She’s just pretty. She’s always been pretty.”

Patrick nodded, sipping his punch, watching your dress swish around you as your friend spins you. “Too pretty.”

“Mhm,” Art sighs. The way he watches you is different from Patrick's. There’s something buried in what he feels, but he’s never acknowledged it much. Aside from when you met at twelve in a co-op game and you made fun of his ears. It honestly hurt his little feelings but Patrick found it absolutely hilarious that someone so funny-looking could say something so mean to someone else. Art laughed when Patrick defended him. But you, always so smart, nodded. And you smiled, which both boys didn’t expect. Then you apologized to Art and introduced yourself like nothing even happened. Art forgave you. There was something about you that both he and Patrick knew would make a good addition to the duo they’d formed over the first week. And it had been that way ever since. Didn’t make it easier when you stopped looking so funny and disproportionate when you turned fourteen but, being friends, it was ignorable. For the most part. They were only boys.

When presented with a slow dance, you excused yourself from the floor and came to stand with the boys, taking Patrick’s cup of punch right out of his hands and downing it. Patrick went to grab it but it was too late. You pulled a face, “Seriously?” You scrunched up your nose and Art laughed as he pieced it together.

“Didn’t give me a chance to warn you,” he chuckled. You felt the warmth spread down your throat- he’d spiked his own punch. Of course. Art, mouth agape, placed a hand on the small of your back without thinking. You just giggled and shook your head at him. Patrick took his cup back from you, sipping the very last drops. The couples and wannabes behind you continued to dance closely. “Awful, right?”

“So bad,” you giggled. Art twisted his mouth to the side, trying not to laugh too much. Your hand closed around Art’s wrist and pulled it up over your opposite shoulder and you kept talking about how gross it tasted, making fun of Patrick for spiking it so badly. If anyone sniffed it, they would have immediately known it was mostly alcohol. Art’s arm stayed around you, the perfect place for it, so it made sense to step a little closer. It’s only worth noting as something that happened because Patrick, who was used to your casual displays of closeness like this one- saw the angle Art kept his hand at so that his hand wouldn’t rest too close to your boobs. He laughed just a bit. Art just shook his head at Patrick and flipped him off with that very hand.

By the near-end of the night, you’re danced out and you asked the boys to come back with you, but Patrick had taken to chatting up Lydia Jennings, of course, so Art obliges. Patrick didn’t need a wingman, he would do fine on his own. Art holds the door for you as you leave and you’re immediately laughing as you cross the parking lot. “Fucking insane,” Art laughs, running a hand through his hair. “I always forget it’s not a school dance until Patrick sneaks in two shooters.”

“I had at least one whole shooter in that punch,” you said, knocking against him as you walked. The cool autumn air hit your bare skin and it was harsh. “It was disgusting.” Art felt you shiver just a bit beside him and he was already taking off his jacket to give to you. “He could have gone with vodka or something, spiced rum, and fruit punch is one of the worst things I think I’ve ever tasted- thank you.” You said, taking his jacket with a smile and pulling it over your shoulders.

“It was spiced rum?!”

“Yeah!” You laughed with him, still leaning against him as the two of you walked. “He ends up with Lydia Jennings she’s going to hate, hate, hate his breath. I brushed my teeth in the bathroom,” you said, pulling a pink toothbrush out of your bag. Art couldn’t help but laugh at the thing.

“Smart,” he grinned wider as you showed him the travel-sized tube of toothpaste that went with it. Art just flashed you his pack of mint gum in return and you narrowed your eyes at him. Art shoved it back in his pocket along with both of his hands. “So… you had fun tonight?” He followed up.

You smiled at him with those perfectly glossed lips parting to show teeth. “I did. However-

“There’s a however?”

“However…” You grinned, taking his hand and walking backward. You lowered your voice, pretending to be extra serious. “You need to dance more so you can dance with me.”

“You didn’t like the nodding I did? I feel like that was a lot, too much, even.” He held the door open to the other building and you mouthed another thank you as you passed him again. ”How much more do I need to do to dance with you?”

“You can always dance with me. I promise it’s a lot more fun when you’re not feeling centered out.” You told him, heading up the stairwell. It’s still early in the night so the girl’s dorms were mostly empty. “I knowww, I know how you get with it, but-”

“I’d dance with you.” He nodded, but squeezed your upper arm, “You didn’t ask me. I would have.”

“Okay then. Swear on your life right now that if I asked you, you’d say yes.”

He rubbed the back of his neck, fighting that neverending grin that lived on his face when you were around. “For what?”

“All future purposes.” You replied, stopping outside your room and leaning against the wooden door. “Where dancing is involved.” You held out your pinkie finger and Art took it before he got to question any more. You grinned and jumped a few times. “You just made the craziest promise, I’m going to make you hate me with that one.” Art just grinned.

You talked a bit more just at the door until both you and Art were wary about someone seeing him on the girl’s side of the dorms. You opened the door to your room and stepped just inside, about to say goodbye, but just one more thing before he left, you asked. For him to help you unzip your dress. Art should not have felt the way he did when you handed him back his jacket and turned around while lifting your hair. Your bunkmate had zipped it up before you had left and you had no idea when she’d be back, you explained.

Art wouldn’t say no to you. Who could? He stepped closer, met with the closer, stronger scent of your perfume and you still smelled sweet. You always smelled sweet. With gentle fingers, he took the small zipper and slowly unzipped the back of your dress. The sound of the zipper being the only thing in the empty of your room and he wouldn’t forget how when the zipper hit the bottom of its track, his finger grazed the bare skin of your back. Soft, softer than he could have even imagined. And you turned so that he wouldn’t be faced with the bare of it all, braless underneath, he could tell, and you thanked him for the night, for his jacket, for his help. Said you’d see him tomorrow. Usually, you’d hug him goodnight, but with your dress about to slip off you just smiled, making fun of the promise he’d made to you just thirty minutes ago before a real goodnight.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art looked over at the dorm building across the lot, looking at the exact path between cars you and him would have walked that night. His hands shoved themselves into his pockets, habit. He decided not to stand out in the parking lot anymore, swallowing hard as he allowed himself through the door and into the smaller gym, which was decorated just like the regular school dances. There were streamers and early 2000s radio hits and so many people.

It was almost immediately people recognized Art. He was possibly the most successful of the graduating class, though he hated to think it. He wouldn’t put himself above anyone. He was already getting pats on the back and he started in some small conversations but he was a little distracted.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

“They have parties at Stanford?” You said, looking at some Stanford webpage on Art’s mom’s computer. “Frats, too. Insane. Hey Art, you should join the frat.” You chuckled. Art and Patrick were playing Jenga at the coffee table, two or three of the blocks wet from falling into the eggnog.

Patrick ruffled Art’s hair, “Frat boy Art Donaldson?”

You spun in the chair, “I could join a sorority, they have those too.”

Art grinned, “Yeah? You think they’d take Patrick?”

Patrick pushed Art into the couch and the Jenga tower toppled over once again. You laughed, watching him shake his head and reach for his eggnog, once again pulling a Jenga block out of it. You came and sat next to Art on the couch, sitting on the arm. His hand mindlessly wrapping itself around your ankle as your foot rested on his thigh. Gentle, like letting you know that he’s there despite the readily available knowledge that was your being. Something sweet. Patrick took a seat on the floor in front of you both. “I think they’d take me, but you have to be a Stanford student, so you know, it’s too bad.”

“Their loss,” You smiled. “Do you think I’m pretty enough to rush a sorority when we get to Stanford?” You asked. Both boys looked at each other.

“...Yeah,” Patrick said, nodding just a little. You narrowed your eyes.

“Yes.” Art said firmly. He squeezed your ankle just a little. You smiled at that. Art’s mom called you to dinner, christmas dinner, and in seconds both boys were bolting to the dining room. You exchanged a look with Art’s mom when you got there. She was lovely and she was letting both you and Patrick stay for the holidays. Her food was amazing and the conversation was Stanford, mostly, and your tennis plans for after graduation. The application process, the fuss of getting a dorm room there, and how excited she was for you and Art to be going to the same place. She loved you, his mom. She called you her daughter when the mailman came around during the holiday season and to whoever asked. She’d been in a household of boys for far too long.

The post-dinner conversation laying on your back on Art’s bed next to him while Patrick was laid at the foot of the bed was on exactly that. “Art, I think your mom likes Y/N more than you.”

“I know,” Art replied, hands folded on his chest. He turned his head to look at you, giggling.

“I can’t help it,” you replied through your laughter. “Everyone loves me, it’s not my fault.” Nothing about that statement was false- everyone did love you. And who wouldn’t? You were kind and sweet and loving and so warm to everyone you met so of course they all loved you. There was nobody like you so everyone who crossed paths with you would never be able to forget you. Art’s smile fell, looking at your freshly glossed lips and that unforgettably beautiful smile. He’d zoned out so when you rolled onto your side, nearly onto him, his eyes widened just a bit.

“You’re jealous?” You beamed.

“Not even,” Art scrunched his nose, using a gentle hand to push you away but you returned, giggling. “She’d go insane having a real excuse to go to sales at the mall.”

“Sugar mommy,” Patrick remarked. He had way too much pie, he was half-asleep. Art just kicked him with the foot that rested closest to his chest, eliciting an ‘oof’ noise from Patrick that you giggled at.

“You’re so jealous your mom likes me more, it’s crazy, it’s crazy,” You giggled, grabbing his upper arm. Art twisted his mouth to the side, eyes flickering from the gloss on your lips, to your eyes. “Don’t worry, when she comes to visit me at Stanford, she’ll probably have enough time to see you as well. I’ll make sure of it.” You teased.

“Yeah, we’ll see about that,” Art said, pushing you back again and you just laughed madly, a laugh that was so room-filling and contagious and completely perfect. Art turned his head to look at you. You were more than sorority pretty. Who wouldn’t think so when you laughed like that?

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art found that Lydia Jennings had three kids now. Three in fifteen years, which was a little crazy. She, of course, had pictures with her. Spitting images of her bright blonde, big-mouthed self and Art pretended to care, more than he cared to admit. There was no sign of Patrick. Lydia Jennings asked Art about his divorce, asking about his own daughter, but he had to real interest in talking about that sort of thing. Not with her. He excused himself, raising his head above the crowd to scan for anyone else he knew.

He ended up talking to an old friend who was already balding with his pregnant wife at his side. It was good to see just how well people were doing. Settling down, having quit tennis or only pursuing it on the weekends, some of them with kids in tennis classes already. Art was continuing to be congratulated on his career by even the partners of these past classmates.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

You were dancing to some Tal Bachman song and Art was internalizing every lyric. “What song is this again?” He asked, leaning back against the tree. The light from the fire was flickering around your face that was nearly hidden by the winter jacket you had on.

“She’s So High,” you replied, spinning in circles. Patrick locked eyes with Art from across the fire, giving a knowing smile. One, because you were high, so was he, so was Art- Two, because Art was completely zoned in on you, the way you moved, the way you looked. And he couldn’t help it, you were the most fascinating thing around and he’d smoked quite a bit. It was like the song was written for you, he thought, out of his mind and red-eyed. You were dancing alone, like you hadn’t even though twice, the music coming from your little portable music player thing. Art met Patrick’s eyes and Patrick raised his eyebrows, nodding at you. Art shook his head, but Patrick jumped over the fire to sit next to him anyway.

“So are you telling her or am I?” He teased, ruffling Art’s hair and Art bat him away, huge grin on his face. “So when’s the wedding?”

“Shut the fuck up, she’ll hear you,” Art chuckled, shoving Patrick over just a bit. Patrick came back laughing. “It’s not like that.”

“You really think I’m fucking stupid, huh?” Patrick chuckled, pulling Art into a bit of a headlock in return. “I’ve known you both how long?”

“Too long,” Art laughed, trying to wriggle out of Patrick’s grasp, finally escaping just to shove Patrick all the way over. He was glad you were minding your business, occupied with the song. “It’s not like that.” He repeated, still keeping his voice low.

Patrick pulled himself back up, “Tell that to your dick,” he said, taking a shot at Art’s groin that he gladly blocked just to sock Patrick in his. Patrick doubled over just for a second and Art laughed a bit too hard, the fry of the weed that burned his throat making him cough. Patrick couldn’t stop laughing at the coughing and being high, everything was a lot funnier. It took a minute for them to stop laughing over the stupidity. Patrick sighed heavily, looking over at you still dancing mindlessly to a song by Avril Lavigne, then back at Art, who was trying to regulate his breathing, also staring at you again. “Maybe not always your dick but definitely your eyes. I’ve never seen anyone with bigger heart-eyes, it’s sickening.” He said.

Art looked at Patrick and twisted his mouth to the side. “I don’t think so. She’s just…pretty.” His eyes gazing back to you, spinning in your fluffy winter coat, swaying, firelight flickering over your face, defining your features in shadow.

“Uh-huh… You really think I don’t know?”

“There’s nothing to know,” Art replied, pulling his eyes off of you again.

Patrick shook his head, adding more to the fire, hand still over his groin as the pain continued to die down. He kept his voice low, “Fuck off with that. It’s bullshit. I know it, you know it. You spend more time with her than me, she’s your partner for every co-op game, your mom loves her, you look at her like I’ve never seen you look at anyone.” He chuckled, “And you so want to fuck her.”

“Not as much as I want you to fuck off,” Art chuckled. “Okay, well, I mean- I might. She’s gorgeous, yeah, but I don’t think I could ever tell her anything. She’s perfect, too perfect and we’re friends. We’re her best friends, it would fuck everything up.”

“So you don’t even try? I’ve seen you ask for girl’s numbers within forty minutes of knowing them, it’s unlike you to not even try.”

“She’s different,” Art replied, looking down at his hands. “I couldn’t. I make a move and she doesn’t want it, we’re fucked forever.”

“And you don’t make a move and you’ll never know,” Patrick replied. The weed made him oddly thoughtful. “I’ve seen you two with my own eyes there’s something there, I swear to god there is. You can’t just let things play out, you’re going to miss your chance. Think about Stanford next year, all the college guys hitting on her and you know they will, she’s Y/N… Fifteen years down the road she’s married to some frat guy she met at a rager and you’ll be wishing you told her while you could.”

The silence between them was filled by your music and humming. Art looked at you, eyes closed, lips glossy, boots in the dirt. And for the first time he let himself think that he could never want anyone more than he wanted you. He would never see past you, he wouldn’t ever feel this way about anyone else and in the moment, through the weed, it felt real. You, perfect, gorgeous, here.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art glanced around the room, feeling some familiar fire burning in the pit of his stomach. It felt oddly highschool, it felt oddly familiar. He wondered if you had kept up with tennis, he wondered if you had a husband and kids, he wondered if you’d gained weight, lost weight, changed your hair, were going just a little grey, even. He was nervous- that’s what he was and he could place that. It was then that he saw Patrick, coming in through the door across the room.

Art, over Tashi, had put her in the past, including what Patrick had done. Him and Patrick didn’t keep up much other than a few texts and meeting at the bar a few times, but the hard feelings were pretty much gone. Art started making his way over to his old friend just to be grabbed by another ex-classmate who wanted to catch up. He was faced with more pictures of kids and meeting someone’s wife and Art wasn’t so bothered to talk about his own daughter, he’d always take that opportunity. She was the best thing he currently had.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

You and Art sat on the bleachers in the gym, just having finished a co-op game, having won, of course. You both showered and got dressed again and met back up. The air was warming up, mid-spring and Art had still not told you yet. He decided he would at the end of the year and see if you’d make the first move, just to be safe. It didn’t weigh on him- he’d been friends with you for ages, liked you for ages, so it was a secondary thing.

“Hoping my tennis career is enough to buy an old victorian home,” You said, packing your things into your gym bag.

“I remember you saying that,” Art said, hauling your bag onto his shoulder along with his own. It wasn’t abnormal to have him carry your bag. It was sweet. “You want a blue one. Well, blue-grey.” He said. You looked at him, a little surprised he remembered the blue-grey thing. “With the white trim. I remember things.”

You nudged him just a little bit as you passed him. “I’m surprised, after so many tennis balls have hit you in the head.”

“And whose bad aim is at fault?” He teased back. You held the door for him and went out into the early afternoon sun.

You rolled your eyes at him with that gorgeous smile. “Bad aim, uh huh. Who’s to say it’s not on purpose?”

“Y/N!” Your girl friend called, bounding over. “My hair tie broke and I can’t go all the way back to the dorms in time for scrimmage, do you have an extra?” Art watched your full attention go to this girl, linking hands with her and everything. He watched you take the hair tie off of your wrist, the purple glittery one that you swore was your favourite. “Hi, Art.” She tucked her hair behind her ear, noticing him standing there. Art just raised his hand in a subtle wave.

“Of course,” you said, pulling the purple sparkly hair tie off and giving it to her, no questions asked. “Do you need anything else? I have a redbull in my bag if you wanted that before your scrimmage?”

“Really?” She asked. Art lowered your bag for you and you unzipped it, pulling the redbull out and handing it to her as she finished tying her hair up. All Art could wonder was how could anyone not love you when this was who you were? Art knew that purple hair tie was your favourite and you gave it up, just like that, and didn’t even ask for it back later. And your redbull that Art watched you go through your coins for six miinutes counting literal dimes and pennies to get it from the vending machine was in this girl’s hand just because you thought to offer it. You were kind and beautiful and Art moved the date up a little in his head- the date that he’d tell you how he felt. For now, he dug his free hand into his pocket and pretended like you weren’t absolutely perfect.

Saying goodbye to the girl, you and Art resumed your walk back to the main building. “You know Abbey, right?”

“Her?”

“Yes, her,” you giggled. “Don’t tell her I told you this, but she keeps asking me about you. Your favourite colour, song, movie, all of it.” You explained, gesturing with your hands and leaning against him as you two walked. “She likes you.”

Art was only half-surprised. But was more surprised at you bringing it up. “Likes me how?”

“Exactly in the way you think,” you replied. “I’m always down to play wingwoman, but I did tell her all the wrong information.” Your smile turned into a bit of a cringe. Art liked that even in your full care and support, you were just a little evil. Plus, what harm was it really? Art was only seeing you. He couldn’t spend a second on anyone else. Seemed impossible. “She thinks you’re a huge fan of Green Day.” Art couldn’t help but grin.

“Yeah?” Art set down your things at a table in the cafeteria and the two of you got in line for food. “Playing interference?”

“Uh-huh,” you said, bowing so your head nudged his arm. The smile that pulled at your lips was one you appeared to want to suppress. A strand of your hair, wet, fell in your face and Art wasted no time moving it behind your ear. Your eyes met his as your smile broke into full action and your eyes fell back to the ground. Sometimes… just sometimes, he felt maybe you were worth ruining the friendship.

Your lower lip between your teeth, you grabbed a tray for him before you grabbed your own.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art finally made it over to Patrick, who looked decent. He shaved a bit, cleaned up just enough. Art thought about how strange it was to be back here with him after all this time. It almost felt right, was just missing you. “Hey, man.” Patrick said, reaching forward and locking hands with Art in a quick greeting.

“Hey,” Art replied. “It’s good to see you.”

“You too,” Patrick replied. “See anyone worth talking to?”

“Not really. Lydia Jennings has three kids now, in case you were looking forward to that,” he chuckled. “She doesn’t look bad though. I didn’t check for a ring either, so.”

Patrick chuckled, hands in the pockets of his dress pants, wearing virtually what was the grey version of Art’s outfit. “Not for me.” He said. “I actually- I ran into Y/N in the parking lot. I thought maybe you’d be looking for her tonight.” Patrick added. Art hated the way his stomach did a little flip as if he wasn’t a full-grown man with a failed marriage and a daughter.

“She came?”

“Yeah, she headed in here before me. She’s good, she hasn’t aged much, it’s weird. You know what they say about the way good people age…” He added. “She’s in purple, said we’d talk more later but she was excited to be here.”

Art swallowed hard, “I’ll keep an eye out. Thanks, man.”

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

When Patrick left early to hang out with Lydia Jennings, swearing he was going to ‘get some’, it left you and Art in the boy’s room. How they’d been bunkmates for six years running you had no idea, having been room with at least four different girls. Their room was decorated with sports posters, tennis awards and medals, and Star Wars memorabilia. You weren’t supposed to be there, but oh well. “You think purple is my colour?” You asked Art, going through the nail polish you had in your bag, buried under the bag of cheetos you brought over.

“Hm?” Art slid off his bed and onto the floor where you sat, your back to the edge of his mattress. “Yeah. The medium one, though. Not the dark one.” He said, pointing to the bottle he liked better. You shot a small smile his way before grabbing that one.

“I haven’t painted them in ages,” you said, doing a bit of a jazz hand really close to his face and then pressing your hand to his cheek. Annoying, or trying to be, but casual. Art scrunched his nose and batted your hand away, though he really didn’t want to. “So about Abbey.”

“Your friend?” Art adjusted the way he sat. His knee overlapped yours.

“Mhm,” you replied,beginning to paint your nails. “Did she end up talking to you after class yesterday?”

Art thought back to after class when he was on his way to his next class to meet up with you and Patrick. She had come up to him, but he almost immediately shut her down. “Was she supposed to?”

You smiled, “Yes. I told her to ask you about your favourite Star Trek episode.”

Art grinned, you were still playing interference. He wondered why. “I brushed her off… I didn’t think anything of it I was on my way out.” He grimaced a little and you looked up from your nails, trying not to laugh. “I don’t think I was too rude…”

“Where were you off to in such a hurry?”

“You- And Patrick.” He saved himself. “I had someplace to be! Plus, she’s not really my type.”

“And what is that type? Girls with purple fingernails, maybe?” You laughed- Art wondered what you meant by that because at this very moment there was nothing you said that had ever been more true. “Your future girlfriend is going to hate me.” You followed up. Art’s heart sunk just a little at that. You then mumbled something under your breath that Art didn’t catch.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

Art caught up a bit with Patrick, who was interested to hear that his daughter was just getting into tennis, but really liked ballet. Patrick himself had still not settled down, but he’d landed a good job adn was now making decent money, enough to find himself a good apartment. He talked about this girl he’d met at the mechanic and Art didn’t mind the tale of it all, but he did glance around every few minutes to see if maybe you’d be nearby or even come to speak to them. They way you’d left things he wondered if you’d say anything to him at all.

It’s not like you left things horribly… But he knew the way things went just weren’t ideal and that was the problem. It was the lack of grace in the process of losing touch.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

“Patrick held both envelopes up. “Saw these on the mail piles, grabbed them before mail day.” He said. You, who had been mindlessly playing with Art’s curls on the couch in the corner of the library, and Art, who was pink from just how intimate the feeling had been, both perked up. Patrick shot a look additional to the excited expression he wore and Art just flipped him off. “They’re yours.”

You and Art looked at each other, Art tilting his head back to do so. Both of you scrambled from where you sat to grab the envelopes Patrick held, huge grin on his face. “Stanford Tennis,” you breathed. Art pressed his lips together. “Acceptance letter?” You questioned. Patrick shrugged, but continued to grin.

Art shook his head, “Should we open them? I mean- same time? Or?”

“I feel sick,” you said, words overlapping his. “Oh my god.” You pressed your hand to your stomach. “I knew they’d be here soon but this is so… late. I was getting scared I wouldn’t get anything, we got something… We got something.”

“Yeah,” Art nodded, big crooked grin on his face. “Together?”

You swallowed, sitting back down, then standing right back up again. “No, you first.”

Patrick sat on the couch, ready to watch both of his friends excitement, arm up on the arm of the couch. “Hurry up!” He kicked Art in the back of the knee and Art didn’t even feel it, opening the big envelope. He narrowly avoided a paper cut. You paced a short distance, back and forth, back and forth anxiously. He unwrapped the papers, eyes scanning over the letter.

“Fuck yeah!” He exclaimed, all too loud for the library. He didn’t care though. “I’m in!”

You gasped and your grin was the first thing Art looked for. Your arms up and around his neck, so excited for him. “That’s amazing, I’m so so proud of you!” You exclaimed, also so loud. Art’s arms around your waist, squeezing you tight as you kissed his cheek enthusiastically. Patrick was there to clap him on the back, hugging Art when you let go. Art was glad for it- it helped hide how pink he went from just the kiss on the cheek. You were jumping up and down and you were beautiful and you were happy. It would be one of the last times Art saw you so happy.

“What about you?” He gestured to your envelope and you looked down at it like you’d forgotten you were holding it.

“I- I can’t, one of you has to do it,” you said. It was for sure. You’d met with the faculty there, the coaches, you were scouted two years ago when you weren’t even old enough to apply and the second you knew you loved tennis you knew Stanford was the best place for you. Patrick took your envelope for you, opening it as you nervously bit your lip, swaying into Art, letting your fingers intertwine with his just to have something to brace yourself. He squeezed your hand, smiling at his own acceptance, knowing that if anyone had it in the bag was you. But Patrick read it over and there wasn’t a grin- in fact the smile he did have fell just in the slightest. Art felt your hand squeeze his harder.

“What is it?” You asked. Art looked at Patrick, who then looked up at you with sorry eyes. “Patrick?”

“You’re- um-” he paused another moment and handed you the papers. “Waitlisted. I’m so sorry, Y/N.”

Art watched your colour drain. The obvious bright light you brought by just entering a room dimmed as you read it yourself. Art could feel the slight tremor in your fingers, so he squeezed your hand as hard as he could, just so in the new wave of overwhelming sadness, you’d know he was still there. He felt guilty for celebrating so soon.

“I’m waitlisted.” You repeated, monotone. “And not even until next semester. Next year. And even then there’s no guarantee.”

Art didn’t wait another second, he used the hand he held to pull you in. You didn’t resist, you couldn’t, you felt limp as Art wrapped his arms around you. Patrick’s hand on your back for just a moment, but Art’s hand on the back of your head and the other running up and down your back. His crush on you was unaffected by this hug because he knew that you needed it more than anything. You were the one with the plans, you were the one who knew exactly how things would play out and Stanford was the first step on every path you’d imagined. Knowing you so long, both boys knew you were right to cry.

Art held you, standing, for as long as you needed- his arms around you stayed tight and didn’t waiver once in the thirty minutes you stayed there. He was quiet, Patrick was just cursing Stanford for being fucking stupid and though Art agreed with him on that, because who in their right minds would look at your grades and your tennis stats and say they didn’t want you? Who wouldn’t want you?

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

When Art saw you from across the room it felt like he was eighteen again. He’d anticipated feeling nostalgic for a time, but you were there and you were in purple, like Patrick said and he knew it was you from the smile you wore, reuniting with what looked to be a very-pregnant Abbey Campbell. Good for her, Art though, seeing past the bump and looking at you. Patrick was right- you’d aged like fine wine or whatever that saying was, but you were still youthful and you were still… bright.

“You should talk to her,” Patrick said, noticing where Art’s eyes had landed. As if he hadn’t been watching Art scan every five minutes during their conversation. “You haven’t seen her since…”

“September 2006,” Art replied, looking at Patrick.

“Have you kept in touch at all, or?”

“No.”

“Oh. Well fuck.”

“Yeah,” Art nodded, eyes not leaving you. You were different, older, for sure but not in ways noticeable. Many of the men in the room had grown into bigger bodies and were either unfortunately balding or had already gone bald for some. Mid-thirties you wouldn’t think it, but it was there. And you were there, looking youthful and bright and you were still one of the prettiest girls in the room. Women… in the room. He gestured to you, eyes not leaving you, scared to lose track of where you were. “I’m going to-”

“Good luck.” Patrick pat Art on the back to send him off and Art, drink in hand from his stop by the food table, walked over to you, ignoring everyone who wanted his attention this time.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- past

“You’re not telling her at graduation? You’re fucking joking.” Patrick said, shoving Art back onto his bed as the boys got dressed for one of their last classes at MRTA. “How fucking stupid are you, you can’t just not tell her.”

“I tell her and I ruin our friendship while I get to go to Stanford in the fall. I can’t do that to her.”

“You sound like a fucking idiot,” Patrick said.

“Okay, yeah, maybe, but even if I tell her and it goes well, we would only have the summer before I move all the way to fucking California. You’ll be on tour and this whole… thing would just be broken. And fucked up. I don’t want her for a summer, Patrick. I want her all the time, every day, like it was supposed to fucking be. I don’t want her for just a summer.” Art huffed, looking at his hands. The whole waitlisting bullshit threw a wrench in everything. Everything.

“You’d rather not have her at all?”

“I-” he flailed his hands around, “I don’t know! I don’t know how to tell her something like that and then move away.”

Patrick shrugged, “Could just kiss her.”

Art opened his mouth to speak and a knock on the door cut him off. Art pulled his shirt over his head as Patrick lunged to open it. It was you. Who else?

“You guys want to cut class?” You asked, arms folded over your chest, mouth pulled a little to the side, standing in your shorts and tank top, not dressed for class at all. Your hair was behind your ears, your lips just slightly glossy and you had that slight sparkle to your eyelids, but it was never too much. He would never get over just how beautiful you were, never ever. “I don’t feel like going today and I just want to do something fun or maybe even nothing?”

“That sounds great, but I actually was looking forward to doubles today…” Patrick groaned, putting a hand aside his head. Art knew him well enough to know Patrick was not looking forward to doubles. “But Art already has all his credits, I think he can stay. I’ll come back before dinner though?”

You nodded slightly and looked to Art, who still had his mouth a little open at the sudden position he was in. “Would you? I really don’t feel like going but I can just skip and meet you guys for dinner?”

Art nodded back at you, slowly. Patrick was playing wingman with expectations this time. ‘Could just kiss her,’ echoed around his head. He made eye contact with Patrick who, out of your line of sight, shot Art a telling look. He was giving Art a window. But skipping with you, being alone with you wouldn’t change the fact that when September came you’d be states away, alone, probably. The long distance would be hard and he knew he could maintain the friendship, but if he confessed and it went well, the long distance of a new relationship would probably kill him. And you. “Yeah, I’ll stay.” Art said.

When Patrick left for class, you came into their room and sat down on Art’s bed, next to him. You weren’t exactly yourself, the way you sat with your arms crossed and lacked that gorgeous smile Art looked forward to every day. You sat so close he could smell the sweetness of your perfume. “You okay?” he asked, looking at you with his head a little tilted, smiling gently.

“I can’t get the Stanford thing out of my head,” You admit. Art nodded. You’d been good about it. It upset you, he knew that it absolutely killed you, but you didn’t talk about it much- for Art’s sake, not wanting to depress him and Patrick with your delayed dream. “I know it’s stupid, I’m only waitlisted a year, but it was supposed to be different. They said I was a shoo-in, how could they say that and not mean it?” You vented. Art heard every word.

“They’re missing out for sure.” He said, hand sliding over your knee to rest just above it. “And Patrick is right- they’re fucked in the head and you deserved that place in the program more than anyone else.”

“Even if I deserved it, even if they’re fucked in the head, I’m still not going and that’s whats killing me.” You said, looking at him with sad eyes. He missed when they were full of light and happiness. “You know, it was supposed to be us. And now it’s not and I don’t know what I’m going to do without you- And Patrick.” Was Art mishearing or was there a pause? And us? Us. “I just feel so stupid and I’m suddenly so lost? I knew exactly what was coming and then it just stopped coming. And I’m terrified that I’m going to lose you both when we all go separate ways.”

“Couldn’t lose me.” Art said, eyes locked on yours. “I might be in California, but I have a phone. And it has a ringer and we have email and facebook and I don’t think I’d even know how to go a day without talking to you, so you know if you didn’t call, I would.” He said, admitting a little too much. “Patrick too, I bet.”

“I love that,” you smiled just a bit. “I just… I was so ready for things to change, but now I’m not. Even if I call you a hundred times in a day, would it feel the same?”

Art looked at the hand he had on your leg, at his thumb as it moved back and forth over your skin. “Probably not… But it would be the best thing until you come and visit. Or when I come home on holiday. It would just be to fill the spaces between, you know that the distance would mean nothing once we’re all together again.”

You looked down. “I know. I just don’t want it.” You sighed, leaning your head against Art’s shoulder. Art could smell your shampoo, it was soft and just as sweet as your perfume. “I’d just... I hate the idea of having to miss you. Distance fucking sucks.” You added. He agreed. Distance would suck. But right now you were here, next to him. He wouldn’t kiss you, he knew that. Not now.

But he turned his body just slightly and wrapped his arms around you, your head moving to just under his chin, resting against his chest. And he held you tight, he always would. And he didn’t resist his other urge, slowly tilting himself back so that he was laying down. You didn’t protest, you just held onto him tighter, laying next to him. Like most things between you two, they went unspoken. You in his arms, in his bed, god it was so telling but you didn’t say a thing. And neither did Art, aside from, “I don’t want it either.”

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

You didn’t seem to notice when he approached. You were heavily invested in your conversation with your friend, laughing and gesturing and you were even more beautiful up close. He could admit it to himself, he was amazed by how well-preserved you’d been. He maybe was expecting a bit of a grey streak, he remembered your mom being fully grey when you were only a teenager, but your hair was perfect. He was just a little bit to the side, in Abbey’s line of sight and she saw Art first, she looked happy to see him, he noted. Too happy for someone with a baby on the way. She put her hands up in the air like she meant anything to him and you looked over at him, seeing what Abbey was so delighted to see and for the first time in fifteen years, you locked eyes with Art.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- interlude

Art remembered the last time you looked at him. Confused eyes, sad ones, the ones he hated seeing, the ones he knew he caused. It wasn’t supposed to be the way it was. Your best friend felt like he just… wasn’t that anymore. Missed texts to missed calls after promises of hundreds in a day felt like lack of care. And it wasn’t on your end. When Art missed your calls, you stopped looking at your phone so much and you missed his. You visited him twice at Stanford, within the first few months and it was the same but he was so busy. So distracted, it seemed. You met Patrick’s girlfriend, Tashi Duncan and the only thought in your mind was that she looked at Art strangely. So when things unravelled, you asked him things and he answered honestly, leaving out the part that he knew went against his character. He was looking at you, thinking about how he should have kissed you at the airport before going to California but he was looking at a girl who wouldn’t kiss him. Not anymore.

And he missed you like he missed no one- when you stopped responding to his emails and Facebook posts. Your last post was October 4th, 2006, and it was a picture of you at a coffee shop you were beautiful, but Art was so lost on the guy next to you. He should have kissed you at that airport but he was tangled in this mess of Tashi who he had admittedly used to try and not miss you so much when you posted with one of your new guy friends, who you did not like romantically. But Art didn’t know that. He didn’t know how badly it hurt when you traveled to California to find him completely happy and distracted in a new life with new friends and forget that you were coming to visit. That hurt. He should have kissed you at the airport when he could before all of these things crashed and collided and brought you down. He was at fault, but you forgave him, you just didn’t speak again.

Patrick said it was fine, you’d come around. Art’s mom told him that you called to check in on her, but that growing apart does happen. He would ask himself how in the world did he end up growing apart from you. You of all people, but admittedly it was his own fault. These things just happen, distance ruins things.

ₓ˚. ୭ ˚○◦˚.˚◦○˚ ୧ .˚ₓ- present

But there wasn’t much distance now. You were standing in front of him. Your expression didn’t change- it was a gentle smile upon laying eyes on him. Abbey asked him how he was and just like years ago, he brushed her off with a ‘would you excuse me?’ and passed her, sheepishly walking over to you.

“Hi, Art,” you said, head slightly tilted, lips pulled into that smile he hadn’t seen in years. Art felt shy around it, he hated that, but he was happy to see it. And you.

“Hi,” he replied.

You gestured to Abbey, “Reminds me of something.”

“I was thinking the same thing,” he replied with a small chuckle. “I-um… How are you?”

“I’m doing okay,” you nodded. Art found himself glancing for a ring on your finger or maybe a baby bump he missed, but nothing. You were doing okay. “Oh, no ring.” You said, holding up your hand. “Wasn’t so lucky. How are you?”

He shook his head, still a little dazed that you were here in front of him, talking to him like you hadn’t gone fifteen years without doing so. “Not so bad.”

“That implies that there’s some bad,” you nodded, leaning against the wall. Your dress reminded him of another you’d worn. “Not so bad?”

“I’m okay…” He said. “Just… I didn’t think I’d see you tonight.” As if he hadn’t spent every moment since RSVP-ing thinking about seeing you again. Finally seeing you again.

“Oh,” you nodded, understanding. “No, I get that. I didn’t think you’d come. Thought maybe you were busy winning some grand slam, too far ahead than the rest of us. It was a good win, your last big game in Chicago.”

“You kept up,”

“I couldn’t not. I’m not me if not nosey and that aside, your name all over everything tennis-related- billboards, even. You and Tashi.”

“You must have heard about the separation, then?”

“On the tennis new channel, surprisingly. Fuck them for making that public, and I am sorry.”

“It’s fine.” He replied, eyes not leaving yours. “It just wasn’t working out. She cheated.” He admitted, which he hated. Something about your eyes was a well-working trap for him to fall back into the exact boy he used to be in your presence. He wanted to tell you everything, he forgot what it felt like to be around you. But you weren’t different at all. You were still that same warm, caring girl you used to be.

“Art, I’m so sorry, that’s terrible. Nobody deserves that.” You said, eyes soft. Beautiful.

“It’s in the past.” He nodded again, looking at the ground. They hadn’t changed the gym floors since you’d left, he noted. They were the same. “Thank you, though. I actually, um, I have a daughter, though.”

“Lily,” you smiled. “I’m nosey, I told you. Is she much like you?”

“I think so.” He smiled back. You knew his daughter’s name and you knew about the divorce yet he had no idea what you’d been up to. “So, are you… working, are you…”

“I am.” You nodded. “I teach children with special needs how to play tennis, it’s a great job. Lots of fundraisers and events. It’s really lovely.” Art remembered when you were younger. You’d mentioned something of the sort- doing that. He couldn’t help but wonder if you had joined a company or made one. But he wouldn’t ask, the small talk was already killing him. “About your daughter though, I’d love to know more.”

He wanted to know more about you but he liked to talk about Lily and her hobbies and habits. It felt good to talk to you again as you engaged with him as if fifteen years was three months. It was strange, but the feeling of being around you and your light again, it was easy to brush it all off. Like he was eighteen and you were an addictive happiness. You were smiling as he spoke about his daughter. You were smiling so much that he had to stop at one point, unable to hide his own smile. “What?”

Your eyes went a little wide, but you kept smiling, shaking your head. “Oh, nothing. I just… I always knew you’d be a girl dad. And you seem like a good one.”

“Always knew?”

“Oh yeah, I think I first thought about it in grade ten… A girl knows these things.” You said. Your body language changed slightly, you tilted your head to the door. “Hm- Do you still smoke?”

“Do you?”

“When I need to.” You said. “It’s not a habit, it’s an occasional thing. Come with me?”

Art was surprised by the offer. But how could anyone say no to you? He nodded and followed you out. You stopped outside your car, a decent distance away from the building and hopped on the trunk, sitting like you would so many years ago. Your car was nice, so you must make good money, he noted.

“How are you really?” You asked Art, eyes genuine as you lit the cigarette. Art, focused on you, didn’t know how to answer that. He was wondering how you weren’t someone’s wife or mother because even after all these years, he couldn’t find flaw in you. Not one. You were still sweet and kind and lovely and you looked amazing, so how did nobody find you and keep you? You asked him how he really was as if you still saw through him. “You’re really doing okay?”

Art took the cigarette as you passed it to him. “I’m okay. It wasn’t easy- any of it, but it happened and it’s in the past.”

“That’s good.” You said, watching him take a drag. The soft wind blew your hair around your face. “I am sorry about what happened, it sounds awful. I had to check in, really check in. But that aside, you’ve really made a name for yourself out there. Big games, high stakes and a good reputation.”

Art nodded, eyes on the ground as he inhaled again and passed the cigarette back. Something about being here with you was surreal. You’d kept up and he had no way to do the same. “Thank you. I planned on retiring three years ago, but second wind came around. I plan on retiring next year, thinking about starting to coach.”

“You’d be a good coach,” you nodded, smoke blowing out from between your perfect lips.

“Maybe…” He started. Silence.

You nodded, “You’re thinking about the elephant in the… parking lot.” You said, looking around.

“I might be,” he replied, straightening himself out. “It’s been fifteen years and you’ve not said a word to me since… And I’d be lying if I said I didn’t think about it. I’ve had a lot of time to.” Art rolled up his sleeves. You watched. “Fifteen years.”

“I know,” you replied, quiet. “But you have had an amazing career and you married the girl I was so worried about, had a daughter. Your life has been exactly what you wanted, that’s amazing. Could it have been the same with me in it?” Art wished it was you in it. “So I let time be time and do it’s thing, I know it’s been fifteen years.”

Art shook his head, “It couldn’t have been a space thing. Maybe I needed the space, but it was bound to exist anyway. We were best friends, you, me, Patrick- and Stanford changed things but you didn’t have to walk away. My life has been my life but it’s not that way because you walked away.”

You chuckled, “I know that. And I am beyond proud of you either way, but me, eighteen years old and in love with you? Showing up after a month of planning and you forgot I was even coming? Just about broke me. And of course, there was Tashi and-” You had more to say but Art felt all of his thoughts come to a halt. His fingers felt cold. He interrupted you-

“In love with me? You were in love with me?”

You laughed, so genuine, the sound was something he had missed sorely. “That’s even a question? Oh, I was so young, but I was very much in love with you. Patrick would never let me forget it. I had such a crush on you. You… you didn’t know?” You covered your mouth as you laughed, but Art felt a little bit frozen, but it was easy to laugh with you.

“I didn’t know, no.”

“So the fifteen years is because after you broke my little eighteen-year-old heart, I took the time to recover and I just… never did.” You admit, handing him back the cigarette, which he took without looking at. He was only seeing you. Part of him was kicking himself hard, angry that he hadn’t confessed when he had planned, knowing now, so many fucking years later than if he had said what he wanted to, he might have had you. There were the complications, but if he had you, there wouldn’t have been a Tashi situation. And in his mind he watched the possibilities unravel his life as he knew it- knowing that it could have been you. It could have been you. “As sorry as I am about it, I don’t regret it. You have an amazing-sounding daughter and the life that you and I used to talk about, going pro… And I have a job that I only got through staying on this side of things. If I was in California, I wouldn’t have met the sweet lady who started the company I own now.”

He hated that you were right. But he hated it more that he could have had everything he really wanted- the things you and him talked about- and it could have been with you. A house, a marriage, a child? The things he really wanted. He couldn’t bring himself to feel regret, but it was something close to the feeling. “I understand. I just- you liked me? Patrick knew?” His whole adult demeanour was destroyed by your youthful smile.

“He would play wingman,” you said. “It was awful, but it was still fun. And I think I should tell you, though it feels wrong, that I missed you. And I am sorry I didn’t reach out. It was too much.”

“You don’t have to be sorry,” he nodded back. “I missed you too. A lot. It took a while to get over what happened, but it’s been good…”

“I’m glad,” you replied. The cigarette was almost at it’s end. And for a while you just stared at each other. The words unsaid filled the air until it was almost suffocating. He could have had you. If he had said something. If he’d kissed you at the airport. Tashi might have been Patrick’s. Art hated to think about a world without his daughter but it was you. It was always going to be you no matter how many years passed. “I hate to ask this for the sake of my phrasing, but… no hard feelings?”

Art smiled down at his feet, hands back in his pockets, “No, no hard feelings.” He replied. “And for what it’s worth, I’m proud of you too.”

You smiled that beautiful smile, the wind blowing your hair a little more. There was something so painting-like about this moment. It could be frozen in time, he wished it could be, and he made a mental note to engrave this image of you in his mind. You were just as gorgeous as the day you left and sure, it hurt to think about a little bit, especially all of the ‘what if’s, but you were here now. And there were no hard feelings. How could he ever have any toward you? It was you.

“You want to head back in?” You asked, digging a foldable toothbrush out of your purse along with a tiny tube of toothpaste.You truly not changed much in your ways. Art wondered if you remembered the last time you’d brought a little toothbrush and toothpaste out. He dug in his own pocket and pulled out his pack of mint gum. He noticed the way your eyes widened at the parallel. But then you just grinned, starting to laugh as you half-brushed your teeth, half giggled. Art chuckled too, popping a piece in his mouth. And the laughter lasted a while. It was like you were the same giddy teenagers who wouldn’t tell each other their biggest secret. But eventually it died down and you headed back inside.

The moment you were inside, he noticed the song playing. So did you. You stood there for a moment, not looking at anyone but him. The Cranberries playing loud over dusty speakers. The only Cranberries song you ever liked, Art remembered. You couldn’t stand the voice cracks in the one about zombies… He was a little confused when you held your hand out, but when you smiled, he remembered. In the spirit of parallels, you were asking him to dance. He remembered the promise he made you, he wouldn’t forget it. He had pinkie promised and you swore to make him regret it, but he never got the chance to. You never gave him a real reason to.

“You pinkie promised.” You said, tilting your head just in the slightest. “You swore.” You said it a little sing song. Fifteen years forgotten- they didn’t exist. You were here and you were asking him to dance with you.

“I did,” he said, smiling, hands still in his pockets. And he did take your hand and with a youthful giggle, you pulled him to the dance floor. It was one of those songs where you could scream the lyrics, you could spin and you could maybe even jump, but you just stayed close. Art wasn’t sure what exactly to do, but it was okay. You led at first, swaying just a little to get him into it. He grinned, unable to stop it. Fifteen years felt like seconds, like you never even left. Like you were those same young best friends dancing around your feelings, your truth. And you were so beautiful, spinning and swaying and your dress following you as you did. You laughed and it was melodious, you were so unaware of the eyes on you, of Patrick’s eyes. They met Art’s from across the room and a knowing smile spread up his old friend’s face. He raised his drink in their direction and Art nodded back.

Time might have made Art a little bit harder, colder, but you made him right back into who he used to be before life existed. Your light was brighter than the strobes spinning the walls of the room. You got him into it with a nearly-sixteen-year-old promise. The music loud, but just dull enough to hear you. Art was drawn back into you like you were a magnet. It didn’t matter that he didn’t have you. That he didn’t get that life with you. But you were here and you were still so perfect.

The dancing had somehow melted itself into something slower, though the pace of the song didn’t change. It was almost a hug, the way his hand slipped around your waist. It felt familiar and you… smelled the same way you used to. So sweet. Your arms around his neck, close to him. It wasn’t even a thought in either one of your brains that you ended up this way, but it felt right and you just did it, so that’s how you were. Swaying, like a slow dance, and the end of the song rolled around, the music dulling to only an instrumental.

You pulled away just a little, your faces just a little bit close. “I think it’s best we went our separate ways. It would have killed to me to stay your friend and watch you and Tashi’s life in person rather than in pictures.” You said quietly. “And if I’m honest I think I might still be a little bit in love with you.”

Art met your eyes at your confession. You looked like you regret what you said, but the concern in your eyes changed, eased. You could still read his expression. “I did love you too, you know.”

“I know.” You smiled. He grinned a little sheepishly, his grin still the same. His eyes were soft and he looked at you like he always did. Such a familiar gaze. “And I’m sorry.”

“Why?”

“For still feeling the way I do. After what I did.”

“You’re not alone in it.” He admit with a small chuckle. And you giggled. And it felt like nothing else existed in the entire universe. Just you. Just him. He wasn’t blunt, but it was definitely still said. It really could ever only be you, no matter what. Even with Tashi, it was always you. A first love that could never truly be erased, despite the countless mistakes and sins of youth. It hadn’t worked, but looking at you now, he had that hope again. That it might.

You just continued to sway to the music. The promise to dance whenever you asked fulfilled. There was peace in saying what was left unsaid for so many years. There was peace in feeling it still. Feeling how he did about you was the most consistent thing in his entire life. He wasn’t who he had to be with Tashi, he was who he truly was with you. His big career in hindsight, his past with Tashi, his life that didn’t include you was behind him.

Patrick did wander over when the song ended. He came and stood beside you both, the lip of his bottle resting against his mouth. You and Art shared a look before you left the position you were in, hands slipping back to your sides. He was grinning a sly grin. A familiar one from back in the day. Knowing.

You just tsked, “You need to shave.” You said. Patrick just grinned, laughed.

“You too.”

“Really?” You laughed. “Okay, I see how it is.”

Art chuckled. He’d be lying if he said he didn’t miss this. As much as he wanted just you and him, the three of you together were something entirely different. Who wouldn’t miss the better days? The three of you got a little more caught up, Patrick was free to reveal his position as a double agent in your teenaged slowburn that never really fizzled out… You and Art didn’t mention anything said during that dance, but he knew without being told. Everyone who knew you both knew that you belonged together. The night was still young, but Patrick lowered his voice. “I have an ounce in the car.” He said, shrugging. The three of you shared a look and in minutes the three of you were hiking across the schoolyard. Adults. Stupid adults with stupid nostalgia, laughter echoing across the empty courts as you all walked down the hill.

Art moved the dead leaves and under it was still that circle of rocks. The dirt had somewhat filled it, but it was still a bit of a divot. And the logs had thinned out but they were still there. You sat next to Art like you always would. You turned your body to face him and you just looked at him, studying the way his face had changed, his hair… but it was still very much so the boy you’d loved years ago. He looked over at you and he smiled and it was a reflection of so many years ago. The exact same spots, the exact same people, the same reason to sneak away.

You had hoped you hadn’t overstepped. You didn’t come to the reunion to say what you said, but it was right. And you knew Art felt the same. He said so. The three of you stayed and talked for hours like nothing ever changed. Time could never truly change the three of you. No matter who fucked who, who married who, who went where, who did what. It was always you. It would always be you. And that aside- you and Artwould figure that out- it would always be the three of you. Proven by your very own lives.

taglist: @swetearss @lalalandofive @xoxog0ssipg1rl @bayleequits @reallycreativeusername @kaaaiiaaa

[anthurak]

Thinking more on Psychonauts (since I’m still replaying the first game at the moment lol) and how while it’s never really commented on all that much, Raz’s acrobatics training as part of his family circus is actually a HUGE part of his abilities and the gameplay.

As in, it’s the in-universe justification for the game’s platforming.

For example, just look at Oleander’s Basic Braining from both a gameplay and narrative perspective: Gameplay-wise, it’s the opening tutorial level that introduces the basic controls and all the platforming mechanics that will define the rest of the game, and because of that the level is pretty easy and forgiving to the player.

Now where this gets interesting is when we consider that it’s pretty clear that for the rest of the campers, Basic Braining is basically a horrifying death with most not even being able to finish.

So it’s basically implied that the level being so easy represents that for Raz, it WAS easy. Specifically BECAUSE of all his acrobatics experience. While all the other kids were struggling with ridiculously long ladders, net walls, rope-swings, multiple trapezes, dodging machine-gun fire or just getting blown up by random landmines, Raz the trained-before-he-could-walk acrobat was absolutely blitzing through all of that. He got through it so fast Raz almost stumbled onto the big bad’s evil plan simply because Oleander never thought he’d get through the course so fast!

And the fun thing is that this unspoken emphasis on Raz’s acrobatics skill permeates through the entire rest of the game, and even explains a few metanarrative elements! Like you know how it’s implied that Raz pics up new psychic abilities and skills ridiculously fast for a kid his age while at camp?

Well, aside from his natural talent and drive to learn, from a gameplay perspective we can assume at least part of it is Raz picking up a bunch of those Psi cards, Challenge Markers and Scavenger Hunt items scattered around the camp. Most of which just so happen to be squirreled away in some VERY hard-to-reach places. At least, hard to reach for anyone without years of acrobatics training.

And that’s not even touching on what happens when Raz picks up Levitation. Like for the other kids, levitation is just a fun gimmick to zip around rolling on a glowing ball. But as we see with Raz, he’s practically FLYING.

Is it any wonder Ranger Cruller is surprised when Raz gets half the scavenger hunt done in an afternoon? And is pretty sure nobody has ever done the whole thing when Raz finally finishes the hunt?*

And I think this all plays very nicely into the narrative thru-line that runs across both the first and second games: That for all the baggage that may come from them, Raz’s connection to his family is still an important part of his life. Particularly with how this plays into the end of the first game with Raz reconciling with his father, and into the second game with both reconciling and dealing with several of his broader family issues.

That regardless of what he learns as a psychonaut, the lessons Raz learned from his family will always be of help to him.

*I mean, aside from the fact that one of the items can only be obtained through use of a psychic power that doesn’t seem available to campers, and another item straight-up isn’t even in the camp.

[caughtthedarkness93]

Not to do more Furiosaposting (and SPOILERS AHEAD), but a couple more things I noticed on a second viewing:

• I think Dementus is being honest about how he lost his family when Furiosa confronts him about it, and that's a big point the film is making. Furiosa isn't like Dementus when she finally chases him down. But she recognizes that she could become like him - a vile, cruel warlord who uses his own pain as an excuse to run roughshod all over the wasteland, smashing everything in her path, using her pain as an excuse to take from others. By that point, she's already a part of Immortan Joe's war machine. She is already complicit. And he does say to her that killing him won't give her what she wants. She resists the idea, but ultimately, it sure seems like she realizes he's right. And ultimately, that leads to her big choice - make a positive change rather than simply trying to hurt the people who hurt you. Granted, she still does do plenty of hurting the people who hurt her (Nice face you got there, Joe, be a shame if something happened to it). But the big, real legacy she builds is taking the Citadel in the name of a greater cause than fueling Immortan's cult of cruelty.

• Praetorian Jack is also complicit, honestly. And it's something he seems to recognize. He outright says that he's looking for a righteous cause. There's a lot we don't know about this man. He tells us very little of his history, nor do we know why he chooses to ride for Immortan Joe. But we do know that after meeting Furiosa, he wants to do everything in his power to help her. She becomes his righteous cause. So the whole film, Furiosa is kind of pulled between those two directions - Dementus, and Jack. Do you defeat the pain you carry by throwing it back to the people who gave it to you? Or do you seek a righteous cause to build it into something positive?

• Perhaps one of my biggest takeaways is related to Jack's death. It's not until Dementus kills Jack that Furiosa gets really set on revenge. Like she clearly loathes Dementus before that. Her first time meeting him as an adult, she goes straight for her gun. The camera highlights their relationship a lot, and I'm pretty sure her vengeful drive towards him has its own musical motif - listen for that driving, distorted noise that you hear sometimes. But revenge doesn't become her biggest driver until after Jack dies. Even as she feels clear hate and rage towards this man, she's still set on getting home all that time. But when Jack dies, she goes out of her way to try to kill him. And, relatedly, when Jack dies, she loses the arm that has her star map tattoo on it. So to put it another way, when she chooses to commit to vengeance, she loses her way.

• We need to consider perspective and narrator here, as this isn't like Fury Road where it's from the point of view of Max, who was directly there. Because this film's opening shot isn't of Furiosa. It's of another character - it's of the History Man. The first line belongs to him - "As the world falls around us. How must we brave it's cruelties?" The closing narration is his as well. Something that sticks in my head more and more is Dementus' ultimate fate. What gets me about it is that it feels implausible. Not only for Furiosa as a character, but for the way the series usually handles injuries. So George Miller was a paramedic before he was a filmmaker. In fact, his work as a paramedic is what partly inspired the first Mad Max film and what funded it. And in these films, Miller has put his medical knowledge to use. The characters' injuries are usually handled in a realistic way, with a few flights of fancy for people to make it through frankly absurd car wrecks. You see this especially in Fury Road, which takes the time to establish that Max is a universal donor twice so it makes sense to have him give a blood transfusion to Furiosa at the end. It talks about the ultimate effects of her collapsed lung and how to treat it. The injuries in these films feel realistic in a way movie wounds often don't. Dementus' final fate does feel a little complicatedly cruel for someone as pragmatic as Furiosa, but what really gets me is how medically implausible it is. We're supposed to believe that Dementus has been stuck in the citadel with a peach tree growing out of him for five years without dying? I...kinda don't. Why does this matter? I think it signals that aspects of the story fall to unreliable narration. These films are campfire stories from a world that fell and rose again. Always have been. But this one has a more direct narrator. The History Man is telling this story. It is filtered through his perspective.

• And that adds another layer to things, considering Furiosa and the History Man's backgrounds. We see the History Man, we see a guy who is clearly horrified by Dementus' actions. When Furiosa's mom is getting executed, he cries. He tells Furiosa that she needs to make herself indispensable - likely because he feels that it's the best way to protect her. But he still does Dementus' bidding, often without question or argument. In a word, the thing that ultimately separates the History Man from Furiosa is that where he was complicit until the very end, Furiosa chose to rebel.

• And I guess if I had to boil it all down, I think there's a great big takeaway from this film. Don't seek hope. Become hope.

Man, I love this movie.

[basketonthedoorstepofthefbi]

"concrete" - hotch x fem!bau!reader

your crush on your boss is so nearly at its breaking point; based on the request found here

cw: canonical violence, mutual pining, mild miscommunication, not a happy ending but not an unhappy ending lmao sorry luv ya

word count: 1.4k

------

You’ve been crushing on your boss for exactly ten months and nine days. You’ve known him for close to a year, but when you think about it, that two month difference in time is just about what it takes to warm up to Aaron Hotchner. 

He was a statue when you first met him. Unwavering, stoic, and maybe even a little strict (definitely very strict). He didn’t crack a smile around you until the first case you ever worked with the BAU was wrapped up, and he definitely didn’t make any jokes until much later on. You discovered underneath the stalwart, brick wall you met was the same man, only softer. Like one of those hard-shell candies with a jelly center. He was incredibly kind, patient, observant, and honorable. 

And he would do anything for anyone on his team at the drop of a hat. 

You also got to see the more playful side of him as you got to know him, as your caseload with the BAU only grew. Sure, he was a stickler for paperwork and procedure, but was he though? 

You once saw him take over a report JJ was supposed to finish so she could make it to Henry’s t-ball game. You definitely witnessed him reassuring Penelope that it was okay that she hacked into the Interpol database for info on an UnSub, and when Derek needed help tracking down his cousin in Chicago, Hotch had the whole team pitch in, which was certainly some kind of ethics violation. 

Little did you know that Aaron was crushing on you, too. He didn’t word it that way in his head, of course, but the second he watched you stride into the conference room to consult on a case, he knew he was in trouble. He expedited the transfer paperwork himself, even followed Strauss in the elevator on her way out one night to make her sign it. 

He grew fond of you quickly, of your insights, your compassion with victims’ families, your quick wit. You always bring homemade cookies or cupcakes for the entire team when it’s someone’s birthday, and you always have a different perspective to offer on cases. He especially loves when you are clearly thinking hard about something, so you cross your ankles - sitting or standing, he’s noticed - and tap your toes against the floor. 

Aaron’s ways of showing affection were not lost on you. He brought you coffee on more than one occasion, but he also brought coffee to the rest of the team. He straddles the invisible line between Caring Boss and More Than That so well. You’re not exactly sure what his actions mean.

Like today, for example. The team is in a small town in Kentucky, and you’re deep into a case - a spree, four murders in four days. You have been awake for about twenty straight hours, give or take, and the world around you has turned hazy. 

You are combing through a suspect’s letters with Spencer, your eyes growing heavier by the second. Your chin is propped up by your arm, and you finally close your eyes, just for one second of respite. Your arm gives out and your head whacks against the table, a wake-up call no amount of espresso could ever provide. 

“Shit, Y/N. Are you okay?” Spencer’s out of his chair in an instant as you lift your head, rubbing the already-formed welt on your forehead. 

The spot is tender and red and you’re dizzy, the wheels on your chair not helping matters. Why are there three Reids hovering over you? They meld back into one Reid after you blink a few times, and as you’re nodding to reassure Spencer you’re okay, you hear Hotch walk in. “I heard a thud. What happened?” 

The conference room in the police precinct is teeny and already cramped, so Spencer has to move out of the way for Hotch to get to you. 

“She smacked her head on the table,” Spencer explains hurriedly. “I’ll get you an ice pack,” he scurries off, likely to ask one of the local officers, leaving you alone with Hotch. 

You’re still reeling and a bit disoriented from the contact with the solid oak table. Hotch takes the rolling desk chair beside yours, previously occupied by Spencer, and is hunching to meet your eye line. “You should really go back to the hotel and sleep for a little bit,” he says.

“Nobody else is,” you protest just as Hotch squares up to you to examine the welt on your forehead. You see him visibly grimace, his lips pressing deep into his face.

His thumb is suddenly on your forehead, padding around the bruise. It’s tender, and you know it would hurt if he touched you even a centimeter to the left, but he’s hitting it at just the right spot. You can see the lines on his palm.

“Yeah, well, no one else just concussed themselves,” he points out. You can tell just by looking at him that he’s tired, too. His eyes are heavy, the bags under them puffier than usual. 

“If I’m concussed, then I really shouldn’t go to sleep,” you point out, and Hotch’s expression tightens. 

“What day is it today?” He asks, retracting his hand and pulling back into his own space. 

“Wednesday,” you reply, then your eyes dart to the clock on the wall. 12:17 AM. “Thursday,” you correct. 

Hotch releases a pressure-cooker sigh and narrows his eyes at you scrupulously. You lean forward in your chair in a challenge. “I’m fine,” you insist. 

“I just wish you’d take care of yourself so I wouldn’t have to.” 

This catches you off guard. Your brows furrow and you frown at Hotchner, crossing your arms over your chest. “Excuse me?” you ask, feeling offended. What the hell was that supposed to mean? “You don’t think I take care of myself?”

Hotch’s mouth is hanging open just slightly, and he’s shaking his head. “No, Y/N, that’s not what I-” 

“You and I both know you would tell me if my performance was inadequate,” you decide in that moment - maybe it’s the potential concussion, or maybe it’s the exhaustion - to rip into him. “I don’t need a babysitter, Aaron.” 

Hotchner shakes his head again. “I know you don’t need a babysitter,” he says calmly. Irritatingly calmly. “I just meant that there are many other things I’d rather be doing…” 

Your mouth goes dry. Obnoxiously, with the cadence of a confused basset hound, you say, “huh?” 

Aaron’s cheeks are pink now, and he swallows hard. “I’d better go check on Reid and that ice pack,” he murmurs, but before he can roll away, you grab the arm of his chair.  

“Aaron,” you breathe out, and suddenly he’s looking at you like you’re the only person in the world, like there’s a spotlight shining down on you from the ceiling of a little police precinct in Middle of Nowhere, Kentucky. 

His brown eyes are so soft at this moment. His eyebrows have softened from their usual piercing, investigative furrow. He knees press into yours, and you want so badly to bridge that gap between his face and yours. His mouth is hanging open, only slightly, and you watch with bated breath as his tongue juts out - just barely - to moisten his lips. 

The door flies open at that moment, and Spencer’s shifting three different ice packs among his hands. “I’ve got gel, I’ve got water-based, and they also had one of those beaded eye masks that people put in the freezer for self-care at home,” he laughs at this, stopping at the head of the table when he realizes he very clearly interrupted something. “Should… should I go?” 

You’re rolling back from Hotch, crossing your ankles and shaking your head. “No, you’re fine, Spence,” you say hurriedly and squeakily, just as Hotch clears his throat and rises from his seat. He lingers in the door on his way out. As you’re taking the gel ice pack from Spencer and placing it gingerly against your forehead, your gaze meets Hotch’s. 

He’s boring into you with those beautiful molten chocolate eyes, and he purses his lips pensively for one fleeting moment, as if to say, to be continued. 

“What was all that about?” Spencer asks as he sits back down. You shake your head. 

“Nothing,” you feel concrete tension in your jaw that radiates all the way down to your toes. You grab the next pile of letters and open one. The fact that you have to pretend like nothing just happened, like you didn’t just share an absurd amount of tension with your boss? It feels like your entire body is on pins and needles. “Let’s just keep going.”

[cumbunnywitch]

I've seen at least one, but posts saying not to blame the people who didn't vote for Harris because whatever are fully in the wrong and they always will be.

You chose moral high grounding and purity culture over the possibility that our protests would work. You chose "she leaned too right in her campaign" over "Trump and the people who want to puppeteer him are going to get a lot of people killed." You chose the democrats being idiots over the republicans want a racist rapist.

You didn't choose? No, you had a choice. You used yours. If you chose not to vote because you wanted to use your non-vote as a voice to show the democrats that they have to win your vote, you're still going to get your face eaten by the leopards. They aren't going to hear you anyway.

Protests work on the left side of our shit-ass two party system because they at least pretend to care.

Here's just, off the top of my head, the things you decided were less important than telling the democratic party "No you have to be good enough":

Student Loan Forgiveness or Relief

Healthcare

Trans Rights

LGBTQIA Safety

Abortion rights

Palestine/Gaza

Ukraine

Industry Regulation(notice all those recalls on food lately?)

Cost of Living

Police Reform

Taxes

There's no such thing as a single-issue voter, not anymore. The right is diametrically opposed to making any of the above better for anyone, whether or not they voted for that shitstain, unless you're very rich, and very white, and a very straight man.

Honestly, if you voted for Jill Stein, at least you fucking voted. Her numbers won her absolutely nothing but at least you voted.

But no. "Don't vote for Harris because she's not good enough! She's running a campaign to secure moderate republicans!" Yea no fucking shit. That's what they've been doing for the last forever. Yea, it still sucks. But most moderate liberals who actually vote still struggle with that list up there. There's literally a democrat trans woman who just got voted in who wants to support Israel's genocidal campaign of murdering every Palestinian.

And you know what? If she sees that line, she might actually stop and think and move a little bit over to my perspective. Every conservative sees that line and immediately thinks "Yea kill the fuckin' brown people!" because they don't consider them fucking people.

If you didn't vote because you saw people saying Harris wasn't leftist enough, not liberal enough, she was a former prosecutor or the democrats haven't done enough for you in the last 4 years, you fell for the Russian psyop. You fell for the propaganda.

Does it suck that Harris wanted to court the swing states and their moderately conservative voting base over to vote for the first woman president? Yea, it's been a shitty idea for decades and they've been doing it for as long as I've been voting. Obama was the center-ist centerist ever, and he still got healthcare reform passed. He also drone striked a lot of people and gave banks billions of dollars when the financial sector faceplanted after trying to balance on a pin for the longest time.

I was gonna add a read-more or chop this up better but no. You get to read the whole thing. If you didn't vote, or you voted for trump, I want you gone. Unfollow me, block me, because you clearly either don't care enough to prevent our slide into authoritarianism and a fixed court for the next 60 years, or you actively hate me.

[mias-back-from-the-dead]

so this was a line in a fanfic I recently read but it has me fuckign crawling up the walls and watching D&W in a new light

it's part of a larger oh/oh moment paragraph rant wade goes on but the line is:

"I would have happily gone on assuming that this Wolverine is canonically a fuck machine who only sleeps with women ever and that I could hit on him to my dick’s content and never have to worry about the possibility of real rejection"

and that last line COMPLETELY reframed half of wade's actions for me in the movie.

Cuz on the surface level there's the hee-hoo deadpool hits on every single hero joke of it all, which is probably all the writers were thinking about when those lines and directions went onto the script. They needed the throughline of wade being seriously still hung up on vanessa for plot reasons but didn't want to give up all the ridiculous flirt jokes.

From a hollywood writer's perspective, the solution is an easy 'Okay, he flirts with dudes ONLY, no prob, there's a Logan shaped comedic 'straight man' for him to do that at for 90+minutes'

But like. There's Implications to that as a Choice, when you characterize a dude that's so rejection avoidant and purpose-seeking that an avengers' dismissal kills all motivation for putting the suit on at all.

Pointing affections at literally any direction other than people who MIGHT take him seriously. Flirt on his favourite heroes, antiheroes, maybe even a TVA employee or two instead. It isn't that he's not ACTUALLY into Colossus's giant metal ass or Logan's oiled up tits, I'm sure they rev the engines like anything else, but I'm super willing to explore the idea that he's way more comfortable in throwing himself in directions where the rejections aren't 'real' to him. If the writers never thought about that implication, I'm going with concept that Wade doesn't even realize he's doing it at all unless he's in a fanfic universe with a decent oh/oh moment.

It makes me wonder what style of bluescreen he'd go through the second Logan yes-and's in a way that might be interpreted as flirting back. It makes me think of the countless number of dudes he's hit on in the comics despite most of his longer-term relationships being with women. Don't get me wrong, I KNOW the Doylist perspective is likely that most writers go down the straight relationships, gay jokes avenue but it's SO much more interesting to play it watsonian here. it's just a really good fanfic direction to lean down, this fucker is made up of exactly 50/50 emotional anguish about rejection and shitpost dick humour and I just wanna read more works where they feed into each other instead of being tackled separately

HHHHHHh I dUNNO IF I KEEP WRITING IM JUST GONNA GO IN CIRCLES JUST GO READ THE FIC ^

[mousegoesmoo]

Okay I'm sure many of you all have seen this tiktok:

This tiktok has seemingly reached a very broad audience and I'm lowkey beefing with some of the comments. And then comments are stirring some byler doubt in me but I'm just gonna come on here and think through things logically. I'm only going to take into account things that are canon or have been stated by official sources.

Many commenters have stated that Byler will only be one sided, Will in love with Mike. Narratively, this does not make sense. Will's character has been pre-planned to be queer from season 1 episode 1 and in his character description. Additionally, Robin originally was not going to be gay, but that was changed during the filming of Season 3 (Maya Hawke talks about this). So, why would they have the only canonically gay character be used as a plot device to further El and Mikes relationship? It just doesn't make sense for his love to be unrequited. They have stretched out the plot point of Will's sexual orientation and love for Mike for many seasons, it has been slow burned. They could have given Will a sharp rejection in Season 3 during the rain fight, but they didn't. If they did, moving to California would be an opportune time for Will to move on from his love for Mike. But they didn't. Will made an entire painting for Mike and gave him a veiled confession- if it ends in unrequitedness they stretched out this plot line for far to long. It is unnecessary. It would just be unnecessarily devastating for Will to be rejected in the final season. Plus, we have seen it before, entire relationships can form in one season. Mike and El were formed in one season, Nancy and Steve broke up and then Nancy and Jonathan got together, why can't the same happen with Mike and Will?

2. Mike has never been implied or done any actions to suggest he is gay or reciprocates Will's feelings. First of, to quote the byler slides, Mike has more queer coding than Will (slide 7, slides linked). To preface, queer coding is "...when a character’s sexual orientation is implied by significant subtext without being stated outright."(Elizabeth Duarte). So, this doesn't necessarily prove that Mike is in love with Will, but it does imply that he is in the very least bicurious. Personally, I believe that one of the strongest bits of queer coding for Mike is during his initial attraction to Eleven. Eleven was often described to look very similar to Will and boy-ish. A little suspicious if you ask me. To add on to that, the problems in Mike and Eleven's relationship have grown as El has explored her femininity and self. Granted, the problems could have arose due to them both aging, but, it is still another common denominator. But, the byler slides have many instances of queer coding for Mike (some probably better than what I presented), so I would suggest looking into those rather than having me repeat them here. But queer coding implies queerness, therefore, Stranger Things has suggested that Mike is not straight.

2.5 Mike's feelings have never been reciprocated for Will. Now this is a trickier one. We haven't had a scene from Mike's perspective in a while, making it very difficult to have hard evidence that he is into Will as well. However, we can prove that Mike is heavily queer coded (because he is). So, if Mike were gay, who would he direct his affections towards? Lucas, who is trying to rekindle his relationship Max, Dustin, who has had a steady long distance relationship with Suzie, or Will, who has never shown interest in any girls despite having many opportunities (arguably, more opportunities than the other party members)? They would not put Mike into a one sided pining with Lucas or Dustin for the final season, it simply does not make sense. But Will, who has already had a developed crush on Mike for several seasons, the pieces start to click together. Mike liking Will is very dependent on Mike being queer, which we have proven through the fact that he is heavily queer coded. So, the only same sex individual that would make logical sense as his love interest is Will. Also: a huge point about not having a Milkeven endgame is that Eleven was supposed to die and, consequently, so would their relationship.

3. Unlikely for the time, so it will never happen. Girlypops. It is unlikely for someone to be dating someone with superpowers in the 80's. It is unlikely for a parallel dimension to take over and infect this one random town in Indiana in the 80's. ITS FICTION. Additionally, it is know that homophobia exists in the fictional Stranger Things universe (Lonnie, Troy, Robin's extreme hesitance to come out, etc.), ,but on the other hand, the Duffers are actively pursuing a relationship between Robin and Vickie. As of our knowledge right now, Vickie's sole purpose in the show is to be a love interest of Robin's. If they don't end up together it is most likely because Robin either gets a new love interest or one of the two dies in the final season. Ultimately, I do not think that Stranger Thing's taking place in the 80's will have an impact on whether or not byler becomes canon.

So those were the main three points made in the comment section of that tiktok.

I just want to also state that if Byler isn't canon, I would want to consider this to be a case of queerbaiting (but, this still depends on how they wrap up Season 5). Also, I would consider slapping a new love interest for Will to wrap up the season as very sloppy and lazy writing. AND, I think using Will's love for Mike as a stepping stone to progress a heterosexual relationship deeply offensive. If they were going to have Will be rejected, they should have done it way earlier in the series.

Thats all I have to say xx

[redslug]

The secret of fluff

There is no secret, only volumes and vectors. Now I will proceed beam the knowledge of simple structures under the details of this drawing straight into your brain.

The best way to achieve fluffy fluff is to get into the right mindset when you go to draw it. It may be made up of thousands of hairs, but unlike long hair, which can be simplified to ribbons, fluff can be simplified to a volume, a solid piece of geometry.

The largest blocks of it are already here, but it's the smaller extra volumes of it that really help sell the illusion.

These distinct groups of fluff create a feeling of some kind of growth pattern, rather than an even fur coat thrown over a statue. They also squish and push each other, which adds that extra 3d feeling to the fluff. At this stage I also decide the growth direction of these volumes, these guides are what prevents me from getting lost in all the fur. Well, honestly I've done this so much that the guides are no longer a necessity, but you get my meaning. It's very useful when you're still figuring it out.

Anyway, scratch and scribble your way along the guides until you're happy. I found it most effective to add more lines to the parts of the fur that are facing away from the camera and fewer to the parts that are viewed straight on. It makes the fluff appear more voluminous and soft. Follow the same logic as a fresnel shader, basically.

That's how the effect looks for those who don't know. (Image snatched from Unreal's documentation on fresnel node.) More guides, now on antennae.

Once again, there is coherent geometry guiding the hairs that can wobble and deform in perspective. First - a simplified ribbon, then - hair detailing.

Lastly, shading. For this step don't follow all the individual hairs you've drawn on the detail pass, what you're shading is the entire volumes, not individual fluff clumps. Doesn't hurt to pick out a few strands of course, but don't over do it or the 3d feeling will be lost.

Thanks for reading my quick and dirty tutorial, I'm going back to work. Control rigs don't set themselves up on their own.

[adickaboutspoons]

Fuck me, I have more to say about this moment:

And it's gonna get ugly, folks, so buckle in. As important as it is to understand this scene as a moment of Character Growth for Stede? It's also key to understanding Why Shit Went Down the way it did during the negotiation of the escape plan in Act of Grace. So Stede stands up for himself and draws some boundaries. Good for him! Love to see it. And how does Ed respond to "I don't like who you are around this guy?"

And what does he say when he chooses to leave with Jack?

It's a through-line. In this moment, Ed is calling back to the conversation on the beach. I don't think he is being intentionally cruel - to him, what he's saying is more of a reflection of his struggles with feelings of worthlessness - but how can Stede help but make the association; the ONE TIME he draws boundaries with Ed, Ed leaves. Not only does Ed choose to go, rather than stay and respect Stede's boundaries (which, I would argue are completely reasonable here; Don't wantonly kill innocent animals), he is aligning himself with the man that has spent the entire day tormenting Stede ("This" - Jack killing Karl - "is who I am"). Again, I'm not saying that he's being intentionally cruel; I don't think he fully understands how awful Jack has been to Stede. But, surely you can see how, from Stede's perspective, this is absolutely DEVASTATING - much more than JUST the heartbreak of the man that you had so recently made tentative plans to join your life with ("Co-Captains!") breaking up with you. But breaking up with you AND CHOOSING ONE OF THE WORST PEOPLE YOU KNOW OVER YOU.

So now we come to the Act of Grace and the scene on the beach:

No, AFTER that.

Ed proposes a plan to run away together. And Stede... doesn't say yes. In fact, his first instinct is to push back, THREE TIMES.

"But you said there was no escape."

"What about the English? They'll be all over us."

"China? That's quite far away."

Every time Ed dismisses his concerns - comes up with a reason to make the plan A Thing. Ed is clearly not going to take "no" for an answer.

And what happened the last time Stede told him no?

Ed left.

Ed broke his heart.

Ed sided with the kind of person that validates Stede's every insecurity about not being enough.

So is it any wonder that Stede gives in? And not even with enthusiastic consent. With the most tepid positive-leaning neutral responses possible.

"Yeah."

"I think so."

"Mm-hm."

(Which is to say nothing about his body language - the incredulous-bordering-on-disgusted face he makes when he talks about China, his lips pressed together when he says "Mm-hm", the way he starts the conversation leaning in toward Ed, his body twisted toward him, but quickly shifts so his body is angled straight ahead with his head awkwardly twisted to the side to look at Ed)

The seeds of tragedy were planted when Ed left Stede. Because, by doing so, he accidentally reinforced a lifetime of Stede being taught that his wants and needs are secondary to those of others, and that acceptance is conditional on compliance.

[vigilskeep]

i have never thought of the bg3 paths as railroaded before but oh my god... i see your vision. i think that, for all that can be picked apart in the writing of dragon age, the worldbuilding in that series is so so interested in complicating all factions that you can envision a character who /makes sense/ while bouncing through various ideologies. and the sort of fantasy writing in (most of) the forgotten realms doesn't really allow for that.

dao is particularly the light of my life because the origins mechanic is specifically intended to let you create a character who has a distinctive perspective on the world that’s grounded in the worldbuilding. one of my favourite aspects of this is several origins having completely different codex entries on their own culture as opposed to those an outsider would get. it’s really good! it’s also a reasonably grounded world (while obviously silly) because, like, the basic fundamental premise of thedas, from which they ikea flatpack built almost every feature, is “how would people react to magical and fantastical diversity? the same way they react to human diversity.” you’re meant to feel like, aside from i guess the darkspawn, people are normal and have real motivations. sure it has to fulfil certain roles in a story, and dragon age was manufactured too quickly and purposefully for everything to land feeling authentic, but evil in dragon age should feel recognisable. and in most of the origins they give you a chance to do something that is bad, but also totally makes sense, because of the context of your character belonging to this world where these things happen

in dnd/the forgotten realms it’s a bit different because capital e Evil exists, so there are people and deities and devils (and, to open another can of worms, races) whose entire goal is to Do Evil. it’s also harder to produce grounded evil because in a world where i’m being given basically no context and just told to make whatever i want, i don’t have an inch of the kind of social information i get from for example a dao origin: what my character has been taught to believe they should do to survive, who they are willing to sacrifice, whatever. bg3 also happens to have a main plot goal that is, at least for the first part of the game, broadly selfish (“i am sick, and i need a cure”) which works really well for getting a bunch of people with vastly differing moral standards to band together for the same goal, and not so good for any kind of “greater good” type blurred morality, so that’s out too

however much the worldbuilding factors into this, bg3 specifically went for quite a clear distinction between the good path and the capital e Evil Path, and i find it pretty hard to vary up the good path. when i say railroaded i mean you either do the specific thing that gets you a quest down the line or not. i was really disappointed actually in my playthrough where i totally fucked up in the druids’ grove and caused a fight to break out, because it immediately instakilled tons of characters i knew i would need down the line. the few it spared needed some of the dead ones to stay alive in later quests, so it’s like... oh. that’s just... over. for both factions. bg3 arguably lets you do basically anything you want but they are able to do that because if you fuck around it just breaks the entire quest line from coming up again, which means playing a character who fucks up is not even really going to get me consequences it’s just going to cut content from the game. does that make sense? and then the Evil Path is just straight up evil, like... there’s no way for me to complicate and empathise, here, especially playing a blank canvas character whose motivations i would have to make up from nothing, and who faces basically no consequences for not doing this. the only neutral/cowardly/self-interested option in act 1 is to do neither path, which gets me the least content because i literally don’t get to play the fucking game

i don’t know, i’m not saying it’s necessarily bad just that it’s hard for me, personally, and how i like to create characters. especially when you have my constant restart disease and you have to do this all over again a dozen times just for a handful of different dialogue. does any of that make sense

[ace-disgrace-on-the-case]

There’s something I love about Battletech that I’ve only now figured out how to word, and it’s the way ‘Mechs are treated in the setting (capitalized that way because in universe it’s short for BattleMechs).

If you’re not familiar with this line of thinking, let me introduce it a moment. In short, one of the things that mecha as a genre does is use mechs because they’re human-looking. It lets you take mechanized warfare, something famously cruel and dehumanizing, and humanize it, making it once again about lone heroic actors that tower over the battlefield. That can do a lot of things in a piece: it can let you really understand the emotional impact, war-is-hell style; it can be vaguely propaganda-y/wish fulfillment, in the sense that it defies the idea that one person alone can’t make a difference; it can even be used to make combat a person-to-person backdrop for what’s really going on (you could do a rom-com with mechs pretty neatly I think…wonder if that exists?)

Battletech seems to have this line of thinking built into the setting. From a Doylist perspective, I can’t guarantee it was on purpose, but shut up we’re going off the Watsonian rails.

The setting goes straight into it with the view people have of MechWarriors, the class of soldier that pilots Battlemechs across the battlefields of the Inner Sphere. The setting (especially in older eras) treats these warriors as knights-errant, crusading about in massive suits of armor for whatever cause they believe right--even if that cause is a bit of coin. Chivalric orders at one point really did and occasionally still do within the Battletech universe, and (again, earlier on in the setting) mechs are often passed down through family lines, making these machines into a symbol. What that symbol exactly represents depends from MechWarrior to MechWarrior, but no matter what it means something to them. They have some form of relationship with what it means to be a MechWarrior. To be one of these glorious knights.

But then, as all things must, it all comes crashing down when faced with the horrors of real life and the real-life battlefield. 'Mechs aren't invincible, far from it; they certainly aren't disposable, but in addition to other 'Mechs (the "romantic" opponent all MechWarriors wish to fight) they are under threat from VTOL craft, planes, tanks, artillery, and even properly trained infantry. The glorious knight, striding across the battlefield...can very easily lose their lives to their own notions of splendor. Combat, both in lore and on the tabletop, is brutal, and 'Mechs even if they survive often come away with massive holes, missing limbs, and pilots bloodied and bruised even from the safety of the cockpit. To say nothing of those that don't make it home, their ammunition reserves sending them up in a fireball of death, their reactors purged in superheated steam that could leak into the cockpit and boil them alive, their cockpit itself blasted from off the 'Mech's shoulders and leaving them nothing but a fine red paste. BattleMechs are glorious, yes, but at the end of the day it's still war.

It's still war. And war is hell.

So despite having the appearance of being an empowering machine in-universe, we can actually look at the BattleMech as symbolic of the kind of thing that really happens to people thrown into the grinder of war--they die. And it's not pretty. No idealism can protect you from the barrel of a gun. And you are most certainly cheaper to replace than all your equipment.

The designs of the 'Mechs lean into this depersonalizing angle, too. Many of them are, in the barest sense, humanoid:

But even then, it's the vision of a human filtered through a much more realistic military-industrial complex than something like, say, Gundam. And on the other end of this spectrum:

...are 'Mechs that look nothing like the people they're supposed to represent.

Looking at this through the lens of 'Mechs as something used to tell a story about humans, we reach a conclusion:

You think this story is about you. It's not. War is hell. Meat is cheap.

And that's actually really cool of Battletech to be so thematically tied into itself like that.