#this is also extremely shitty i just had to get it out of my brain

[dimensionzero]

across the spiderverse spoilers out of context

[teaspacebar]

spiced chai

pairing: carmen "carmy" berzatto x reader

summary: you've been living in chicago for about a year, and you're suddenly managing the coffee shop in the well beloved bookstore, nan's. you meet carmen berzatto on a not-so-good day. you're thrust into the everchanging societal landscape that is making friends in your 20s..

word count: ~9.7k

warnings: language, depictions of mental illness, barista!reader, afab!reader (but tried to be as neutral as possible), neurodivergent!reader, they don't kiss, could be read as platonic tbh but there's crumbs in there if you look, takes place over the course of a few months, probably doesn't follow canon fully (i'm not caught up yet forgive me)

a/n: *dumps this here and runs* but actually this piece of writing appeared in my brain and i've been picking away at it for a couple of months. i feel like i've put more of myself into this fic than with anything else i've written, so this is definitely more of a self insert (pls be kind or don't read if that's not your vibe). i'm queer, non-binary, and autistic and i just wanted to insert that into this space. i feel like there's more to explore here, so i might write more for this if i feel so inclined.

Meeting Carmen Berzatto was not on your to-do list for Tuesday morning.

Not that having to run down to the nearest corner store to grab milk - since the milk fridge was on the fritz…again - at 4am was in your plans either. It always seemed like one step forward, three giant leaps back with the little shop on the corner you basically called home. It was weird, to be thrust into leadership as your manager made an abrupt exit. 

The small bookstore, with an even tinier coffee shop, had been your place of work for the last year or so. You loved it. The people were great, and Nan, the shop owner, was absolutely lovely. She was getting up in her years, but the genuine care she had for the employees made all the difference. She put her trust in you to run the cafe, saying “You have the experience, and the care you have for people shows. I know this. Everyone knows this. Now you just have to see it - have confidence.”

“Confidence my ass,” you mutter, carrying five gallons of milk around the corner.

What happens next might have been considered the beginning of a rom-com, but you’re a realist, and the world is shitty.

There’s a crash, and the distinct sound of three of the five gallons of milk dropping onto the sidewalk. You stare, watching in slow motion as the milk forms into a river, dripping off the sidewalk into the gutter.

The person who ran into you curses, “Shit — fuck, sorry, I—I wasn’t looking where I was…dammit.”

You grip the other two jugs in your arms, blinking out of the haze to let out a hysterical laugh. “Great…cool cool.” Cold plastic bites into your fingers, and you take a deep breath. “Yeah, okay, what else was gonna happen?” You finally look up to see the one you collided with. The man looks extremely uncomfortable, foot tapping like he wants to bolt. Plastering on a smile you shake your head, “It’s fine. I’m the one who thought carrying five gallons of milk would be fine.” You ramble on, trying to ease his nerves, “I mean — why would I drive, like, thirty seconds. Park, get the milk, come all the way back. Seemed stupid…but now there’s milk in my socks.” You grimace, fighting the urge to chuck the remaining jugs of milk in the street so you could also hurl your milk-soaked shoes and socks after them. It makes the ache in your chest sharpen.

“Here, where are you —“

You cut him off, “No, no, it’s okay. I got it, thank you.” You gesture to the door that’s just a few feet away from you. “This is me, anyway.” You adjust your hold on the milk, brushing past the man to pull open the door. You catch it with your hip, not daring to look back as you head behind the counter. You release a sigh, setting the bane of your existence on the black speckled marble. 

“Fuck,” you whisper, pressing the backs of your hands to your eyes. You shake out your arms, biting your lip. “Okay, asshole, let’s get your shit together.” You quickly put the milk into the small fridge below the bar and walk to the back. The squish of your socks curdles your stomach, and you breathe through your mouth to avoid the smell. You take off your shoes, throwing them into a plastic bag to take home. Tossing your socks into the garbage, you grab your replacement sneakers and socks from your cubby. It wasn’t the first time you’ve dropped something on your shoes, it wouldn’t be the last.

You take your time in the back. You had gotten to the shop around 4am, unable to sleep. You were messing around with recipes, seeing if there was a possibility of baking some of the food in the cafe fresh, instead of outsourcing. It was something you put on your own plate, and you didn’t want to disappoint Nan. You had shown up early, looking to try out some muffins, and noticed the fridge had been hovering at sixty degrees all night. You’ll have to grab some more milk before the day starts, but that could be a problem for 8am you.

Walking through the swinging doors, you jump as you see someone at the bar counter. Pressing a hand to your fluttering heart, you finally take in the man that had run into you earlier. A mop of curly hair on his head, white tee, very blue eyes…and standing behind eight gallons of milk.

“Um…” you look between the milk and him a few times.

“The…uh – the door was unlocked. Figured I owed you one.” He rubs the back of his neck.

“How’d you even get it all here?” 

“Made two trips.” His gaze snaps back to you as you laugh, this time more genuine. “Fridge go out, or somethin’?” You’re still staring at him like he has two heads, and he rambles on, “Sorry for just…barging in. I used to go to this place…when I was kid. My sister and I would grab whatever pastries they had left for the day. And, yeah, we’d just sit, read random shit. I work at the restaurant just down the street…’s why I ran into you. Wasn’t paying attention – sorry, again.”

Suddenly, it all clicks. “You own The Bear.”

“Uh, yeah – yeah, I do.”

You feel nervous, out of the blue. Nan hadn’t stopped talking about the Berzatto’s, and Natalie had become a regular while the restaurant was being remodeled. You’re sure you’d seen other employees come in as well, for reading material. You vaguely remember talking to a very sweet man about baking, as he carried a ton of cookbooks in his arms.

You knew Carmen Berzatto, but only through the words of others – and the research you did late one night because you were nosey. To have him standing in the bookstore you worked at, for him to have gotten you milk, is sending you for a loop. Swallowing a lump in your throat, you begin to put the milk in their new home. You really need to call the refrigerator guy again. 

“That’s so cool,” the words fall from your mouth, others staying in your head. 

It's insane that someone like him is even speaking to you. He’s around the same age as you; He owns a restaurant and you’re barely able to run a tiny coffee bar in a bookstore. You’re an idiot who dropped milk onto the sidewalk. Why didn’t you just take the car? You should’ve just taken the car. Now Carmen fucking Berzatto has bought you milk at 5am because he feels bad for you. How pathetic. Call the fucking refrigerator guy.

“Thanks…for the milk.” You back away from the counter, gesturing behind you, “Lemme grab some money from the cash box real quick.”

“No, don’t worry about it.”

“It’s really fine, you didn’t have to go out of your way. I’ll be right back.” The itch creeps its way up your spine, and you push through the door as a shudder passes through you. You shake out the twitch, going and grabbing the cash box. You do mental math, trying to see how much you should give him. Did he even need the money? “Idiot,” you chide yourself. Today was not the day for your brain. 

Snagging a twenty and a ten, you rush back out to the bar, only to find the store empty. A groan escapes through your teeth, and you clench the cash in your hands, crumpling it. You walk to the front door, peering out to see if you can spot the chef. He must’ve made a quick getaway. As you turn to get prepped for the day, you spot a brochure on the counter, far away from its home of the stand at the front of the bookstore. Eat Your Way Through Chicago! 

Scribbled on the front is a phone number, and the words:

Fridge  Ask for Fak Say Carm sent you

“Fucking fuck.” You whisper, a smile creeping on your face against your will, “Asshole.”

It’s later in the week when you hear the bell attached to the front door – ding! You poke your head up from where you're arranging some alternative milks under the counter, seeing a familiar blonde.

“Hey, Natalie!” You pop up, an easy grin appearing on your face. “Half-caff?”

She nods, “Please.”

“How are you?” 

“Oh, you know.”

You ring her up quickly, then grab a pitcher to steam some milk for her latte. Natalie walks away from the counter to browse some books. The steam wand whirs, and you watch the vortex inside the pitcher. You touch the sides every so often, waiting for it to get to the right temperature. Making drinks is all muscle memory now, and you tamp the espresso grounds into the portafilter with precision. Wiping the excess from the lip, you lock it into the machine and press the shot button. As the shot pulls, you wipe down the steam wand with a wet cloth. 

“Is this any good?” Natalie has come back over, holding up a book with a half-naked man on the front.

You laugh, “It’s a Nan recommendation, so…” The shots are poured into the paper cup, and you swirl the milk into it, doing a quick tulip design. You sprinkle a little cinnamon over the top, before placing it in front of the woman.

“Smutty then, for sure.” Natalie laughs, then does a little excited gasp when she sees the latte art. “It looks so good every time!” 

“Thanks,” you reply, “Gets covered by the lid, but it’s fun to practice.”

“Too bad you don’t have for-here mugs,” she says thoughtfully.

“Ever the idea-haver! There'd be more spills to clean up – Nan would lose her mind if any books got ruined.” You point to the book still in her hand, “You want me to ring you up for that?” It was early enough in the afternoon that the only other person here was a part-timer, Jack, somewhere between the shelves stocking books. You had convinced Nan to upgrade to a different register system (which ended up saving money in the long run), so you’re able to ring up both books and café products at your register. 

She shakes her head, sighing. “I barely have any time to read, these days. I was thinking about trying out audiobooks? I used to listen to them at my old job, but it’s way too loud in the kitchen for that to work out.” The latte goes to her mouth, a pleasant hum leaving her as she takes a sip. “You’re the best.”

“Thanks, Natalie.”

She squints at you, “It’s Nat, c’mon.” A big conspiratorial grin makes its way onto her face, “So, I heard that you got some help with your fridge.”

A sharp pain twists in your chest. “Oh, um…yeah.” You let out a soft chuckle, “It’s working, which is great. Neil was a big help.”

“He said you made him the best hot chocolate he’s ever had,” Natalie taps the counter with her pointer finger twice. “Said he didn’t know how you got his number, though.” 

You shrug, wiping down the counter, “Nan had it. And the usual guy wasn’t calling me back.” Neil had told you the exact same thing, both about the drink and the number. Something had held you back from saying where you got the number from. Embarrassment, maybe? It felt weird, feeling like you owed anyone favors, or that things would be unbalanced. People usually never give without looking to receive.

“Frankie, right? He’s an asshole. Overcharges for everything.” Natalie doesn’t push you for answers, something you’re grateful for.

“Right! He disappeared one time and said he’d ‘be right back’ and then was gone for like, two hours! And he added that to his hourly!” The two of you giggle at the shittiness of people for a minute, when a ping causes Natalie to pull her phone from her pocket.

“I should run.” She reaches into her purse, and puts a five into your tip jar. “Thanks again!” 

As she turns to go, you call out her name. “Would you - maybe - I have some extra muffins. The place we get them from gave us some of the wrong ones…or they’re a tad over baked, or something. I can’t sell them. Would you wanna take them with you?”

“That’s so sweet of you! Yeah, I’m sure they’ll get eaten up.”

You grab the box of muffins, handing them over to her, “Thanks.”

“Thank you, babe.” She leaves with a smile, and you look down to brush the flour off your apron. 

“Hey, guys, I got some goodies!” Natalie sets the box of muffins on the table, where everyone is seated for family meal. 

Neil immediately grabs the box, pointing to the sticker on the top, “You went to Nan’s? Man, I could use a hot chocolate right now.” 

“I’m sure you can walk over there and order one, my love.” Natalie replies, waving for him to put the box back on the table.

Marcus snags two muffins, handing one to Sydney who is sitting on his right. Taking a bite, he stops chewing, eyebrows raised. “Dude,” he nudges the girl next to him.

“Dude,” Syd parrots, popping some muffin into her mouth. “Wait, woah.”

“That’s what I’m saying!” 

“Nat, where did you get these?” Sydney calls to the woman now sitting at the end of the table. The muffins are passed down the rest of the table.

Marcus has started dissecting the muffin, “Macadamia nuts, sick.”

“Oh they’re from Nan’s just down the corner!” She tells them how you offered them to her since they were the wrong ones from a vendor and possibly over-baked.

Syd snorts, “Over-baked? These are perfect!”

“What’s perfect?” Carmy walks out of the kitchen, wiping his hands on a towel.

“Bear, come eat!” Natalie waves him over, pulling him into the seat next to hers. “You’ve been at it all morning, take a minute, okay?” She gives him a look that tells him not to argue, and he huffs in response, but does as she says.

“What’s perfect?” He asks again, taking the muffin box from Sweeps as it’s passed to him. As the cinnamon crumble topping hits his taste buds, he leans back in his chair. “Shit.”

“That’s what we’re saying!” 

Syd and Marcus begin talking over one another, the dull roar of family making its home in Carmy’s ears. He has another bite of muffin, thumb swiping over the sticker atop the box.

Nan’s Books & Brews

Simple lettering, surrounding a doodle of a coffee cup sitting on an open book.

“When did they,” he clears his throat as he leans closer to Nat, “when did they start doin’ stuff like this?”

Natalie purses her lips, “Not sure, honestly. They only had that small coffee machine and that plastic pastry case when we were growing up, remember? I think they added the actual coffee bar right before Covid?” Carmy nods, looking out the windows, a curdle in his stomach.

“A lot’s changed,” he murmurs.

“Yeah,” Nat sighs, a hand over her stomach, “a lot has.”

A few weeks go by, as uneventful as they can be. You try out more recipes, and the staff of Nan’s is always sent home with one treat or another. Muffins, cinnamon rolls, croissants (which were a bust), and the like. Natalie is still a regular, and Neil has shown up to save your ass more than once. The brochure with his number on it taunts you from where it’s stuck up on the corkboard in the back.

Which is what has led you to standing in front of The Bear, a joe-to-go in one hand, paper bag in the other. An envelope burns in the inner pocket of your flannel jacket. Steeling your nerves, you knock on the door. Some yells are heard from inside, nicknames getting passed around like it’s a holiday dinner. You see a man walk towards you, in a nice suit, and he opens the door.

“Can I help you?” It’s not said unkindly, but there’s a look in his eyes that’s making you nervous. 

“Coffee delivery?” You say sheepishly, holding up the coffee traveler by its cardboard handle.

“Richie, who’s at the - hey!” Natalie immediately smiles when she sees you, and you sigh a breath of relief. Things were easy with her; she had this amazing way of comforting you without even trying.

“Hi,” you wiggle your fingers, still keeping hold of the objects in your hands. “Wanted to say thanks for all the help Neil’s been giving me, and when Nan found out, she insisted I bring over some coffee for the team, so…”

“You workin’ at Nan’s?” The guy - Richie - asks.

“For the past year or so, yeah.” You reply, thanking Natalie as she grabs the paper bag from you.

“Let them in, Richie, c’mon.” She presses on his chest, causing him to back up with his hands in the air. “Come in! I’ve been meaning to ask if you wanted to come by for a tour.” You follow behind her, taking in the layout of the place. It’s absolutely gorgeous, and a sense of awe falls over you. She has you set the coffee traveler on the bar, letting you take the paper bag from her hands. You pull out a cup holder with two cups in it.

“One half-caff french vanilla latte for you and…a hot chocolate for Neil.” As if by magic, Neil pops through the door to the kitchen.

“For me?!”

You chuckle as he pulls you into a hug. When he pulls away, he grabs his cup with a happy sound, rushing back into the kitchen when “Fak!” is yelled.

“The fuck Fak get a coffee for?” Richie frowns, causing you to bristle. Natalie swats at him, beginning to explain as you continue to walk around the restaurant. As you pass by a wood table, your fingers tap on it, the sound echoing in your ears. It sends a shiver through you, and a small smile appears on your lips. 

Natalie calls out to you, tearing your gaze back to her. People have begun to swarm around the bar, placing food on it, and your coffee is suddenly surrounded by things that smell amazing. “Did you want to eat with us, babe?” Attention turns to you, and the itchiness in your limbs reappears with a vengeance.

 A tall man, wearing a beanie, grins, “Hey, those muffins were amazing, by the way.”

You sputter, “Oh. Um—“

“Tell the chef, or baker — whoever,” he laughs at himself. “They were fire.”

Warmth rises in you, “Yeah, I’ll pass it on.”

“Babe, lunch?” Natalie says again, louder this time. More of the staff have begun digging into their meals.

“No, it’s okay!” The corner of your mouth curves up in a small smile, this one less genuine than before. You begin to back up towards the door, a gnaw of guilt in your gut as Natalie frowns. 

“Cousin! Food!” Richie yells out, followed by laughter from everyone else.

“I’m coming!” A familiar figure bursts through the kitchen door, “You don’t gotta yell like an asshole.”

Carmen Berzatto stops in his tracks when he sees you; the envelope in your pocket burns hotter. You look down at your shoes, but they just remind you of the milk dripping down the sidewalk.

“Carm,” Natalie introduces you, “they work at—“

“Nan’s.” Everyone chimes in, and you have to stop yourself from flinching. You look over at Carmy, eyes meeting.

There’s a moment where you feel like you’re going to get swallowed whole. The pipes are going to burst and water will fill up the room and you’re going to drown.

You walked straight into a den of hungry beasts, and you’re just a measly rabbit.

“Are you sure you don’t want to stay?” Natalie’s words are muffled in your ears, but you manage to shake your head.

“I have someone from books covering me, and they barely know how to work the espresso machine.” You force a laugh. It grates against your vocal chords. “It was nice meeting you guys, though.” With a meek wave, you turn on your feet and speed out the door. Rounding the corner, you keep walking until you’re sure they can’t see you. Veering into the alleyway behind the restaurant, you let out a shaky breath, leaning against the brick. 

You press your thumb into the palm of your hand. Inhale, hold four seconds, exhale. Inhale, hold four seconds, exhale. It’s over before it starts, but your chest remains tight. A reminder, which will eventually dissipate once you're back in the shop.

The coffee bar, your shield; apron, your armor. 

A door opening causes you to jump, startled. Your eyes meet blue, widening like you’ve been caught. “Sorry! I was just–” You push off the brick.

Carmen seems just as surprised as you, “No, s’fine.” He clears his throat, as the two of you settle into silence.

A fwip of a lighter. Four seconds. An exhale of smoke.

You’re unsure if you should leave, but it’s like the bottoms of your shoes are stuck to the ground. “Did you-” He starts, lifting up his hand that holds a lit cigarette.

You shake your head, “No, but - um, thanks.” Your fingers twitch, and you reach to pull the envelope from inside your jacket. Something that appears so insignificant, held out in the space between you. When he just stares, you wave it a bit, until he takes the envelope with his free hand.

“What’s this?” 

“Cash, for the milk you bought.”

“You didn’t have to-“

“I did.” You bounce on your heels, “I should actually get going this time. Just wanted to give you that but…” He doesn’t respond, something you’re getting used to. You wonder where the man who rambled about reading with his sister at Nan’s went, but decide now is the best time to make your escape. As you start to walk toward the street, you turn, “The restaurant looks great, by the way. Good luck with the opening.”

“Good luck with the opening.”

Inhale. Four seconds. Exhale.

"Let it rip, Bear."

Inhale. Four seconds. Exhale.

“-a complete waste of fucking time.”

Inhale. Four seconds. Exhale.

“I’m really sorry you feel that way, Carm.”

Natalie invites you to Friends & Family.

You don’t go.

The next month flies by. Marcus, Richie, and Syd have joined your little group of regulars. Richie even brings his daughter, Eva, whenever he’s able. She’s a joy and absolutely hilarious to have around. Richie has grown on you, the rough edges of him softening after a few cortados.

One night, he had rushed into the shop, Eva in tow, all but begging you to watch her for a few hours. He was supposed to be off for the day, to spend time with his daughter, but they’re understaffed at The Bear. A few weeks in, which confused you, but questions weren’t asked. You said yes - obviously - and had Eva help you with little things around the shop, until you close. The two of you bonded over a shared love of Taylor Swift while making muffins. By the time Richie came to pick her up, Eva was tuckered out in a loveseat, patchwork blanket tucked up to her chin.

“I owe you one,” Richie had whispered, holding his daughter in his arms.

You shook your head, “You deserve to have time with her.”

He scoffed, rolling his eyes, “Yeah, bring it up with the Bear himself.”

You weren’t planning on it. The man is barely on your mind. Except for every time someone from The Bear walks in. They look drained, more and more each day. It’s a certain type of pain, to watch people – that once had so much life in them – lose the light that you felt so harshly the first time you walked into the restaurant. You hear inklings; mentions of a changing menu every night, nonnegotiables, and the like.

It worries you. It’s not your place - you’re more than aware of that. But you’ve come to care for these people. And by extension, some part of you wants to see how he’s doing. It’s an odd - biting -feeling. How strange it is, to know someone through everyone else’s eyes but your own. You have to fight back the urge to force yourself into the places you do not fit. You’re resigned to watching from afar, providing comfort behind your coffee bar. It’s what you’re good at. It might be all you're good at.

Some sick twist of fate decides to upturn it all one Friday night.

Carmy had stayed late, to nobody’s surprise. He’d been adjusting the menu, preparing it for tomorrow, when the flashes hit him. He decides to walk it off, popping another thing of nicotine gum into his mouth. He walks aimlessly, trying to push the overwhelming thoughts out of his head. The street is dark - most places being closed - but light pours onto the sidewalk, just a few feet ahead of him. Almost a reflex, he peers into the windows.

A laugh of disbelief - more a huff of air through his nose - leaves him.

You’re dancing, headphones over your ears, as you mix something in a large bowl. It’s unlike anything he’s seen - from you or otherwise. There’s a sense of freedom in your movements, so different from the few times he’d seen you before. The tightness in his chest lightens, some, at the sight of you so obviously in your element.

And you're looking right at him.

“Shit,” he mumbles. You tilt your head at him, doing a little wave. He lifts a hand in reply, and you point haphazardly at the door. Before he can respond, or walk away – anything, you’re heading around the counter. A click of the door unlocking, and you pull it open part way.

“Hey,” you say, a little loud. With a wince, you pull the headphones off to rest around your neck. Music can be heard – a muffled, upbeat song that he doesn’t recognize. “Hey,” you say again, quieter this time. Silence passes between you, and he watches your nose twitch. “…did you wanna?” You jut your thumb behind you. You’re almost unrecognizable from the first time you met, calmer, somehow.

“Yeah, sure.” The words come out, easier than he thinks, and slips through the door you hold open. You lock it behind him, turning back around to slide behind the counter.

You grab a muffin tin, beginning to fill each one with a scoop of the batter you had been mixing. You make quick work of it, pushing them into the small commercial oven, wiping your fingers on the towel that’s pulled through a loop in your jeans.

Leaning against the counter, you finally look at him, “Okay, Pick your poison.”

“What?”

“Coffee? Americano, latte, cappuccino?” It’s like you’re trying to read him, wanting to crack the spine of a book and see what’s inside.

“I don’t really do the…caffeine.”

You hum thoughtfully, tapping your fingers on the counter in some type of rhythm. “Can I make you something? Low-caffeinated, of course.” He nods. “Anything you hate?” A shake of his head.

You grab a cup and get to work. You’re singing under your breath - the song that’s playing from the headphones around your neck. With your eyes off of him, he takes a moment to actually observe the shop. Warm lighting, with dark wood bookshelves making it feel cozy without being too claustrophobic. There’s smaller tables, with different recommendations for certain genres. A sprinkling of string lights and hanging plants just adds to the homey feeling, one so different from the pristine, white kitchens he’s used to being in. So different from his own restaurant. The coffee shop portion is close to the front, dark marble countertops and a chalkboard menu - swirling letters describing monthly drink specials.

“Alright, order up,” you call out softly.

Carmy walks back up to the bar, eyeing the cup. Warmth presses into his skin as his fingers curl around it. You mention that it’s hot, to let it cool for a bit. Silence falls between the two of you - in a way he finds comforting. Your eyes flick between him and the counter you’re wiping down.

“Do you normally do this?” He asks.

“The making drinks thing, or the staying at the shop way too late thing?” You give a wry smile. “Could ask you the same.”

He scratches at his nose, “Noted.”

The minutes pass; you go about cleaning the shop, rinsing dishes and setting things up for the next day. It’s an art he’s well versed in. The muscle memory takes over for you, and Carmen becomes invisible. It feels nice, to just be in a place where nobody has anything to ask of him. He finally tries the drink. It’s good, milky, if a little sweet, but it eases the last of the sourness in his stomach away. A timer on your phone goes off, and you tug on a flowery oven mitt to pull the muffins out of the oven. Chocolate and spice invades his nostrils, soothing him even more. You grab one, hissing a bit since it’s hot, and put it on a plate, bringing it back over to him. Leaning over the bar, you reach for forks that are in a metal cup, right near Carmy. You’re close, with no care about being in his personal space. It’s only for a second, and then you’re back in your previous position.

“You can have some, as long as you promise not to be an ass about it.” You hold out a fork for him. The words cause him to cringe, but he takes the utensil from you.

He stares at the muffin, running his thumb on the underside of the fork. “How much trouble am I in?”

You shrink back a little, “W-what?”

He’s met you what - twice? Both times felt clunky, an awkwardness to the both of you. Here, it’s simpler. Under the cover of night, huh? A voice that sounds awfully like Mikey’s says in the back of his mind. His family won’t stop talking about you. Or drinking your coffee.

“The Bear,” he mutters. “They talk to you, right?”

You laugh, surprised. “Do you actually want to know?” You hold up a hand before he can reply, “Actually, no. They don’t talk to me. I see things, sure. But I’m not getting anyone in trouble with the boss.” You’re on the defensive, not even for yourself, but for his kitchen.

“They-They’re not in trouble.” One look from you and he deflates, sighing. “Okay, yeah. Just…just say something.”

“I haven’t even been to eat there.”

“You should come,” he says.

Another laugh - a scoff, more-like, “You think I could afford your place?” You bite your lip, pinching the bridge of your nose. After a moment, you continue, gently, “Do you have any fun?”

“Fun.” The word is like poison in his mouth.

“Yes, fun. I know that food service isn't the best, but it’s good to have fun, or to at least enjoy it.” You wave your hands around, “That family meal stuff you guys do? That’s so sweet, and you have a whole family unit going on in that kitchen, or whatever. If this restaurant is supposed to be the rest of your life, you should like it, at least a little bit, right?” Your torso melts into the counter, and you rest your head on your arm. “And like, maybe? Don’t change the menu every night, or something. It’s new, right? You gotta work out the kinks first before jumping in all-” you blow air out through your cheeks.

A beat of quiet, then, “The menu, huh?”

“Eleven thousand for butter?” You parrot back. At his frown, you hold up your hands, “I’m just a barista, what would I know?” You say it without heat, and yet he feels guilt crawl up his throat.

“That’s not-”

“I know, Carmen.” A sigh leaves your lips, “You asked, so I talked. Again, take everything with a grain of salt.” The words get softer, as if you’re talking more to yourself than to him, “Just remember who’s going down with you if it ends up crashing and burning.”

You stab your fork into the muffin, tearing it in half. He follows suit, lifting a bite of it to his lips. Spice floods his taste buds, and he grunts. You blink up at him, fork hanging from your mouth. He’s suddenly starving, and he eagerly gets himself another forkful. “S’good.” He mumbles through the food. Carmen watches as you process his words, pressing your lips together to hide a smile. You two finish the muffin, and there’s an ominous sense of peace that covers him like a blanket. “Thanks.”

“For yelling at you?”

Carmy lets the chuckle spill out, “If that’s what you call yelling…” He trails off, sobering, “Do you have fun?”

You hum, contemplating. “Yeah. I mean, it’s coffee, at the end of the day. It’s just nice to see people, to make their day a little better than it was. I like to try out new things, to create, to get recommendations.” You stop, seeing him staring at you, “What?”

“You’re different…from the other day, s’all.”

You’re perplexed, scrunching your nose, “Well I had a bad day, the first time. And I don’t do…well, with new people.”

“Unless you’re behind the counter.”

Your eyes widen, something flickering behind them, like he’s seen something you didn’t want him to. “Touche.” Checking your phone, you clear your throat, “Alright, we should probably get out of here if we want any semblance of sleep.” He follows your lead, as you flick off the lights, throwing you backpack over your shoulder. He waits while you lock the front door, small key dangling on a keychain. You turn, looking at him, before holding out a paper bag, “Muffin for the road?”

He grabs it, an odd feeling bubbling in his chest, “Oh - uh, thanks.”

You suddenly look sheepish, fiddling with the strap of your bag, “And if you’re out late again, feel free to stop by. If you need a break, or something.” A beat. “Oh, again, take what I said with a grain of salt, yeah? Just - maybe - try to take care of yourself a little.” You laugh nervously, and Carmy sees the truth of his earlier observation. You’re still more relaxed, but the nerves have crept in as you step outside your comfort zone. Something he knows all too well. “Anyways, have a good night - morning.” You shake your head, blowing a raspberry through your lips.

“Night. Get home safe.” He murmurs. You turn on your heel, walking down the street. He tightens his grip on the paper bag.

Take care of yourself.

At least enjoy it.

You should like it, at least a little bit, right?

Carmy doesn’t know if he truly remembers what liking cooking is like. He’s found little bits of it, in moving back home. In Marcus’ eyes as he creates something new. In Syd’s determination to make amazing food. There’s a passion there that he’s lost somewhere along the way.

He sees it in you, and it calls out to him - the tide being pushed and pulled by the moon. A curious feeling, gnawing at his stomach. A hunger for something he can’t make sense of, but he pulls the muffin out of the bag to eat on his walk home.

Carmy keeps showing up at Nan’s, usually late at night. You didn’t expect him to take you up on your offer, yet a smile graces your lips every time he does.

He was right, when he said you feel most comfortable behind the counter. You knew it, but having someone else acknowledge it felt…weird. Like you weren’t playing your part right. Yet it also felt good, to be seen.

Conversation between the two of you still feels stilted, occasionally, but you find comfort in the quiet moments. And the not-so quiet ones; with music playing at just above a reasonable level, you mouthing the words as you dance around behind the bar. The mask slowly slides off when he comes around, and it’s easier to be goofy.

You think it surprises him. He’s not quite sure what to do, when you’re cruising on the linoleum tile you call a dance floor. But he never tells you that you’re weird, or too much. You’ve maybe even seen him bite back a smile. You swear there’s dimples hiding somewhere — a fleeting thought that you let fly away before you linger on it too long.

“What do you think?” You’ve turned the music down, notepad on the counter, your favorite pen in hand. You click it a few times, sound satisfying the little itch in the back of your brain.

“Not sure if I’m a matcha fan,” Carmy murmurs. You nod, writing down his response onto the paper. It’s almost filled — you’ll have to turn to the next page soon — with different drinks you’ve had Carmy try, determined to find the right one. He’s harder to pin than others, something you’re not necessarily surprised by.

That's partially on you. You're unsure of how much to ask. How much could you poke the both metaphorical and literal Bear until it breaks? You've been enjoying your time, but you've yet to ask him how work is going. He doesn't ask you about your personal life, so why would you ask about his?

There's a curiosity there, though. To see what makes Carmen Berzatto tick. You fear the two of you might be a little too similar.

You turn to go back to cleaning your mess — the reason being a fresh tray of cookies cooling on the counter, when he says your name. “Did you get a new tattoo?”

Gaze flashing to the wrap you have on your arm, peeking out from the sleeve of your shirt, you turn bashful. “Oh,” you hum, “I did. It’s been on my list for awhile. I’m keeping it wrapped at work while it heals - god knows I spill everything all over myself.”

“Can I — What did you get?” He’s just as sheepish as you, a boyish glow about him. You’d never talked about tattoos before. His evidence is on his arms; yours are mostly concealed — easy to hide with the oversized button downs and jeans you wear.

You pull your phone from your back pocket, “Here, I’ll pull up a photo of it.” Placing your phone on the counter, Carmy grabs it, zooming in on the two-headed calf that’s found its home on your bicep. The tattoo is fresher in the photo, line work popping out against your skin. “The longest living two-headed calf lived 17 months. Her name was Gemini — a little on the nose, I think. There’s also this poem by Laura Gilpin, that just kinda struck me.” Your ramble tumbles off, a half smile pulling at your lips. “It’s sad, but the kind that makes you hurt in a nice way? If that even makes sense.” You wave a hand around, then reach to take a sip from his cup.

The matcha settles the nerves hiding under your skin, the earthy flavor dancing on your tongue. As you set the cup back on the counter, you point at his hand, “What’s that stand for?” Your own fingers twitch, fighting the urge to brush them across his own. “S.O.U?”

“Ah, sense of urgency.” He says, fiddling with your phone.

You laugh, quickly covering it with a hand, “Sorry, I — sorry, that just makes so much sense.” Before he can speak, you shake your head, “Not in a bad way, necessarily. It’s just so obvious how little work-life balance you have.”

“We’re literally at your shop in the middle of the night.” Carmen huffs exasperatedly, corner of his mouth curling up.

You hold your hands up, conceding, “Okay, I get it. Misery loves company - or whatever. God, we’re both crazy, aren’t we? We should get out more.”

He hums in response, tapping his phone twice to check the time. Anxiety swells up in your throat, and there’s something biting at your heels. The silence doesn’t feel comfortable anymore.

You said something wrong, the little voice in your head whispers. You lost the script and got too close and now he’s pulling back. How can you fix it? You have to fix it.

“What’s your favorite one?” His blue eyes glance up at you. Invisible hand squeezing your lungs, you stammer, “Tattoo. What’s the one you like most?”

His words come out softly, “A house boat. I, uh, got it before leaving Copenhagen. I stayed in one while I was over there, and put out water for an invisible cat.” Relief floods you as he talks. It’s the most he’s spoken about anything, and you see a glimmer behind his eyes.

It feels a little too close to home.

“You really loved it over there, huh?”

As if caught, he clears his throat, “It was cool…different.”

Different from Chicago, you don’t say. “I get that,” you murmur instead.

You knew what it was like, to run away. The need for escape pushing you into flight as the metaphorical dog chases the rabbit.

You wonder what Carmen’s dog was. Or is. If it’s even a dog at all.

“What about you? What’s your favorite?”

You’re pulled from your thoughts. “Oh! Um, it’s silly.” You worry at your bottom lip.

“You don’t—”

“No, hold on, it’s just,” you push yourself onto the counter with the palms of your hands. Carmen leans back as you swing your legs over the bar, letting your feet rest on the barstool next to him. You lean over, pulling up your pants leg to show the tattoo on the right side of your calf. He stares at it for a moment, confusion clear in his gaze. “See, I told you.”

“Is it a moth, or something?”

“Moth-man, Carmen. Mothman.”

“Am I supposed to know what that is?”

“He’s a cryptid. There’s literally stories of a Chicago Mothman.” He peers up at you in amusement, causing you to scrunch your face at him. “I swear on my life Carmen Berzatto, don’t be an asshole.”

“I’m not.” He laughs, and your chest loosens. You got Carmen Berzatto to laugh. “It looks good, the style is nice,” he gestures to your leg.

You smile, “Thanks.”

Nodding, he goes to sip from his cup. He makes a face, pulling it away from him, “Yeah, I don’t like this.”

He holds it out to you as you reach for it, laughter spilling from your lips, “More grass for me.” You drink, and let the cup rest on your thigh, fingers tapping on the plastic lid.

“I’m not…” Your head turns to look at him, watching as he runs a hand through his hair. “I’m not really good at this.”

“...at what?” You whisper, scared if you talk any louder you’ll scare him away.

“Talking? Not working? Who the fuck knows,” his hand leaves his hair and passes over his face.

“I’m not either, really.” You pick at your jeans, “But we’re trying, right? You come by more than I thought you would.”

“Really?”

You snort, “Dude, the first time I was surprised you even came in.” Gently, you add, “And you don’t have to be perfect at conversation to be friends with someone.” His eyes meet yours as you nudge his shoulder with your knee. “I’m weird, you’re weird, that’s okay.”

Carmen rolls his eyes good naturedly. His legs are bouncing, and you can almost see him chewing the word around before it finally leaves, “Friends?”

“Friends.” You affirm. Silence passes between you, until a growl comes from your stomach.

The man laughs, looking all the prettier for it, “You hungry?”

“Starving,” you groan.

He gets up from his seat, grabbing his denim jacket that’s hung over the chair on his left, “C’mon.”

It takes a moment, but it clicks. “Oh my god,” you gasp out, hopping off the counter. With a speed you only have during a lunch rush, you run to the back. You untie your apron, hang it up on a hook, and grab your tote bag. “Wallet, keys, phone…phone!”

“Out here!” Carmen yells. You grin, rushing back out to the front, bouncing on your heels. “You good?”

“As I’ll ever be.” You shake your keys with enthusiasm. He laughs as you both leave, and you turn to lock up. There’s excitement buzzing through you, like caffeine would if your brain weren’t wired a bit funky. A thought cuts through the haze, “Oh shit, I forgot to–”

“I got the trash.” The street lights reflect off his blue eyes.

Your heart twinges a little, “Thanks.”

“No problem.” He gestures with his head, “Now let’s go before your stomach eats itself.”

“Hey Carm?!”

The man pokes his head into the office, one hand wrapped around the door, “Yeah, what?”

Natalie raises an eyebrow, “You busy?”

Carmy scoffs, “Yeah, Sugar, I’m busy.”

It’s lunch time. Marcus has pastries, Tina’s running prep. Syd is around…avoiding him. He tries not to think about it for too long. Richie is who knows where.

Fuck, don’t be an asshole, asshole.

Deflating, he asks, “What’s up? Everything okay?”

“I’m spending my hour of alone time figuring shit out here, while Pete watches the baby.” His sister sighs, glancing down at the paperwork on the desk, “I’m managing. Anyways, that’s not what I wanted to talk about.”

He wants to ask about the baby. His niece. But Natalie barrels over the topic to say, “Were you here late the other night?” He must have made a face because Natalie sighs, exasperated. “I know you stay later than everyone else, doing god knows what, but I got a notification on my phone the other night-“

“What notification?”

She rolls her eyes, “The alarm system, dummy. I get alerts.”

“No, yeah, I get that. But I turned it off.”

It could only be from the other night, when he brought you back to the restaurant. He’s not sure why he did — he almost had a panic attack in front of you while debating what to make. It's strange, how much an environment can affect someone. Nan's feels so comfortable to him now, like nothing can happen to him when he's in those four walls. Where was the last place he felt like that?

You don’t need to impress anyone, Carmen. It’s just me, you had said.

Simple words that cut through him like a knife. You asked for comfort food, so he made you grilled cheese with tomato soup. The little dance you did every time you took a bite relit a fire inside of him that had been burnt out by years of working in kitchens.

“I know. I’m asking because the alarm was set, and then you turned it off again a few hours later.” Natalie unlocks her phone, showing him her screen that has some app pulled up with timestamps on it. “Are you sleeping? Look, I know things aren’t great right now—" Natalie cuts herself off with another sigh.

“It’s fine. Things are fine.” At her pointed look, he holds his hands up in surrender. “I’m working on it, okay? Just…are you good? Do you need anything?”

“About 48 hours of interrupted sleep would be great.” Her gripe falls off into a laugh, which he returns.

Stepping into the room further, he pulls the door closer, just a slim crack of clean white light coming through. “I’ve been a shitty brother lately.”

“No…” Natalie snorts, “Okay yeah, a bit. I love you, though.”

He mumbles the words back, tapping out a rhythm on his thigh, “Maybe I could come by, sometime. See the baby.” It’s a blessing and curse how his chest aches when he sees the way her eyes light up.

“I’d love that, Bear.”

“Yo, delivery!” Marcus yells out, pulling the attention of the Berzatto siblings.

“The fuck?” There isn't supposed to be a delivery today.

Natalie gets out of her seat, “Oh thank god.” She ushers Carmy out of the office, pushing past him into the dining room. He follows after her, confused, only to stop in his tracks.

You’re here.

You stand next to Richie, talking animatedly, albeit shy. You’re wearing clothes he doesn’t regularly see you in, the worn denim jacket catching his eye in particular. It’s clear that you aren't working, yet you hold two cups from Nan’s in your hands, a few drink carriers littering a table.

“You’re literally my savior, thank you.” Natalie pulls you into a hug, and you look at Richie with wide eyes. Carmy has to hold back a snort at your expression.

“You should expect this reaction by now, kid.” Richie takes a sip from his drink when you gape at him in exaggerated outrage.

“Shut up, Richie,” Natalie is barely paying attention, saying the words more out of habit. Grabbing a cup from a drink holder, she says, “You’re coming home with me.”

Giggles bubble from your lips, and you go to cover them with the back of your arm. There’s a pull Carmy feels, instinctual, to urge your arm away from your face and hear your genuine laughter fill the room.

Your eyes meet his, finally noticing that he’s there. The smile you give him is earnest, a gentle hello without words. He forces his feet to move, closing the distance. Carmy blatantly ignores the looks both Richie and Natalie are making. You hold out the cup in your hand - the one you weren’t drinking from - and he takes it from you.

Condensation clings to the sides, his name hastily written on the side.

⋆⁺Carmy!⁺˚⋆

There’s a heart in place of the dot at the bottom of the exclamation point, little stars doodled around his name. His stomach flips.

“Iced?” He swirls the drink in hand, mixing it up.

You shrug, “Thought I’d try something different. It’s hot outside.”

“You off?” Bringing the straw to his lips, he hums at the taste. You’re watching him eagerly, head tilted to the side as you wait for his review. “This is nice.”

Squinting at him, you huff, “Not perfect, though.” You type something into your phone — most likely to add to your notebook later. “Had to run some more syrup by the shop. Saw Natalie’s car on the street so I texted her to see if she wanted something to drink. I have errands to run after this.”

“You a regular too now, Cousin?” Richie barks, and Carmy watches as you remember where you are. Who you’re with.

A protectiveness rises up in Carmen, hating the way you recoil into yourself. “Fuck off, Richie.” He looks over at you, “Hungry?”

“Dude, we got shit to do.”

“Richie!” Natalie hisses at the older man, shoving him back toward the kitchen. She calls back to you, “Thanks for the coffee! I promise I’ll come by when I feel more like a human again.”

The customer service clicks into place behind your eyes, “Take care of yourself! Hope the baby is doing well!” Once it's just the two of you, you sigh, knocking the heels of your boots together. “I should get going.”

Carmen nods, “Can I grab you a sandwich, first?”

“Grilled cheese?” You tease, stifling a smile.

He huffs, shaking his head, “Nah, but Ebra’s got window right now. I could throw something together real quick.”

“You don’t have to do that.” He glances down; you’re pressing your thumb into the middle of your hand. It's uncanny, the semblance of himself that is mirrored in you.

“I know.” He wants to, though. “Give me five minutes?”

A moment of hesitation, then, “Okay.”

“Cool.” And he’s off.

Chaos erupts the minute he’s back in the kitchen.

“Since when did the two of you become buddy-buddy?”

“Can we please get back to work? Richie, respectfully, what are you doing back here?” Syd is working on pasta, flour covering her work service.

“I got shoved outta my space, so here I am,” Richie waves his hands around.

The overlapping voices turn into white noise, and Carmy inhales sharply, “Fak!”

“Yes, chef!” Neil appears out of nowhere. Sometimes Carmen thinks there’s a series of underground passages that makes it so easy to get ahold of him. It’s not that crazy of a notion.

“Go and say hello to them, okay? I’m gonna throw together something, give it to them, and then I’ll be right back.” The last part is meant for everyone to hear, but is pointed more toward Richie. “Seriously, just leave it, alright?”

“I’m leaving it,” Richie snarks, but nudges Fak with his elbow. “Think there’s a drink out there with your name on it anyway. Snag me another one of those apple-donut-things too, eh?”

“Fritters!” Marcus calls out from his station.

Carmy sighs deeply, pinching the bridge of his nose. He’s queasy; he’ll have to take some pepto later.

Inhale. Four seconds. Exhale.

Let it rip, Bear.

Neil barrels into you, wrapping you in a hug. He talks your ear off for the next couple minutes; you smile when you need to, laugh when you remember.

The yells from the kitchen are playing on repeat in your ears.

They’re talking about you.

The urge to flee tickles the back of your throat. You thought it would be nice to stop by and bring Natalie a coffee, but then you had felt bad about not bringing anything for everyone else, which turned into you jumping behind the bar to make ten drinks. It’s not like you were going to make Morgan, the barista on shift, make them all.

You always had a hard time not working on your days off.

“You should absolutely come!”

“Yeah, that’d be nice.” You reply, still not fully checked back into your conversation with Neil.

He smiles, “Great! I’ll send you the info!”

Before you can ask what you actually agreed to, Carmy pushes back into the room, to-go container in hand. “Hey, uh, Fak, can you go take a look at the toilet for me?” You barely notice Neil leave, focusing more on how your chest releases as Carmen walks closer to you.

He hands you the container, and you murmur a soft, “Thank you.”

“I’ll walk you out, yeah?”

The thought is nice. Glancing behind him, you see Natalie and Richie watching through the window. “It’s okay, you really don’t have to.” You take a step back just as Carmy reaches out to you. You can’t run, they’d see you. Ask questions. They probably see a caged animal.

“Hey,” he whispers your name, “it’s just me.” He’s repeating the words you said to him the night you were here. You tear your eyes away from the kitchen, looking at him. “Lemme walk you out?”

With a nod, you let him guide you out the front door. The warm summer air washes over your skin, and you take in a deep breath. You count the lines in the sidewalk as you pass them, sipping at your iced latte. “It was cool of you to come by,” Carmy says. “And your jacket’s dope.”

He’s trying to make you feel better.

“Did you just say dope?” You peek over in his direction, catching his shrug. “You’re so old.”

“Fuck off,” he laughs, and your smile widens.

You make it to your car, a little thing that has a new problem every other week. It’s been with you for years, moved with you to five different states. More of a sentimental object, than a real mode of transportation. You mostly used CTA these days if you were able, but it was nice to have a car for when you’re running errands all around the city.

“Sorry if they bothered you,” he apologizes, shoving his hands in his pockets.

“No, no, no,” you push out the words, throat tightening, arms hugging your middle. “I thought I was going to try to be a human today. May have jumped the gun on that one.” Fiddling with your keys, you continue, “It was nice to see you. Thought you might be a vampire or something, since I only ever see you at night.”

The joke causes Carmy to roll his eyes, “Is that considered a cryptid?”

You perk up at the word, “Oh, don’t get me started.”

He smiles big enough for his dimple to appear, “Oh, yeah?”

“Unless you want me to talk for hours on end. I’ll make a power-point presentation and everything.” You might already have one in the works, but he didn’t need to know that.

“You could - I mean, it wouldn’t bother me. If you did, you know?”

You blink a few times, frozen in shock. He looks shy, almost. Like the first time you met him, but there’s something between you now. A plant that will keep growing - might even bloom - if the two of you keep watering it. He keeps pecking away at your carefully crafted walls that let people see exactly how much you want them to.

Carmen Berzatto keeps seeing you. Whoever that is.

He coughs, scratching the side of his head. “I’ll see you later?”

“You know where I’ll be.”

“Yeah.”

You walk around to the driver’s side of your car, opening the door. You slide in, turning the key to let your car sputter to life. You roll the windows down, and music starts to blare from your speakers. “Kick ass tonight!” You yell the words as you pull away from the curb. You spare a glance in your rearview, watching Carmy wave before he starts walking back to his restaurant.

When you're parked outside your apartment, it hits you. You dig into your tote bag, pushing aside old receipts, chapstick tubes, and fidget toys. You cheer to yourself as you pull your notebook out, favorite pen hooked over the cover. Flipping to the back, you stare at the list of drinks you've had Carmy try.

You think you want to keep seeing him, too. Whoever that is.

You scribble at the bottom of the page, circling it twice.

Spiced Chai ~ HOT, xtra cinn

[plorpl]

More info (and insane screenshots) from the House MD DS game for those who want to know.

Way, way too much info under the break!!

The game took me about 5 hours to play total, including pauses for screenshots and cackling laughter. There are 5 cases, and each one has: the main case, a clinic patient, and a small subplot about Cuddy that strings through all 5 cases and concludes at the end of the game. It's extremely linear. To solve the case, you do activities when you are prompted, each having its own types of mini games. Activities include: examining the patient, ddx-ing, running tests, running labs, questioning the patient/friends/family, and searching houses/other areas for clues. All of these mini games suck. The best one is when House has to have an epiphany so you play brick breaker with his brain:

WHEN YOU DDX THEY USE THE MOUSE BITES PHOTO

You'll notice here that the visuals are a little uncanny valley. The likenesses are... not good.

The worst offender is 13, who always looks just a little bit off.

One of my favorite parts of the game is that you get graded on your performance and if you do bad, Cuddy doms you.

And when you do good, Wilson kind of negs you?? Feels like the people who made this game were obsessed with him (same). The contrast in these two screenshots really gets me.

More insane top screen screenshots without context:

Honestly, some of my favorites need both screens to really be appreciated:

I do not recommend playing it, really. These are the best parts, and the game itself is slow and can be frustrating. There is also... a lot of problematic nonsense. Worse than the show. Not going to try to make excuses here.

That being said, it's surreal. House is like a bad stand up comic for most of the game, and so much is out of character - House visits the patient FIRST THING every case, the whole team misses very obvious deductive leaps, there's no gay sex, etc, etc, etc. But at the same time, the people who made the game clearly had a love for the show. It follows the typical structure of an episode faithfully and has some detailed, satisfying visuals in it. Everyone's clothes change each episode, even in their little bottom of the screen sprites. This Wilson makes me happy with his show-accurate mug and hand gesture:

And there are some nice interiors/exteriors of the hospital and better rendered pictures that make me smile:

It made me and my friends laugh a lot. And it also makes me a little sad. I spent a lot of my childhood playing shitty licensed games like this (remember the madagascar one???), but they are mostly a thing of the past. I know they were cash-grab trash, but it's odd that there's this genre of game that doesn't really get made any more. I guess what I'm saying is that I'm glad this game exists.

Anyway, here's an upsetting House and Wilson for the road:

[tiredandoptimistic]

Stan and the cycle of abuse

Like a week ago I saw this good post about Stan and the twins, how with Mabel he's silly because that's what he never got but with Dipper he's stern because that's what he needed. I think the last line was about how punching was all Stan every felt he was good at. Anyways, it wormed it's way into my brain and I typed out a whole response, but it got eaten by tumblr and I lost the original so now I'm just making my own post.

What's so interesting to me about Stan's philosophy towards raising kids is that he's trying to pass on the lessons that saved his life. We don't get too many details about what his life in the time between being kicked out and the portal incident, but it's more than enough to make it clear that he's wound up in just about every shitty situation a person can find. Like he tells Ford, he's been to prison in three different countries and once had to chew his way out of the trunk of a car. He's homeless and living out of his car and motel rooms. He doesn't even have enough money to pay for a loaf of bread. He's got a bat ready to protect himself from "goons" coming to collect on some sort of debt. Being a tough guy and quick liar who'll kick anybody's ass is what's let him survive to age thirty. When Stan gets thrown to the curb, he yells "I don't need you, I don't need anyone!" and he's more or less right. Sure, he's gone through some awful stuff; but as soon as he got a stable house to live in he builds up his own business that thrives for thirty years. The lessons in boxing and cheating and "being a man" paid off in a big way, so that's what he wants to pass along to Dipper. That way, when the world picks a fight, he'll be able to fight back.

Here's the thing though: Stan shouldn't have had to do any of that.

Yes, Filbrick's "tough love" parenting is what prepared Stan for life on the streets, but it's also what tossed him out on the streets to begin with. If Filbrick was really a good dad, he wouldn't have left his seventeen-year-old son to fend for himself. Stan doesn't seem willing to acknowledge this, probably due in part to the extreme guilt and self-loathing he feels leading him to believe that he deserved the treatment he got. Filbrick was straight-up abusive in a lot of what we've seen of him, but Stan sees that as just how boys are raised, so it's what he passes on to Dipper.

It's just something about how Stan is desperate to prepare Dipper for the horrors while also fiercely protecting him. He wants to toughen Dipper up, but Dipper doesn't need to be tough and independant like Stan because he's got the support system Stan never had. If he ever got kicked out by his parents, Dipper would have Stan, Ford, Mabel, Soos, Wendy, and the entire freaking town of Gravity Falls lining up to give him someplace to stay and a warm meal. Sure, Dipper had to fight literal actual monsters at a very young age, but he was never alone for it. When Dipper falls, there's someone to catch him.

I simply love how Stan's attempts to be a good guardian lead to him being kinda shitty in an attempt to protect Dipper from things that he'll never have to face precisely BECAUSE Stan is such a good guardian. I hope that at some point he realizes that the way his dad treated him was fucked up, and that Dipper deserves some of the straighforward caring that he seems to have an easier time expressing towards Mabel.

[n1ghtwr1ter]

At the end of my latest TLT reread and it’s been physically painful attempting to read the last 40+ pages of Nona. Like, the short shrift that Gideon/Kiriona gets given by the people in the story…the theoretical good guys who honestly only see her as a thing, as a means to an end with an inconvenient dead soul attached to it… It makes me want to rip my own heart out of my chest.

Nobody has cared about Gideon her whole life. Most people, in fact, if they remembered about her at all, went out of their way to tell her how much they wished she didn’t exist. In the final chapters of Gideon, she finally gets the thing she’s been desperate for her whole life: somebody telling her that they need her, they care that she exists, and they badly want her to go on doing it. This allows her to make peace with the prospect that at the ripe old age of 18, she needs to die so that that person can go on living and living and living, using the castrated remnants of her soul as fuel to do so. Not a great way to go, but at least Gideon would get to be useful to somebody, would get to be remembered for something.

And then she wakes up in the wrong body, and finds out that her sacrifice - her attempt to be useful in the most selfless way possible, in that her self will no longer exist - has been rejected. And not only that, but the person she tried to give herself to - the one who was supposed to care about her - went to extreme lengths to make completely sure that she no longer remembered about Gideon.

She literally cut Gideon out of her brain.

And now, drifting along in the worst sort of half life where she’s inhabiting her body but it’s no longer really hers, in very obvious fashion - there’s holes in it, her heart is missing, and it’s got her shitty father’s handprints all over it (not even touching how much of a violation that is), indelibly - she finally meets back up with the small group of people who could theoretically be relied upon to be glad to see her again.

But then the one who was supposed to care about her most tries to kiss her (massively OOC for Harrow), and turns out to not even be there - it’s some weird baby inhabiting her body, and doing a really shit job of it too. The rest of them won’t stop talking about how they need her to break into the Tomb - as if she was just another key, same as the ones they worked together to acquire in Canaan House, just bigger and more inconvenient - and/or how they both fucked and killed her mom, who also (surprise, surprise) wished that Gideon had never existed, but saw her as a thing that needed to be done for the good of the mission.

Ultimately, they all make it abundantly clear - Palamedes, Camilla, Pyrrha, and especially Nona, all these people who are supposed to be kind and good and right - that they would prefer she wasn’t there. That it just be her body, with no Gideon attached - at least not Gideon the way she is now, broken and rejected and miserable. They would all far have preferred that she not have her own inconvenient thoughts and feelings and desires and impulses - that she just be inanimate and let the important people, the grown ups, get things done.

They wish she didn’t exist. Same as everybody else in her life, save one, and now she’s left wondering whether Harrow really meant it at all. Because if she did, she wouldn’t have left Gideon to Kiriona’s fate.

And honestly? Really, truly? I know everybody in the fandom loves Pal and Cam and Nona and Pyrrha, but in the end I couldn’t give less of a shit about them. They are fucking side characters, and as intriguing as Nona has been from a worldbuilding standpoint, I ultimately resent having been forced to read 400+ pages of filler bullshit about fucking side characters. I am a butch, and I’m here for my sarcastic, loving, angry, vulnerable, forgiving, and yes, inconvenient sword butch. I’m here for Gideon. But Gideon has been fridged for the last two books of the series in which she is supposed to be a, if not the, main character.

And it feels like almost nobody else in the fandom feels the same way, which, fine. I’m used to that. I’m also used to being told I’m projecting; and I’m used to being told that I’m inconvenient too, in my thoughts and my opinions and the mere fact of my existence. I spent the first eighteen years of my life being told I was inconvenient. Yet another point of overidentification with Gideon.

But in case anybody still thinks that Nona proves that Gideon was an asshole all along, think about all of the above. Think about how it would make you feel to come back from not just death but from the erasure of your existence, something you chose in order to save the life of someone you loved, and be told that you’re inconvenient. Think about how you’d feel if you’d been told all your life that it would be better for everyone if you didn’t exist. And then tell me that Kiriona isn’t in the right and that I should give a rat’s ass what happens to literally anybody else.

It’s Kiriona Hours up in this House, butches. We’ve spent long enough caring about people who would prefer we weren’t around. For once in our entire lives we were told we were important; we were told we mattered; we were told we were the main character. We were going to, if not get the girl and save the world, at least get to do something real, something important, something like being the hero.

But that’s over now; we’re back to being wrong and bad and inconvenient thanks to the simple fact of our existence. So it’s time to embrace it. Let’s be a little shit. Let’s be kind of a dick. Let’s have our own agenda, let’s play our cards close to our heartless chest, let’s allow our circle of empathy to contract to ourselves and maybe one more person. That’s where I’m at right now. And I don’t see that changing anytime soon.

[olderthannetfic]

This isn't a complaint, just sort of a musing-- Yeah, if AO3 allowed monetization, it would cause the whole platform to become way shittier, not just for legal reasons. But this kind of reminds me of something I've thought about a lot.

I'm someone who's not a very strong or attentive reader, but the ease with which I can find thousands of appealing works on AO3 means I have ALSO found dozens of writers who grip me enough that I would read ANYTHING by them. I also find reviews and recs for popular book series' to be... very unreliable, but I can consistently find interesting works by looking at user bookmarks and by trawling tags. And I don't even mean in a "oh, this user doesn't want stories, they want tropes" way, because I'm with everyone else that reading the exact same enemies to lovers romance gets kind of boring after a while (no shade on people who enjoy that sort of thing). I mean that sometimes I find an idea and think 'oh, this is a VERY cool literary theme; I wonder how other writers have explored the same idea?' - and then find out that there's a canonical tag that sees very little use, and trawl through people exploring the same ideas about the nature of freedom when you have a duty to family (or whatever it is this time) until I find one that just NAILS it and sets my brain on fire.

In other words, AO3 is the only place I can get the same reading experience that I had in school where there were teachers and mentors who would not only do just about anything to help me find interesting stuff, but also knew me personally and would help me find extremely specific concepts like "I want a story that captures the feeling of being completely owned by another person and the oppressive surrendering of will that comes with it, but which isn't about slavery, religion, or marriage" or "I want a story that's just like Howl's Moving Castle but specifically in these three ways."

I don't wish AO3 was marketplace, but I wish there was marketplace that gave me the experience of AO3. The fact that there is SO MUCH free user generated content on AO3, and that it's so easy to explore with great specificity, means it's the only place I KNOW I'll find something fun. I wish it served as a platform to find professional artists doing silly stuff on their down time. (In fact, last time I fell in love with a fic, I got to talking to the author, who sent me a novel draft with all of the same themes but original characters and setting. That unpublished work is now one of my favorite books.)

I can think of a bunch of platform ideas that would scratch this itch for me, but I can't imagine any of them working out as well since the fandom experience and culture is such an integral part of why fanfic is different from original fic. (And also since monetization makes platforms get shitty fast.)

--

[sleepysnk]

7 AND 10 WITH SHINJCHIROO

a/n: MY GOD I WAS WAITING FOR A SHINICHIRO REQUEST BECAUSE THIS BOY JUST MEANS THE WORLD TO ME!! so thank you so much for this and i hope you enjoy! <3

pairings: shinichiro sano x fem!reader

warnings: nsfw, smut, brat!reader, rough sex, use of pet names (baby, princess, angel, good girl), praising, some dacryphilia, overstimulation, multiple orgasms, creampie, some light choking.

prompt #7: “you can take it.”

prompt #10: “spread your legs wider.”

After acting like a complete brat all fucking day, you shouldn’t have expected anything less when your boyfriend Shinichiro had your back pressed into the mattress with his cock stuffing your tight cunt. 

However, what you didn’t expect was the amount of orgasms he had managed to rip from you. 

Shinichiro had enough of your horrible attitude today. He had done everything to make sure you were treated like a princess, but when you acted like a total brat the entire day, he knew he had to do something about it. He wasn’t about tolerating such behaviors from you, and he knew the perfect remedy to fix your little mood problem. Fucking your brains out until you understood that he wasn’t messing around with you. 

Sure enough, those sour feelings you had earlier dissipated. 

Your cunt was tired and pushed to its limit. He was working your third orgasm and you honestly weren’t sure how much more you could take. You were shaking like a leaf underneath him and he wasn’t showing any signs of stopping. “S-Shin! It’s too much, ah!” your eyes were glossy from the tears that had covered them. 

One of his hands trailed along the soft skin of your chest then down towards your navel. He adored seeing you in such a position like that. Looking all pretty and cute with his cock fucking you like there’s no tomorrow. “You can take it.” he said, using the pad of his thumb to rub your clit. 

The familiar knot in your belly was appearing and making itself known. You were close. Shinichiro could feel it as well, and he was getting excited at the thought of you cumming again. He knew you were extremely sensitive by now, but he fucking loved it. He wanted to fuck you more and more until you understood his frustrations. You were such a good girl for taking his cock like that. He wished he could have sex with you all damn day if it meant he could see your gorgeous face twisted with pleasure.

Shinichiro also felt his own climax hurtling towards him. He wanted to make you cum, but he had the urge to empty himself inside of your pretty cunt. “Spread your legs wider.” he ordered, looking down at you through the strands of jet black hair that covered his eyes. “Can you do that for me, baby?” 

Whimpering, you did as you were told and opened your legs for him. Shinichiro groaned at the deeper access he had to you now. You were sucking his dick in so perfectly. He didn’t care about the mess on the sheets or on his cock. All he wanted was you. “Shinichiro..!” you cried, looking up at him with half-lidded eyes. 

He smiled at the way his name slipped off your tongue. It only encouraged him to keep fucking you with such a brutal pace. He was gonna make you forget all about that shitty day you had. “Mmm.. you’re such a good girl, princess.” he groaned. “Takin’ my cock so well.. you wanna cum around it, baby? I can tell you do.” 

Your head nodded vigorously. “Y-Yes! Make me cum, Shin..” 

Oh, he was going to make sure you did.

He wrapped one of his hands around your throat and started fucking you as fast as he could. Your eyes rolled into your skull at the relentless pace of his cock reaching your g-spot. You couldn’t stop the moans and whimpers for more that came from your lips. You were about to let go at any moment now. 

With a loud cry, the knot in your stomach fell apart. It released sparks of electricity that danced along your belly and down towards your thighs where they began to tremble. Shinichiro grunted a few times when your cunt clamped down on him tightly. He could feel it becoming much easier to move inside you now from the arousal that covered his shaft. He was so proud of you. He honestly didn’t think you were going to make it for another orgasm, but you did. 

Shinichiro’s cock twitched inside your pussy. He looked down at your fucked out face that turned him on even more. Tears rolled down the apples of your cheeks and your eyes were hazy from the affects of your orgasm. How fucking cute.

He grunted one last time, then halted his movements when he finally reached his high. He gritted his teeth at the feeling of his cum filling your cunt and covering your walls with white. You whimpered a little at the sudden sensation, but nonetheless did it feel euphoric to you. 

The two of you panted and stared at one another with seduction still heavy in your eyes. 

“Hehe.. round four..?”

[sevensoulmates]

Buddie 7x01 Meta

Okay! Finally, I was able to watch the full episode uninterrupted and have had a couple days to gather my thoughts. Quite simply this episode was fucking fantastic. My meta does sometimes include some spec, so if that's not your thing feel free to ignore those parts. Those of you who follow me know I write long ass essays, so fair warning for a long meta under the cut. ((Also idk how to make gifs, so enjoy my shitty screenshots)).

First, I love to see Buck and Eddie back at it again in their natural element being partners on a scene.

This was very obviously a call back to season 2, even down to the positioning, having Buck watch Eddie be competent in defusing a bomb. Buck has complete faith in Eddie's abilities, it's the fighter pilot whom he distrusts. In the end, they narrowly avoid getting blown up, just like they did in 2x01. This one scene re-establishes the Buck/Eddie work dynamic and shows how they inherently trust each other on and off the field.

Next, we get a scene of Buck and Eddie getting dressed in the locker room. Notably, Buck is fully dressed and Eddie is without his shirt until halfway through the scene. Buck also keeps his eyes on Eddie's naked torso pretty much through the whole shirtless section. This is another blatant callback to season 2x01 when Buck's first introduction to Eddie is when he's shirtless. This draws attention specifically to Eddie's physical attractiveness and how that affects Buck. This scene is odd to have with Eddie half-naked if we're then gonna make comments later on about "sexual tension" with friends, no?

In the same scene we are reintroduced to Buck and Eddie's separate love lives. Eddie is just now learning that Buck and Natalia broke up, and gives an odd facial expression that looks far too much like vindication. We know from the graveyard scene in 6x17 that Eddie wasn't really a fan of Buck's relationship with Natalia (I don't think there's ever been a relationship Buck's had where Eddie has legitimately been happy about it, which is weird if they're just friends, right?) so to him, this was always coming down the road. He seems proud that Buck was able to end it this easily.

Meanwhile, Eddie's going on a "not-date" with Marisol to chaperone Christopher's date with Penny. It's telling to me that Eddie doesn't classify this as a date with Marisol, but Buck does. Buck considers being at home watching Christopher as a date, and yet he seemingly doesn't classify all the times he's been over at Eddie's hanging out with just him and Chris to be a date? To me, this shows the first big disconnect in Buck/Eddie's brains that the show will likely dismantle this season: what is classified as platonic and what is classified as romantic, and which gender is allowed to be in each category. We'll come back to this when we get to the next scene.

Eddie is very supportive of Buck breaking up with Natalia. He doesn't say it directly to his face, but it's implied that Buck really lost himself when he was with Natalia, hence Eddie's "Welcome back to the land of the living". While Buck did struggle with figuring out his life purpose at the end of season 6, he falsely prescribed that purpose to Natalia. Thankfully, this was rectified here. This also shows significant growth for Buck from his last relationship with Taylor Kelly. Buck was able to identify issues in his relationship quicker and was able to cut the relationship short when he realized it was no longer healthy to maintain for him. I am extremely proud of Buck in this moment, as is Eddie, which is the first of two big moments in this episode where Buck and Eddie really showcase their pride in the other's personal growth. "You were missed" is such a simple yet perfect line for Eddie to give to Buck. To show Buck that Eddie has always seen him, and will always see him, even through personal lows, and will still remain by his side when they come out the other side. I really love this showcase of unconditional love here.

The next time we see Buck and Eddie, the chaperone date has already passed. Eddie and Marisol are seen watching Chris and Penny from behind the wall, but it's highkey awkward to watch and the focus of this scene is really not Eddie/Marisol but rather Chris and Penny and Eddie relaying this info to Buck. I first want to point out that we don't actually get to see Eddie/Marisol's first date, we don't see any subsequential dates, and the first time we DO see her, in an episode meant to be establishing couples, she's so blink-and-you'll-miss-it that I had to try 3 times to get this screenshot because it went by so fast. It's never a good sign when we don't actually get to see the beginnings of a non-established relationship.

Additionally, Eddie/Marisol's relationship is framed WITHIN Eddie recounting the night to BUCK. The important Eddie relationship we're supposed to be paying attention to in this scene is not Eddie/Marisol but Eddie and Buck's. It's not important for us to see Eddie and Marisol hanging out, but it IS important for us to see Eddie TELLING Buck about the night. That isn't insignificant. This means the show is clearly placing far more importance on Eddie/Buck than on Marisol, and for a pointed reason to be revealed hopefully later this season.

This is the only line that Marisol has in the entire episode. This being the one line she has is interesting because it's a callback to Eddie's arc last season ie. "Eddie has no game with women". Christopher makes a pointed comment about it in 6x18. And of course, it's a callback to Performance Anxiety 6x14 where Eddie was being pressured about dating women and 6x17 Love Is In The Air where he once again pressures himself into dating women until he finally settles on Marisol. It's an interesting call back to have, considering this scene could have been considered Eddie successfully dating a woman. And of course this ties into later in this episode where we get the "turning women off" comment, which I'll talk more about later.

Eddie goes on to tell Buck that he didn't really see any difference between Christopher hanging out with his male friends vs hanging out with his female friends. This is drawing attention to two things. The first is a call-back to Buck and Eddie's previous scene where we saw that Buck and Eddie have two different ideas of what constitutes "a date" when it's with a man versus a woman. Buck thinks that an at-home date with Marisol to watch Chris counts as a date, Eddie doesn't. Yet Buck doesn't consider his own at-home "hang-outs" with Eddie and Chris to be a date despite them being far more frequent and more meaningful than what we just saw with Marisol. Eddie also doesn't see it that way. This line is an indicator that both Buck and Eddie have blinders on currently when it comes to their interactions with each other, interactions which very much COULD be considered a date (including the later mentioned "underlying sexual tension") if they had done the same thing with a woman. They're just unable to recognize the truth of it at the moment, and this is clearly demonstrated when Eddie can't tell the difference between Chris having his date with his male friends vs. female. My prediction is that this will become more defined for Eddie by the end of the season or leading into next season.

But it's very interesting that this idea of not being able to recognize the possibility of romance except for the heteronormative options is coming into play now because there's really only one gay way to subvert that.

Which is then doubled down by Buck in the very next scene.

This is blatantly not a true statement. Buck is not only assuming Chris's sexuality, but he's assuming the same would be the case in general, which is not true. Buck knows many queer people, but at the same time, every queer person he knows canonically falls more into the gay-lesbian binary, and not really anywhere in the middle (ie. bi/pan people). It's an oddly heteronormative statement coming from Buck, who is known to be very open-minded and also researches a shit ton? So why are we being shown that Buck has this sort of narrow-mindedness specifically when it comes to the possibility of people being bisexual?

(Spec) Firstly, I think this is to set up for a bisexual Buck arc. It's showing that Buck actually 1.) hasn't ever been with a man before so this is not just a casual bi reveal and 2.) that he's never actually considered it a possibility to have sexual tension with a man before. This is what we in writing call "the character's fundamental misbelief" and it is brought in specifically to be challenged, and I'm near-positive it will be at some point in the season.

Secondly, On the surface, this statement is telling the audience that obviously Christopher would only have tension with his female friends, right? (sarcasm). But what's interesting is that this statement is purposefully gender-neutral. It leaves the real meaning up to the audience to decide. Why? Because this part of the conversation is not really about Christopher. On the surface, yes, but beneath that, this line and the line before it are about Eddie and Buck's relationship with each other. Buck's not out here talking about Christopher having sexual tension with people, and even Eddie recognizes that it's weird to talk about in relation to their child. He's still in the nest for christ's sake! These lines are in relation to Buck and Eddie's friendship and how both of them are blind to the fact that it very much IS possible to have sexual tension with your female AND male friends.

And this is where the gender-neutrality of that phrase gets extra interesting. Because as we've seen before, Buck and (more prominently) Eddie often lack chemistry with their female love interests. It's up for debate, but the general consensus was that most people did not feel any chemistry between Buck/Natalia, and Eddie/Ana or Eddie/Marisol. What's fascinating is that Buck has had chemistry with some of his female love interests, but Eddie hasn't had any since Shannon (and this is not an endorsement of Eddie/Shannon's romantic relationship. I'm not getting into the extreme nuances of that right now.) Some argue Eddie's had chemistry with Felisa or Vanessa, but they aren't the ones Eddie's dating right now, are they? So Eddie, unlike Buck with his female LI's, hasn't really had any sexual tension with Ana or Marisol. The only person that (most) people agree Eddie has had sexual tension with is Buck. And we had a scene with them earlier with Buck watching a half-naked Eddie change too. So in this case, the line might also be a reference to Eddie having chemistry with men, but not really with any of his female LI's. I think the purposeful vagueness here though was a very telling choice on Tim's part.

Additionally, the use of the word "underlying". Underlying implies that the sexual tension isn't overt, but rather is something that lingers unspoken. Under the surface. Subtextual, if you will. Of course, it's possible to have subtextual sexual tension between an M/F pairing. But placing it in the context of this scene, where Buck is being weirdly heteronormative, it feels contradictory. If Buck believes that he (and Chris by proxy) can only have sexual tension with a female friend, why is it something that is hidden under the surface? If anything, due to heteronormativity, the sexual tension between a boy and girl should be plain as day for anyone to see, on the surface, very much textual and with no room for interpretation (ie. "He was a boy, she was a girl, could I make it any more obvious?"). But let's flip this around. With queer pairings and couplings, there's a huge history of their sexual tension and romance only being able to live and breathe in the subtext. This line being spoken between two men that many people for years have pointed out are heavily queer-coded and have a romantically-coded "bro" relationship with each other that so far has only been able to exist in subtext? Tim, you're not sly. I see right through you.

After that, Eddie tells Buck about Christopher seeing 5 girls at the same time. Everyone's shocked and Eddie insinuates that Christopher didn't get this from him. By pointing out that Buck is a reformed playboy (I personally disagree with aspects of this statement but that's neither here nor there), Eddie is implying that Christopher may potentially be getting this trait from Buck. Which is an interesting thing to say to someone if they're not already heavily involved in the process of raising your child. Eddie claims that he's a "nester", which in my mind means someone who is very paternal/maternal, or constantly trying to build the home or the family. ((Sidebar: I googled nesting and apparently it's ALSO a term used in both polyamorous spaces and was later separately coined as a term referring to "where men treat women like they’re in a relationship, but they expect those women to know that it will never lead to real one." I don't interpret this line to mean either of those other definitions, I just think it's interesting that this is what popped up when I googled Nesting)).

Eddie then says he "married the first girl he dated" and Buck instantly volleys back with "think you mean slept with", which is EXTREMELY telling of a few things. First, I want to point out, that I don't believe this is Buck denouncing or disrespecting Shannon's important role in Eddie or Chris's life, but rather recontextualizing it.

We got clarification last season that Eddie fell into his relationship with Shannon almost in the same way that he fell into one with Ana and Marisol. It was heavily implied that Shannon was the pursuer, the one who made their relationship happen. Not Eddie. While Eddie was a little less passive with Ana and Marisol, being the one to ask both of them out, he still exhibits extreme passivity in the furthering of each of these relationships, preferring to "stick it out" rather than actually end it when it's not working. This is the exact same thing he did with Shannon. It's interesting that Buck argues that Eddie married the first girl he slept with rather than the first girl he dated.

Dating someone implies you really genuinely want to form a deep romantic relationship with someone (ie. call back to Buck's line to Maddie "at least when I date someone, I date them"), whereas sleeping with someone does not have to immediately mean wanting to be with them romantically. To me, this implies that while Eddie might've deeply loved Shannon as a friend and eventual mother of his child later and had sexual chemistry with her, the reason why he stayed with her is not because he wanted to continue dating her or being with her because he was IN LOVE with HER but rather because they slept together. And what came about from sleeping with her? A fucking traumatic teen pregnancy.

Both Buck AND Eddie recognize that in this scene (which is huge, especially for Eddie). I'm kinda blown away honestly. It's extremely important for the audience to see that while Eddie did, does and will always love Shannon, it is NOT romantic love, and may have not ever been. Which is FINE. They were literal teenagers for god's sake.

This is once again a recurring theme in Buck and Eddie's story in this episode. Defining what is considered romantic and what is considered platonic AND the possibility of redefining those distinctions years later. And it's interesting that in this case with Shannon, a woman, it's finally being acknowledged that it might not have been as romantic as Eddie may have believed for all these years.

Eddie then asks Buck to be the one to talk to Christopher about his relationship indiscretions. We see Eddie making the active choice to bring Buck deeper into the co-parenting role that's already been established in seasons 2-6. Right after Eddie talks about being a nester, a home-builder, he brings Buck deeper into his family in a parental role. To me, this scene doesn't imply that Eddie can't do it, or that it's out of his wheelhouse, but rather because he feels like Christopher might relate to Buck more about this. But even more so, it shows that Eddie inherently trusts Buck to be the one to talk to Christopher about this, because he's seen how Buck has grown over the years.

Eddie doesn't want Christopher to continue making bad choices in life and he tries to convey this to Buck, but Buck, with his own self-esteem issues, assumes that Eddie doesn't want Christopher to end up like Buck. Which is fascinating because Buck's made it a huge point throughout the series to show that he's grown past his sleeping-around phase (which was never about disrespecting or using women, it was always about Buck's own desire for love and connection that he felt he could only get through sex). And yet with this line, we see that Buck still doesn't realize how far he's come. He still feels like he isn't worth emulating or being someone to look up to. But Eddie does. Eddie sees and loves Buck to his core, and so he points it out to Buck that no, Buck actually didn't become that person, and that Buck is, in fact, worthy of being the one to parent Christopher in this situation. Once again, this is a great moment of showing how these two are able to see past their facades to the truth of each other's issues and provide strength, reassurance, and clarity to each other, as an ideal life partner would be able to do.

Then we get to see this amazing scene of Eddie talking down a panicking woman using his own unique "jello" methods. This coping mechanism tool he walks her through really does sound like something a therapist might teach their patient. Eddie not only is able to admit to having panic attacks but he's able to do it in front of strangers and his team alike with no shame (even a bit of pride at the end). This scene, which could've gotten very awkward very fast, ended up becoming a very sweet, serene moment where we also get to see that love reflected on Buck's face just how proud he is of how far Eddie has come. This episode made a point to show Buck and Eddie recognizing the other's growth and their pride in the other, as well as demonstrate how both are able to be there for the other emotionally in their times of need.

What's interesting is that this is all stuff that we've seen before. Buck and Eddie have been each other's emotional pillars for many years now. This is just a re-establishing episode. We know that this season their relationship is going to be shifting, growing, and showing a new side to it. So I'm intrigued to see how that will manifest given that we have already seen in one episode how Buck and Eddie are each other's closest person. Some might argue that this episode actually frames them to be closer and more emotionally supportive of each other than two of the other canonically romantic couples on the show.

Bathena are shown to be having marital problems in this episode, with Athena worrying she and Bobby might not actually have that much in common outside of the chaos. Madney is shown with pre-martial problems, with Chimney unnecessarily worrying he and Maddie's spark might fizzle out over the years and they might grow to resent each other. I'm not saying either of these relationship problems is really accurate, but it's just interesting to look at in comparison to how Buck and Eddie were framed in this episode, despite not being in a canonical romantic relationship at the moment.

This exchange absolutely took me the fuck out. Because this line did not need to be there. Even for the giggles. It could've even been a line of Buck being sincere and saying that he's proud of Eddie or something. Instead, we get this. "I've never seen a man turn a woman off with such skill". This line connected with the line from Marisol are both callbacks to Eddie's series-long issue with dating women. We get this in conjunction with Buck pointing out that Eddie doesn't really date these women he's in relationships with. He's just with them due to circumstances. Even if the circumstances are of his own making (which could be a symptom of compulsory heterosexuality). Eddie has never once talked about dating women like he's actually attracted to women. I'm so sorry. AND combined with the line where Buck and Eddie actually acknowledge that Eddie wasn't really with Shannon because he wanted to be with her but because of the family they accidentally created. All of this in ONE episode leading up to this line where it's heavily implied that Eddie's skill is his inability to turn women on, and to actually be able to turn them all the way off. And I'm just going to say it, but this line HEAVILY implies queerness. This is the kind of line you'd expect someone to say to a gay man or someone who doesn't actually want the sexual attention of a woman. This, again, in conjunction with Eddie not being able to tell the difference between a date with a woman vs. a man, is all too pointed.

This line alone in a vacuum could maybe not mean queerness, but alongside the whole rest of the episode where beat after beat after beat implies that Eddie has in fact NEVER been in a relationship with a woman 100% of his own active desire for her as a person and not just for what she can provide to his or his son's life?

This points to a very particular direction with Eddie that I'm expecting to see him fight against really hard this season. I would not be surprised if he ends up holding onto Marisol as the last shreds of perceived "normalcy" (ie. heterosexuality) are being threatened. Hopefully, he'll be able to reconcile the truth by the end of the season or going into season 8.

God this is so long and we haven't even gotten to the buddifer scene yet. This part will be a bit more condensed because I'm not really analyzing Chris as a character here or his relationship with Shannon. Maybe I will later.

I'm really loving seeing Christopher become his own person this season. But what really fascinates me here is Chris as a parallel to both Buck and Eddie. Christopher's abandonment trauma is starting to manifest in him through his choices with his love life. The same thing happened with Buck and with Eddie individually. Buck's trauma growing up informed his choices of sleeping around and seeking love from a myriad of individuals who didn't necessarily have his best interest at heart. Eddie's trauma manifested in him being so self-sacrificing that he can't ever choose a relationship for himself, but it always has to be in service of someone else or in pursuit of a perceived "Normal" standard.

In this case with Chris, his trauma is manifesting in a way more similar to Buck's, which is another reason why it's so perfect to see Buck being the one to discuss this with Chris, even though they don't necessarily delve too deep into it. There's no question Buck sees his own issues reflected in Chris. This has been true since 4x08 Breaking Point when Chris runs to Buck's house and confides in Buck his worries about people leaving him. Chris demonstrates a similar issue that Buck and Eddie both hold individually. That being the notion that "it doesn't matter what I do, or how good of a person I am, or how good of a partner I am, I am not worth staying for."

But the difference here is that Eddie and Buck, like the amazing co-parents they are, recognize the problem and take steps to address Christopher's trauma in a way that gives Chris autonomy and isn't condescending or out to make Christopher feel bad about making mistakes. The Buckley parents and the Diaz parents both failed Buck and Eddie in these ways because they blamed their children, never actually took the time to see the underlying issues let alone address them, and made them feel like everything was their fault, even going so far as to actively put their children down over and over and over again. Eddie and Buck get the beautiful chance to break the cycle here with Chris and get to be the parents that they never had.

It was so amazing to watch this episode with Buck and Eddie being supportive partners to each other and supportive parents to Christopher. It was an episode of growth just as much as it was an episode of reintroduction to a new audience. It was also extremely telling of what the future conflicts and themes will likely continue to be for Buck and Eddie for the rest of this season. I'm so excited to see what the rest of this season brings! And thank you from the bottom of my heart, ABC.

[vodika-vibes]

Something Goes Bump In The Night

Summary: Months after you find Fives on Kamino, you and he start looking for answers as to why he's alive.

Pairing: Wraith! ARC Trooper Fives x F! Twi'lek Reader

Word Count: 3659

Prompts: Fixing each other's clothes, "Shut the kriff up and eat your shitty ration bar." and "You make me feel safe." "You really shouldn't"

Warnings: Violence, Fives attacks the reader without meaning to, the word sex is mentioned twice in regards to the reader doing Spoogle (space google) searches, Reader is described as a blue-skinned twi'lek with ear cones.

A/N: So, this story is brought to you by the many, many, many pictures I've seen of Fives with a y-incision. Also, I played around with wraiths a little bit. Because I wanted to.

In the months that Fives has been living on your ship with you, you’ve come to learn a few things about him. 

A, he’s something of a perfectionist. You’re much more of a “good enough” type of person, especially when planning jobs, but he gets all bent out of shape if you don’t have a whole plan from infiltration to escape.

Ironically, he doesn’t seem to have a problem with improvising if the plan goes wrong, which is more confusing to you than you’d like to admit.

B, he’s messy. Since he was a soldier, you thought he would be a neat freak. But he’s not. He’s careful about ensuring his mess doesn’t get in your way, but you’ll find his datapads and models strewn around your ship rather than consolidated in a single place.

C, he’s clingy.

Look, your ship is small. Tiny. Built for one person and an astromech, maybe. It’s certainly not built for an adult man who is built like a brick wall and another person (namely yourself).

So you quickly sussed out that you and Fives were going to have to share a bed. It was a little weird, that first night. You’ve never shared a bed with anyone before, after all. 

But the following morning you woke up with him curled around you, his arms tight around your waist. Like a giant, clingy blanket. And, despite what you said to him that morning, about him being clingy, you’ve grown to enjoy it.

Your family isn’t really the “touchy” type, and Fives curling around you every night is the closest you’ve had to a hug since you were a child.

Which…is depressing, if you think about it too hard.

So, you don’t.

There are other things you’ve noticed about Fives, things that you make note of in your tablet, but would never mention to him. He has moments of extreme violence, never directed towards you, but towards other people.

He’s fiercely protective of you, to the point of murder.

And he’s afraid.

He’s so, so afraid of finding out what the Kaminoans did to him. 

You rest your chin on the palm of your hand and watch Fives move around the kitchenette with an absent sort of interest. He’s always hungry, Fives. Most of your money is spent on making sure there’s enough food on the ship for him.

“You’re staring,” Fives notes as he sits at the bar across from you.

You shrug, unconcerned, “I’m thinking.”

“Oh, is that why I was smelling smoke?” He teases something unnatural and inhuman glittering in his eyes. It should scare you. It should. But this is Fives.

How could you be afraid of Fives?

“You know me,” You joke back, “My brain is just three tookas on a treadmill—”

He grins at you, a lopsided smile that’s actually insanely attractive. It’s really not fair. How dare the Kaminoans choose Jango Fett as a template and not some ugly bounty hunter?

Wait…you’re getting distracted.

It takes you a moment to put your train of thought back on track, “I’m thinking,” You say as you point your ration bar at Fives, “We should hit up Jedha.”

He pauses, his spoon halfway to his mouth, “Why?”

“They have a collection of weird shit. Maybe they know what’s going on with you.”

Fives lowers his spoon back to his bowl and taps the rim of his bowl thoughtfully, “Are you sure you want to steal from Jedha?”

“Steal?” You press your hand to your chest in mock offense, “Fives! I do not steal! I merely…borrow things.”

He points his spoon at you, “And tell me, moonbeam. Have you ever returned anything you’ve borrowed before.”

“I returned your shirt!”

“Yeah. Because we live together. And you kept the sweatshirt.”

“I look amazing in your clothes.”

“You’re a twi’lek, you’d look amazing in a paper bag.”

You point at him, “That is a harmful stereotype.”

“Uh-huh,” He actually takes a bite of his oatmeal, “Remind me, what did you do for a living before you decided to become a thief?”

“I am a recovery expert—”

He raises a single brow and you huff and cross your arms, “I may have, possibly, been an exotic dancer. At a club that only hired twi’leks.”

“Thank you for making my point for me.”

You narrow your eyes at him, “Anyway. I think Jedha will have some of the information we need. Or, if nothing else, they can point us in the right direction.”

“I thought you decided that I’m a zombie.” Fives asks.

“Well, I thought so. But I’ve been doing some research online—”

“Oh boy.”

You glare at him, “I’ve been doing research,” You repeat, “And aside from a, truely concerning, number of people who would be okay with fucking a zombie, I have determined that you can’t be a zombie. Because you’re too smart.”

“Can we rewind to the point where people want to fuck zombies?”

“No. We can’t.”

“Come on, moonbeam,” He grins at you, “What did you see?”

This time, you pout at him, “Shut the kriff up and eat your shitty ration bar.”

“I’m eating oatmeal,” He counters smugly.

You reach across the table to steal his bowl, only for him to smack your hand with his spoon, “Rude!”

“Make your own oatmeal! I’m not sharing.”

“I let you sleep in my bed!”

“Our bed Moonbeam.” He wraps an arm around his bowl protectively, “Anyway, you were saying about Jedha.”

You mournfully eye the ration bar in your hand, and then shove it to the side, “I think you’re a spirit of some kind.”

“I’m solid.”

“I don’t know, Fives. This is why we need help!”

He watches you steadily for a moment, and then shrugs lazily, “Alright. We go to Jedha. You want to go set the heading?”

“Yeah, yeah.” You spin on the chair and hop to your feet to head to the cockpit. Then you pause and step around the bar to wrap your arms around Fives from behind. You rest your chin on his shoulder for a moment, “We’ll figure it out, Fives. I promise.”

You see a small smile out of the corner of your eye, and his hand lightly presses against your cheek. I know. I trust you. You’ll figure this out. His touch seems to say, and you tighten your arms around him for a moment, before you release him. 

“Right. Jedha! Hopefully, the Empire hasn’t destroyed it yet. Or, if they did, they didn’t destroy the information.” You mumble to yourself as you leave the room.

Fives scowls as he looks around Jedha. They’re too late.

Nothing is left standing.

He glances at his moonbeam and feels the stirring of rage at the look on her face. She looks crushed.

He swallows the rage with difficulty, there’s no one here to lash out at. There’s no Empire here. No pirates. No Cartels. Just him and his moonbeam. A gentle breeze washes the scent of her over him, and it helps quell his anger enough that he’s able to speak.

“There might still be something left.” He offers.

She turns to look at him, her wide eyes glassy with tears, “How can you say that? There’s nothing left!” She gestures to what was once a bustling city at the foot of the temple. “They…destroyed everything.”

He’s going to kill the Emperor. And all of the Admirals. And probably everyone who’s ever worn an Imperial uniform.

How dare they make her cry.

Fives takes a deep breath and lightly sets his hand on her shoulder, “Don’t give up hope yet. We haven’t actually looked yet, have we?”

She sniffles and wipes her eyes, “Do you really think we’ll find something.”

“Well, if we don’t then all we lost is time.” Fives replies logically. He smiles at her when she turns to look at him, and gently adjusts her headwrap, pulling it down over her earcones. 

A tiny smile lifts her lips, and she presses her hands over his, “I suppose there’s no harm in looking.” She murmurs, she scans his face for a moment and then a small furrow appears on her brow, “I upset you. I’m sorry.”

He shakes his head, “Not your fault. I’m controlling it.” One of his hands falls so the backs of his fingers brush her cheek. “I suppose this ruins the plan we made.” He gestures to the ruins.

“Well…makes it moot, I suppose.” She replies as she tears her gaze from his face to scan the former city. “...do you think anyone got out alive?”

“I’m sure they did.” He lightly squeezes her shoulder one more time, “It looks like there’s a path through the ruins, shall we?”

“After you,”

He flashes a small smile and starts down the steps with his moonbeam hot on his heels. 

It takes time for them to work their way through the ruins. They have to backtrack several times after stumbling over roadblocks that Fives determines are too unsafe to climb over. 

Eventually, they make it to the former temple.

There are several openings and Fives checks all of them, before bringing her to one in the back, “According to the schematics, the archives used to be on this side of the temple.” He explains, “This opening should be the easiest way to get there.”

“Alright. Are you going first or do you want me to?” She asks.

Fives shoots her a look, “When have I ever let you go first?”

“Never, but there’s a first time for everything.” She grins at him, and he shakes his head before he smooths his hand over her head.

“I’ll go first, you can come after me when I tell you it’s safe.”

And that’s exactly what happens, Fives lowers himself down on the rope and makes sure that the area is safe, before shouting up that she can join him.

She descends the rope much faster than him. But then, his moonbeam is a thief, so she knows ropes a little better than he does. Fives makes sure that she’s secure on her feet before he looks around.

The Temple really is little more than a ruin.

Honestly, he doesn’t expect to find anything useful here, but he has to look. If only to keep her from feeling guilty.

“Alright. So the Archives were that way,” Fives nods at a collapsed hallway, “But I think if we go this way we’ll be able to find a way around.”

“Sounds like a plan,” She replies as she steps towards the opening in the wall that Fives indicated.

He stops her with a hand on her chest, “Why don’t I go first, see what I can see. Make sure that there’s actually a way through before we start poking around.”

“I can help, Fives.”

He chuckles and lightly kisses her forehead, “I know you can. But I’d like you to stay here. Maybe make a map?”

She blinks, “Oh! That’s a great idea!”

“I’m full of them.” He counters with a grin.

“You’re full of something, alright.” Fives’ grin widens. The fact that she’s sassing him means she’s slowly getting over seeing the aftermath of the massacre.

Good.

He hates it when she’s sad.

It should be illegal.

Fives waits until she pulls her headset out of her pocket and slips it under her head wrap, and he doesn’t move until he hears the familiar crackle of her comm coming to life in his ear.

“Alright, moonbeam. I’ll call out directions as I move.”

“And I’ll mark them on my tablet.” She finishes with an agreeable nod as she sits on a rock, “Just be careful. Just because nothing has killed you yet, doesn’t mean nothing will.”

“I’ll be careful. I promise.”

An hour later, his moonbeam’s comm crackles to life, “—Who are you?” And Fives’ blood runs cold. 

He never considered that someone else might still be in the temple. He never considered it, so he didn’t look. 

“Wait, what are you…Hey!” There’s a sharp squealing noise of her comm being destroyed.

And that’s the last thing that Fives remembers.

You try to back away from the men that are slowly circling you.

Try being the keyword here, as there are five of them and only one of you and they have you completely surrounded.

“Who are you?” One of them, the leader most likely, demands as he aims his blaster at you.

“Who are you?” You counter, pulling bravery from…somewhere.

“I asked you first.”

“I was here first.”

“Do you always talk back to people pointing blasters at you?” Another man asks.

“Yeah, Pretty much.” You swallow hard. Fives is coming. You know it. Maybe if you get these men to leave you won’t have to witness the massacre that is Fives lost in a rage. “You should probably go.”

“Is that right?” One of the men, holding a snipe rifle (which seems excessive to you) asks sarcastically.

“My partner—”

“So you are not alone.”

Fuck.

Kriff.

“It’s fine.” The last man says, “We still outnumber them.”

“True.” The first man stares at you through his helmet, “Wrecker, tie her up.”

“Got it, Hunter.”

Wait.

Wait, wait, wait.

Wrecker? Hunter? Those are clone names.

That or really bad call signs.

“...you’re clones?” You yelp as you take a step back.

The men pause, and then helmets come off and they move so that you can see them properly.

“We might be clones,” One of the men, paler than the others with cybernetics on his head, says coldly, “But you’re a graverobber.”

You ignore his words, staring instead at the handprint on his chest plate. “You’re Echo.” You say numbly.

He falters, “How can you possibly know that?”

“Oh Force, you’re Echo.” You whisper. “You! You have to put the weapons down! You have to!” 

“Why should we do that?”

“Fives is going to kill you.” You say bluntly. Matter of factly. 

Echo’s face twists, “My brother is dead.”

“Yeah, he got better.” He doesn’t believe you, and slowly you take a step away from him when you hear, what sounds like, wailing. Goosebumps rise on your skin, and your lekku twist in discomfort. They can’t hear him.

They won’t hear him until it’s too late.

And Fives—

Dear Fives. Sweet Fives. Kind Fives.

He’ll never forgive himself if he kills his brothers.

And so, when the wall bursts open revealing Fives in a deadly rage, his form constrained by his armor, you know what you have to do.

He lunges at Echo, who is closest to you, and is the most obvious threat towards you. And you lunge forward as well, placing yourself between Echo and Fives.

“Fives! STOP!” You shout, spreading your arms wide to shield Echo as best as you can.

He can’t hear you. You know he can’t hear you.

But you have to try.

A strong hand wraps around your throat, and Fives slams you to the ground as if you weigh nothing. Pain blooms across your back and the back of your head.

Something sharp pierces both of your shoulders, and you bite your tongue to stifle your scream of pain. Though there’s no stopping the pained tears rolling down your face. 

You’ve always been a baby about pain, it’s fine.

Slowly, painfully, you reach up and pull Fives’ helmet off, allowing it to fall to the side. His eyes are blank, there’s no recognition in his gaze, and his teeth have grown to the fangs that always appear when he gets like this.

“Fives,” You speak his name calmly and clearly as you reach up and gently press your hands against his icy cheeks, “Fives. It’s just me. It’s just your moonbeam.”

Slowly the wailing subsides to a level that doesn’t make you want to claw your ear cones off, but his hand is still around your neck, and your vision is starting to spot. 

“Fives,” You repeat his name, “You need to let go.”

His grip tightens, and you gasp for breath. It’s getting hard to stay conscious. 

“Fives,” You rasp his name, “Safe. No danger.” Your hands are still pressed against his face, but you’re starting to lose consciousness. Force, you hope he doesn’t kill you. That will destroy him.

Just as you’re about to pass out from lack of oxygen, his grip around your throat loosens and you start coughing. There’s sharp pain as the nails in your shoulders retract, and Fives collapses on you, unconscious and human again.

You wrap your shaky arms around him, “It’s okay. You’re okay. We’re okay.”

“What the fuck?”

Suddenly you’re reminded that you’re not alone, and you blink, hazily, up at Echo. A stricken, horrified, looking Echo. “It’s fine.” You say, “Everything’s fine.” 

It’s a lie. A horrible, awful lie. 

But you have to believe it.

You have to.

Fives wakes up slowly.

His head hurts, his entire body hurts.

It takes a moment for him to remember that someone was threatening his moonbeam and his eyes snap open.

He’s about to sit up when a gentle hand cards through his hair, “Easy there, Fives.”

He blinks at her, twice, and then looks around. They’re on the ship?

“I thought…what happened to Jedha?”

“We’re still on Jedha, just back on the ship.” She says smoothly, though her voice sounds rough. She’s wearing one of her sweaters, though the shoulders look bulkier than normal.

He sits up, slowly wincing in pain. “What happened?”

She opens her mouth to say something and then hesitates. “Nothing important.” She finally says, and Fives knows that she’s lying to him.

Memories flash in front of his eyes, faster than he can keep track of.

But he sees her, tears streaming down her face, his hand around her throat. His name, calm and collected, falling from her lips. 

He reaches out with a shaking hand to lightly grab the collar of her sweater, and he tugs it down.

There, stark on her pale blue skin, wrapped around her throat is a hand-shaped bruise.

His hand.

“What did I do?”

“It was an accident.” She says lightly taking his hand in hers and allowing the material of her sweater to hide the injuries from him, “It was an accident and it wasn’t your fault.”

“I tried to kill you.”

“It was an accident,” She repeats.

“What else did I do?” He demands, “Tell me.”

“I have a few…minor stab wounds.” She says with a sigh.

“Minor? Or all the way through.”

“It’s not you’re fault.” She repeats, “Not any more than any other time. You can’t help what you are.”

“A monster?”

She moves so she’s sitting on the edge of the bed, her hands moving to cup his face, “Fives, I’ve never thought that.”

“You should.”

She sighs and gently strokes his cheeks, “With help from my new friends, we managed to get into the archives, and I found a lead.”

He stares at her, “A lead?” Fives repeats, feeling as numb now as he did the day he woke up on Kamino.

“I think you’re a Wraith. Or a Wraith adjacent.” She explains, “We have to go to Zakuul to learn more.”

“Zakuul.” He feels like Echo, repeating everything that she’s saying. “You should leave me here. Where you’ll be safe.”

“No.” Her answer is immediate, “No. Fives, I’m not afraid of you.” She smiles at him and brushes a curl from his forehead, “You make me feel safe.”

“You really shouldn’t.”

She sighs and leans in to press her forehead against his, “If it helps, someone else will be traveling with us from now on.”

His gaze snaps to hers, and he feels the stirring of jealous possession burning in his gut.

“Don’t be like that,” She chides lightly, “You’ll like this one.”

“I doubt that.”

“I’m hurt, vod.” Fives jolts at the familiar voice and turns his gaze towards the doorway, where Echo is leaning against the frame. He has a small smile on his lips, though there’s something sad in his gaze.

“Echo?”

“Rex told me you died.”

“I saw you die.” Fives counters.

“Yeah well, looks like we both got better.” Echo jokes lightly, “I’m going to be hanging out with you two for a bit.”

“That’s…” Fives pauses, “Because I tried to kill her.”

“It was an accident.” She repeats, and Fives is sure that she’s going to say that a lot in the coming days.

“Because you’re my twin and something is wrong.” Echo walks over and lightly rubs Fives’ head, “Come on, did you think I wouldn’t help my little brother?”

“We were decanted at the same time.”

“And yet, Rex says I’m older.” Echo grins, “Now, baby brother,” He ignores Fives’ glare as if it’s not even there, “You need to rest.”

“Me? I’m fine.”

“Fives,” His moonbeam says his name in a sigh, and Fives frowns at her.

“I’m fine! You’re hurt.”

“You both need rest,” Echo announces, “I am going to do some research on where this Zakuul place is, and then we’re going to comm Rex for a bigger ship—”

“What’s wrong with this one?”

“It’s too small for three people. Hell, it’s too small for two people, and I refuse to share with the pair of you.” Echo says bluntly, “Anyway. You two rest, and I’ll handle everything for a bit.”

And then Echo is gone, allowing the door to snap shut behind him.

The bedroom is silent for a moment, and then Fives jolts when his moonbeam crawls over him and squishes herself between the bulkhead and himself, “There, now we can rest.”

“...you really don’t hate me?”

She releases an explosive sigh and pulls him down so she’s able to wrap herself around him, her head tucking under his chin, “How could I hate you? You’re Fives.”

And somehow, without her saying it, Fives hears exactly what she means.

I love you.

I love you.

I love you.

How could he not? He feels the same way.

@bad4amficideas

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[viv-hollande]

The Internet Historian plagiarism debacle is kind of uniquely funny to me. I'm "a fan" of Internet Historian, by which I mean specifically The Cost of Concordia, which is an excellently paced recounting of a personal interest of mine and is thus video crack for me, especially in the first half. While I did register some of his more 4chan opinions, I mostly ignored them because those videos generally weren't as tightly scripted and didn't hold my interest. ADHD brain y'all.

Even before Man in Cave I had mostly drifted away from his channel. The Area 51 video was the start of this. I only watched it once when it came out, but I vaguely remember it being sluggishly paced and packed with internet reference humor, especially that of the 4chan variety. I don't remember if I saw Man in Cave when it first came out or only saw the worse, rewritten version. Given that the original plagiarized article is excellently written, and that I don't really remember Man in Cave having that much of an impression on me, I probably never saw it, or only saw it one.

The really funny thing for me, though, concerns The Cost of Concordia. You see, because nautical stuff is of interest to me, I can attest that The Cost of Concordia is an exquisitely researched, extremely accurate retelling of the Costa Concordia disaster. Internet Historian was so committed to accuracy that he intentionally made the dialogue worse by using direct translations of the transcripts of the Costa Concordia's data recorder. A lot of it sounds slightly stilted and repetitive because of that direct translation, and because Captain Schettino kept asking the same questions over and over again.

In the Q&A for The Cost of Concordia, Internet Historian also goes into some of the creative process behind making the video. He talks about some of the ideas they had for the project, many of which actually had a lot of work put into them and later had to be scrapped. He talked about scrapping title cards, specifically because they broke up the flow of the video. Thank fuck he did, because again. Video crack.

It's just so funny to me that unlike iilluminaugtii and Somerton, who were all plagiarism, no substance, with just a tiny little heaping bucket of shitty personality, Internet Historian and his team are clearly capable of doing actual research and making well animated, well written, accurate videos. Even more strangely, he readily admitted to a few factual errors and misrepresentations in the Q&A, so he clearly doesn't mind admitting minor goofs for the sake of accuracy. What happened here? Did he get bored or something? Was he just assuming he could get away with it?

[jess-the-reckless]

Hype time. I have an e-book free at the moment to get people in the mood for the one I’m currently working on, which is a sequel to this peculiar little baby of mine. Well, I say little, but it’s a 100k+ chonker, which is hefty for me. I usually aim for about 80k to get the thing done, but I was having so much fun with Ghosted that it ran long. It gave me the opportunity to tell some ghost stories, and I love, love, love telling ghost stories.

Writing Good Omens made me thirsty for more supernatural silliness, so I cooked this up to satisfy that need. It was also a reaction to a really, really bad book that will remain nameless, because while I loved its premise (romance about paranormal investigators hooking up) it sucked so lamentably that I felt the need to take the premise and do it my way. I think there’s still a line in Ghosted that references one of my objections, which is that the paranormal investigators all went to bed at 11pm. You don’t need to be an expert in the paranormal to know that this is not remotely how ghosts work.  They work nights. They keep long, unsociable hours that leave investigators sitting up – usually bored out of their brains while waiting for something spooky to happen. Plenty of time on those tedious ghost vigils to have deep, probing conversations, and maybe contemplate sucking each other’s dicks.

The book starts out in the ghost-factory of a city that is New Orleans, but swiftly gets roadtrippy due to my desire to include the things about Supernatural that I liked. I make no apologies for my workaday exorcist Jason Kent being extremely Dean Winchester coded. He’s got the shitty father, the trunk full of esoteric weapons, the haunted sibling, and all of the attendant angst that goes along with that. I really loved the whole all-in-a-day’s work vibe of Supernatural, where you rattle from one crappy motel to another doing paranormal grunt work, although (full-disclosure) I dropped out somewhere in S6 because everything after the apocalypse felt like an anti-climax to me. The only episode I really remember from S6 was Weekend at Bobby’s, which was a masterpiece on a par with the one with the haunted lucky rabbit’s foot.

I did enjoy the angel, though, which is why he gets a shoutout in the name of the other lead – Ange. His name is French for angel, and short for Desanges – of the angels. It seemed an appropriately no-we’re-totally-Catholic-honest handle for a Haitian-American baby boy born on the second of October, the official Catholic feast day of the Guardian Angels. Although it doesn’t come up that much in Ghosted it did give me the opportunity to fold in some of that delicious voudou research I did for Code Noir, and close readers might spot a connecting thread there between Ange and Gabrielle from the latter book. I’m way too fascinated by syncretic religions, and the second book will dip into Ange’s palo inheritance on his Puerto Rican mother’s side.

But that’s to come. The big deal with Ange in Ghosted is that he’s my favourite kind of character to write – a fast-talking grifter whose head is permanently a-swivel for the next big opportunity. He’s Oda Mae Browning it up in an influencer’s haunted mansion in New Orleans when he meets Jason, who is there to exorcise a kitchen-centric ghost who is really shitting on the owner’s dreams of launching a cookbook. It’s lust at first sight on Ange’s part, but because Jason is a lonely weirdo who prefers anonymous sex at truck stops he ghosts Ange afterwards.

And that’s when Ange finds out he’s been ghosted in more ways than one. That exorcism in New Orleans? Yeah. It didn’t take. The ghost just…relocated, and now Ange really needs the services of an exorcist. I had an absurd amount of fun with this book. It’s stupid, spooky, and full of lots and lots of creepy little things that got my blood pumping as a storyteller, like the twin aunts who turned into Collyer Brothers-level hoarders in their New Orleans mansion, or the nuclear scientist obsessed with Glenn Miller. And then there’s Melissa, the most Californian ghost of all time, who started out as a plot point and a pair of rainbow sneakers, and then morphed into a character so fun that she’s absolutely coming back for the sequel. Same with cat-lady researcher Celine, who I plan to bring back for book three. And oh yes, there’s going to be a book three. No need to stop when you’re enjoying yourself, right?  

[cars2-renaissance]

So a while back, @little-red-irish-jaguar reblogged one of my posts with this devastating theory. The theory was that Leland sent Finn the transmission from Tony Trihull instead of the oil rigs. My first thought was to reject this theory because it went against my preconceptions that were so firmly rooted that my brain immediately sought to preserve them. However after rewatching the movie and studying the evidence, I can safely say that I was wrong. This theory tracks. And I will now write another essay to assess the evidence.

Firstly, the transmission itself: now it’s EXTREMELY hard to see shit in this video. The quality is god-awful and Leland never won any awards for videography. However this glorious angel on deviantart cleaned up some frames. (I’m not going to repost their art though since they don’t seem to be active in the fandom anymore and I don’t want to repost without permission. :/ ) but definitely go check it out!

So I’ll post the same shitty screenshots from the movie. Shoutout to veggieboy ultimate for uploading the opening scene on YouTube.

So there’s crates and metal reinforcements on the walls behind him. It does look like it could be on the oil rig.

Then he angles the camera to show this (port window?) like babygirl we can’t tell what that is… anyway it looks like a window of some sort and there fire. Now. That looks an awful lot like a round ship’s window.

Finally we get this weirdass shot of the ceiling? Again it’s very hard to tell what this is but it’s some sort of mechanical bay door that is closing.

Like it could be that? Tony does have cargo bay doors and that could be what we’re seeing.

Now the icing on top are these pieces of concept art from the Pixar website. That window porthole is drawn without all the overexposure and it looks just like the flair stacks from the oil rigs. And that’s why Leland is trying to get it in frame to show Finn. He’s seen the oil rigs from the ship. But that’s the last we see of him.

Next, we see Finn hightailing it out there to the middle of the Pacific Ocean. Here’s the kicker, the coordinates Leland gives Finn do not take him to the oil rigs.

(And for my even shittier stills) Crabby takes him to the coordinates and is like lol okay here we are! There’s lot of water!!

Now this always confused me as a kid. Was Crabby off with the coordinates? Did he stop too soon? But then if Leland sent the coordinates from Tony Trihull, it makes sense why those coordinates would lead to open water and not the oil rigs. The oil rigs may not be at those coordinates…

but he sure is: the ship Leland sent the coordinates from.

Next we see Finn by the loading dock and he comms Leland to let him know he’s there. Now this threw me off. Finn tells him he’s at the rally point but he’s not at the coordinates Leland sent him. I guess he figured this is where Leland ended up? (I mean he wasn’t wrong, unfortunately.)

Then we see the professor. He’s there because of the camera which they’re loading onto the ship because they’re about to sail to Japan because of the race. But they’re also unloading crates from the ship and it’s one of those crates that Leland’s body is in. He’s being unloaded from the ship which is where he was likely murdered.

.

As for my finishing thoughts. There’s a lot to unpack here. Leland never made it to the oil rigs alive which is a tragedy of its own that he died before he got to see what he’d discovered up close.

He had a lot of faith in Finn to be able to find him from coordinates he sent from a boat. And that faith was well founded. Finn did in fact find him albeit too late.

Since he wasn’t on the ship at the time, Professor Z was not the one who killed Leland (though he may have ordered him killed) it was likely Acer and Grem who killed him—which makes sense since they seem to be the more sadistic of the lemons in later scenes—but I still hate Zundapp just because he was involved in it!

And Finn did in fact get his revenge at the end of the movie in London when he blew Tony Trihull to smithereens. (I’d add the screenshot but I’m at my 10 image limit already XD)

[llamagoddessofficial]

biggest of brain energy re warm bread and beloved skeletons - so.... might i offer you .................. patisserie/baker au??

the boys are all rival(ish) bakers/pastry chefs on the same cute little side block of a quaint walkable downtown.

Sans has that extremely detailed, finicky pastry work down pat, on top of all the strange new versions that keep, somehow, making filo dough more difficult and yet structurally impressive. he's tried all those cool gastro-chef techniques, but just loves & excels at the fancy little pastries. absolutely the type to just close the shop when he's sold out of whatever he felt interested in making a lot of that day. surprisingly good-yet-bad social media presence. makes the jokiest videos and jankiest signs advertising when he's got a new batch of Something Tasty out, but the most beautiful shots of his pastries.

Red is one of those not-so-surprisingly charming excon-type (maybe never actually in prison, but y'know) bakers that looks intimidating but makes the best goddamn homey baked goods you ever had. pies, breads, big soft filled rolls, anything that feels ghibli as hell, frankly. has a not-so-secret love of making those really decorative lattice-style pie crusts; can absolutely make art you wouldn't want to eat if not for how damned good you know the pie is. always the most slammed during autumn, has spirited """debates""" with Sans (who is directly across the cobbled street) whenever they get deliveries at the same time, often about incredibly inane but opinionated baking nuances. accidentally best friends with all the local widows and grandmas. frequently propositioned by all genders.

Skull is a bit of the odd man out - he used to work at a little old cakeshop on the corner, but Something Happened one day and that corner store has frustratingly been turned into Insert Encroaching Soulless Chain Here. he now works at the back of the little pizzeria, making the best goddamn pizza dough anyone's ever had. seeing him flip and spin those pizzas is art in and of itself. rumor still had it that there was someone on staff at that cakeshop that could make the most dazzling wedding cakes you ever did see, but they also made the flavors involved so harmonious you could cry....

....... MC is a new arrival, perhaps opening up her own little shop - a little cafe maybe, specializing in warm drinks and a simple menu of baked goods like croissants and scones and cookies, some finger foods, and most importantly Cozy Vibes.

maybe she puts out an ad for a proper baker to help her out while she makes the teas and coffees and runs the front....

... and maybe some shenanigans ensue ✧∠( ᐛ 」∠)＿

genius. absolutely genius. allow me to lose my fucking mind

Mc opens up her delightful little cafe. It's small, obviously, since she's technically the only employee- though she's great at coffee she struggles to make anything more complex than a cookie for cafe food. Her croissants melt and flatten, her pies collapse, her attempts at macarons just spread out into a sheet. So! She puts out an ad!

Sans: Ironically, his habit of only making what he's interested in and randomly closing shop without warning has made his desserts even more sought after. The incredible intricate and unique nature of his treats give them an element of scarcity, and people will come from all over to get to his next batch early. The sign out the front says 'open 10am to 5pm monday to wednesday. open some thursdays, depends how i feel. closed the second friday in the month, unless we were open thursday before. open saturday. closed sunday'.

He was a bit suspicious of her cafe, he'll admit it. He's suspicious of anything new on the street. Various chain brands have been infiltrating the previously majority monster-run area, and he hates the way his favourite place is slowly being subsumed by shitty corporate machine-made food. But it only took one visit (purely out of curiosity) for him to get love at first sight.

Since his store has such a reputation, he can afford to flunk whenever he likes to go sit in with her and chat for hours; he's a welcome presence. After noticing her difficulty with baking he starts giving her tips but quickly graduates to giving her some of his stock, instantly boosting her popularity. She thinks he's giving her leftover stock he doesn't need- she has no idea he's making stuff specifically for her.

Red: Red and Pap do have a tendency to treat their business like it's a mafia. The way they call it the 'family business' often makes people think it's a front for organised crime. And it was, once- the two of them only opened the store to cover up what was happening behind the scenes. But then they enjoyed running a bakery so much that they dropped the crime. He doesn't like the way Sans has turned baking into something snooty and highbrow; Red thinks food should be delicious and comforting, not a one-bite commodity people pay out of the nose for.

Red becomes a cafe regular, he goes during breaks and straight after work. He spends most of his time standing up at the counter flirting relentlessly, but he's so on the dot that she usually has his order ready for him. He offers to teach her to make a good pie- "payment? what're you talkin' about, doll? seein' yer pretty face is payment enough fer me." There would definitely be some scenes of him teaching her to bake... standing behind her with his hands over hers, showing her the technique to fold dough, though neither of them are really concentrating because he's grinning like an idiot and she can only feel how hot her face is.

(He'd probably ruin it with a 'wish you'd pound my dough like that'. A swift smack, and the magic of the moment is over)

Skull: He's the one that responds to her ad.

Though he didn't mind his job, per say, he misses being able to make his own stuff. Pizza tossing can only do so much to fill the baking-shaped hole in his heart. He wanted to apply anyway, it was just a stroke of luck that the cafe owner turned out to be the love of his life. Though he's a bit spooky and looks at her like he can't see anything else, she's quick to accept him, telling him he can make whatever he wants- and that's when he works his magic. All the stunning cakes lining the display case are his handiwork.

He's a man of few words, and he doesn't like being in public, so he's always in the back baking and cleaning. He wishes he had the confidence to talk to her more. She brings him coffee whenever she has time, as thanks for all his hard work... she leaves foam art, since it's one of the few things she can do. Though when she leaves a heart, the coffee usually ends up going cold. He tends to just stare at the heart until the foam is gone.

[maxisanangrywell]

Simon has scars, Simon has trauma-- Okay so imagine this.

Trauma often causes your body to break down not just mentally, but physically. Often, in the most extreme cases of trauma, your brain gets rewired to think/act/and distribute electro signals a certain way. Childhood trauma has been studied so intensively, that doctors have determined it can also suppress vital bodily functions, like digestion or even your immune system, possibly causing autoimmune disorders.

Me, I'm 21, with a couple of different disabilities from my trauma, so I'm drawing from experience.

What if, and hear me out, Simon starts, gradually over the next couple of years, getting some weird joint pains. Just, like it feels achey, and not quite right. Like he was down with a cold. It comes and goes, and he's not entirely sure when it started. He's always sort of had joint pains, I mean, look at his job? It's not only incredibly intense, and taxing physically AND emotionally, but he constantly is over working his joints. So, he thinks nothing of it.

Except, over the next few months it doesn't go away like he thinks. Oh well, right? He goes to the med bay, they check his symptoms, they check everything, and just simply find nothing. They have no reason to do blood work, or x-rays. He's not injured, and it doesn't sound like he's pulled anything or snapped any tendon. They tell him if it persists, to come back in. They give him Ibuprofen, Acetaminophen, and a N-SAID to trade off between the three, and help with any swelling or discomfort. All Simon's symptom points to, is the over work of the joints. I mean, hell, he's been in the SAS for years now, with about a decade or two of more service on top of that. He's considered old by the SAS, almost at the stage where they'd pull him off the field if he even sprains an ankle. So, he doesn't think anything of it, and refuses to go to med bay.

Without failure, the symptoms just sort of pile up gradually over the next four years. The joint pain is accompanied by stiffness and swelling. The joints, primarily in all his finger joints, wrists, and knees hurt, are red, and hot to the touch. His left hip is starting to get painful enough that he has to stretch and stay in his room for the first hour-and a half when he wakes. Otherwise, he'd be seen hobbling down the hall and that isn't good. He'd surely be sent to med bay.

So, Simon deals with it. Until one night, he's on a mission, and his joint stiffness catches up to him. Johnny has to help move him when they get under fire, and his hands and fingers hurt so bad he can't properly grab the gun and fire it. It takes him a few minutes, but he eventually returns fire. Johnny having seen the struggle, reports it to Price, who almost immediately sends him to med bay to get almost every fucking test done under the book.

"Obviously it's not just joint pain and stiffness of age anymore, Simon. I need you to be 100% out on the field. If not for you, then for Johnny. For the team."

Simon thinks it was pretty shitty of Price to use Johnny and the team against him, but it does the trick. He gets there, and spills almost everything to the doctor he saw last time. The doctor is shocked and appalled Simon never told him anything, and Simon tells him the medicine worked at first, as did the braces that he recommended for the joint support, but it just kept getting worse.

They do X-Rays, and blood work, and they find out Simon has a fairly common autoimmune disorder. Although, it's not the kind he wants to hear because it will result in a medical discharge.

"Rheumatoid Arthritis? You're bloody joking. My hand isn't all fucked up and weird looking doc. I can move my hand just fine."

"You can right now, but if you don't get the proper treatment, along with a transfusion for your knee... it will progress. Probably to the point you're bed bound."

The doctor calls in the team on behalf of Simon's request, and well, they try to find a way around it. At least, Gaz and Soap do. But before they exhaust all their options, Price offers to talk to the higher ups to see what the stance would be on moving Simon from an operator, to more of a coordinator like Kate. Where he would be able to do missions every one in a while, but not over exert himself to the point a flare-up is triggered and he is left in a dangerous position once again. The higher-ups agree, not wanting to lose the infamous Ghost.

So, there we go. :) That's my little tid-bit, take it as you want. And like always, if you enjoy the idea, please like/reblog, and if you want to build off the idea for your own AU or things, just tag me if you use specifics!! ((If you have any questions about RA, please drop them in my box and I will try to answer when I have the time!!))

[thedancingclowns]

It's headcanon time, once again, bitches!!!

Hehehehe- Marble Hornets headcanon time...

(I'm gonna start off with Alex. I might make more eventually, but my brain is primarily focused on Alex at the moment. *I may or may not be projecting, but... eh... idc right now. However, I do apologize if any of this goes against CONFIRMED CANON, as I do not know all of the canon lore, I'm still learning and I'm shit at retaining right now.*)

[headcanon list below the cut]

Alex Kralie Headcanon Stuff

He has ADHD and IED (Intermittent Explosive Disorder)

He feels really shitty after having an outburst, but doesn't really know how to properly apologize, so he just doesn't.

(whenever he used to apologize in the past, people wouldn't forgive him, and would call him a jerk, etc. so he eventually just stopped apologizing because he didn't see the point anymore.)

He has an oral fixation

(Primarily chews on pens, bites his fingernails, and bites the inside of his mouth. But he also has a keychain with all the stuff he needs, *his keys, little decorations, etc...* but also chew rings or other chewing fidgets so he can keep his fixation satisfied.)

Building on the idea of chewing on pens, he has a bag full of absolutely RUINED pens that still can write *but are chewed to all hell* because he goes through them very quickly while brainstorming.

Tim and the others *mostly Tim because Tim's the one who notices it* continuously try to stop him from chewing on the pens, but it's so habitual to him that he just doesn't.

Chews on ice and straws a lot, too.

He tried smoking once or twice but hated the smell and taste of the cigarettes. Although he still occasionally tries again, and NEVER comes around on it.

Bigender or Genderfluid ass bitch

Don't get me wrong, I also love the transfem Alex hc, but I personally lean more towards bigender or genderfluid for him.

Likes most if not all pronouns but decides not to say he uses all pronouns, instead saying that he uses he/she/they

(I'm only going to use he/him in this post because I'm tired and I also don't want to alternate at the moment because I know I'll confuse myself because of how my head is right now.)

Gender coded bracelets

Like... different colors/patterns to signal to people how he's feeling on that particular day. Preferred pronouns or even names

(bounces between/uses both Alex and Lexie)

So, so incredibly dysfunctionally Pan and Nebula

Constantly has the issue of "why are so many people attractive-" and "am I attracted to this person or are we friends?! What the fuck is the difference-"

REALLY loved Blair Witch Project when it came out. (When he was 13.)

Sparked his interest for making something with a similar genre, as he found it to be incredibly creative to film in such a way that made it seem "real"

Has a lot of interest in kids shows, but doesn't talk about them to most people.

I'm talking MLP, Sanrio/Hello Kitty/Cinnamaroll stuff, Invader Zim, etc.

He has a perfectionistic side

(I know that's basically canon already, but I have a thought as to why) He gets extremely perfectionistic with his projects because his parents didn't think he could pull off his filmmaking "dream," so, to prove them wrong; he wanted to make the BEST movie there was.

Caffeine makes him EXTREMELY tired, but he still drinks it to try to wake himself up.

He makes kandi bracelets for himself, and had some partially made for the cast of Marble Hornets, but never got around to finishing them.

Tim might've found them post Alex's canon death... and his and Alex's bracelets were matching. (waow- implied Timlex angst-coded stuffs O0O)

He is COMPLETELY time blind.

He has so many alarms and reminders set EVERYWHERE that it drives most people mad.

Constantly needs to be fidgeting with or biting/chewing on something, so he has an abundance of fidget toys on him at all times.

Spinning rings, chew necklaces, pop-its, wacky tracks, small stuffed animals/squishy animals, etc.

Extremely sensitive to smell

Viscerally hates when people wear cologne or perfume around him. Because of this, he also doesn't like most pets because of the smells they make.

(For dogs, when they heat up and it activates the oils in their fur, for cats, the ammonia smell, etc.)

He can only tolerate having a pet fish, which he finds boring because he can't pet or hold it.

He has SO MANY random facts stored in his brain, and he will randomly spew them to people

The more facts he shares, the more he cares about someone. It's sort of a love language to him.

No spice tolerance, but super high bitterness and sour tolerance

aka, starts crying after barely licking a pepper, but can eat 100% dark chocolate with a straight face and like it.

He does little watch parties of movies that inspired him whenever he needs to get out of a rut or writing block.

It normally doesn't help him get out of the block, but it helps distract him from looming feelings of failure.

There are several minutes of footage in the Marble Hornets tapes that are just Alex getting footage of Tim's moobs because he started spacing out and staring at them.

He's too embarrassed to do anything with the footage and doesn't know the correct course of action. (That, and he honestly forgets he has the footage.)

Would 100% live permanently in autumn if he could.

Absolutely feral for Halloween.

[bloodsadx]

thanks to everyone who has sent me asks and such saying i understand how to draw for being nice and stuff. i'm going to ramble about some influence/process stuff below if you want to read abt it

this might read as some kind of artistic statement or defense or something but i like to talk about this kind of thing just in case anybody can ever get anything meaningful out of my own thoughts and practices. i got to where i am after a lot of careful consideration and spending time thinking about what i like in other people's art, just like anybody else that makes art to any serious degree.

my "style" is very much a deliberate series of decisions that i have honed into being very fast for my own pleasure and enjoyment because i am very inspired by people like king terry/garo magazine/the heta-uma style, keiichi arawi, inio asano, hiroyuki imaishi, toru nakayama, phil elverum (as a cartoonist), gary panter (who was a friend of matt groening and wrote an essay about selling out that is worth reading and did a lot of stuff with RAW magazine which is one of my favorite things to think about), DIY/skatewear brand t shirt cartoons, early MSPA hussie stuff, etc. a lot of my favorite artists walk a line between constant high effort and low time investment art; often contrasting elaborately planned perspective grids or high resolution rendering with simple cartooning. asano and arawi i think are very clear and famous examples of artists that use 3d rendering and photography for backgrounds while drawing very deliberate and expressive characters on top of them. toru nakayama is really inspiring to me because he, like toriyama, has a very deep understanding of form AND cartooning and has a way of making extremely densely crafted cartoons which feel visceral and almost like plastic toys you can pick up and play with on the page. also just one of my favorite colorists. and i think hussie and arawi and imaishi are all fantastic character designers with very strong understandings of designing art styles that convey information very quickly and deliberately; i think bryan lee omalley and jamie hewlett were also big early influences on me for the same thing- they all have art styles with very clear line/negative space proportions, strong shape language, etc, and for a long time in my life i have sought to grasp a similar understanding of these things. and then i think phil elverum's fancy people adventures cartoons and just like skate brands and "shitty" DIY drawings and stuff (the album art for nana grizol's love it love it is like burned into my brain forever; seeing basquiat paintings and poems in a museum when i was 15 made me feel whatever and crazy and etc) are just something that serve as a constant reminder to me that some of the most effective art is art that is simply fun to look at, especially when it comes to making comic and cartoon art. simplicity and joie de vivre are very important to me as artistic concepts.

and i mean, i do fuck with crazy painter dudes and shit too; i was huge into goya when i was 14 and had a print of the witches sabbath taped to my wall until i was like 22, i fw waterhouse & bruegel the elder insanely. i am like a sponge for most kinds of art and i do a lot of art research all the time. most of my first book was heavily influenced by compositional techniques from pre-raphaelite painters and the iconography of egyptian & greek wall art and especially especially extremely crowded gothic art and the concept of horror vacui.

but anyway, im not really insecure about my art, i know how much effort and time and practice and research i've put in, i definitely know my strengths regarding cartooning and stuff, and i'm even more aware of where my work needs "improvement" in order to be "commercially viable." i've been in multiple positions in the past several years of taking art seriously where other people have been dismissive of my art and i've seen other people fail to capture the energy & simplicity that i am able to get in my own art, etc.

for people interested in my Process and the things that i work on to draw the way that i do, the way i have gotten whatever skills i have has been mostly through drawing the same things over and over and over (toenail, cavity, pimple, gunk, making different expressions and doing different poses); i draw in pen MOST of the time, and i have for a very long time, and i make few edits, and i focus on keeping energy and confidence in my lines; i do perspective studies, i've spent a lot of time doing gesture drawings and environmental studies inside and outside. i draw a lot of movie frames and do color studies of youtube videos and stuff like that. i remember reading some kind of criticism of post-KAWS/street art infiltration of commercial art that artists now are most rewarded for drawing literally the same thing over and over and over like their hands are printers and that the main thing artists are then allowed to do within that context is express themselves through minor variations within that key theme; i don't think im THAT rote but it has definitely informed my perpsective on what i do and what i am interested in doing. on some level i have designed my art to be easily reproducible by myself because i want to make comics and sometimes even to animate my characters and that requires me to be able to draw a lot of drawings relatively quickly. this is another reason why character designers and video game key artists are such massive influences on me, takehito harada and akiman and toshiyuki kusakihara being some huge ones i've spent a lot of time doing studies of i didn't mention previously.

and because the main way i make money at this point in my life is through screen printing & reproducing my drawings as items for sale, i spend a lot of time making my art Distinct, Eye Catching, and Iconic, to the degree of instant recognizability even on a t shirt or a sticker from far away, and i try to make my drawings strictly legible and generally focus on communicating ideas and emotions through big thematic and emotional gestures and strong colors that can be easily separated. this is one of the main reasons i havent developed as strong of a rendering/coloring habit; that kind of stuff is difficult to color separate for the purpose of solo DIY screen printing. but i've spent a pretty decent amount of time doing that stuff, and i spend time studying forms regardless, with the lines that i do use. a lot of my sketchbooks are me drawing literally the same thing over and over slightly differently until i have something that i feel is a strong enough cartoon to make into a shirt or patch or sticker design that satisfies a litany of criteria i have for what i consider strong cartooning.

anyway that was a very rambling post but i hope at least people get something out of it even if its just slight entertainment from me blowing hot air out of my mouth for 20 minutes.